Avid Xpress

Users Guide

tools for storytellers

 2000 Avid Technology, Inc. All rights reserved. Avid Xpress Users Guide Part 0130-04554-01 Rev. A August 2000

Contents
Chapter 1 Desktop Basics
Working with the Desktop (Windows Only) . . . . . . . . . . . . . . . . . . . 34 Creating an Emergency Repair Disk (Windows Only) . . . . . . . 34 Using Context Menus (Windows Only) . . . . . . . . . . . . . . . . . . . . 34 Using the Windows NT Taskbar (Windows Only). . . . . . . . . . . 35 Dragging Windows (Windows Only) . . . . . . . . . . . . . . . . . . . . . . 36 Setting the Avid Color Scheme (Windows Only) . . . . . . . . . . . . 36 Setting Your Screen Resolution (Windows). . . . . . . . . . . . . . . . . 37 About Your Screen Resolution (Macintosh Only) . . . . . . . . . . . 38 About the Avid Xpress Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Managing the Avid Projects and Avid Users Folders . . . . . . . . . . . . 39 About the Avid Projects and Avid Users Folders . . . . . . . . . . . . 39 Changing Project and User Names . . . . . . . . . . . . . . . . . . . . . . . . 40 Deleting Projects and User Profiles. . . . . . . . . . . . . . . . . . . . . . . . 41 Starting the Avid Xpress Application (Windows) . . . . . . . . . . . . . . . 41 Starting the Avid Xpress Application (Macintosh) . . . . . . . . . . . . . . 42 Accepting Your Avid Xpress License Electronically . . . . . . . . . . . . . 43

Chapter 2

Starting a Project
Opening a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Identifying a User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Creating a New User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Selecting an Existing User . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Selecting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Selecting an Existing Project . . . . . . . . . . . . . . . . . . . . . . . . . . 47
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Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Nesting Projects in Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Opening a Project in Avid Xpress . . . . . . . . . . . . . . . . . . . . . . . . . 49 Closing a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Backing Up Your Project Information . . . . . . . . . . . . . . . . . . . . . . . . . 52 Saving Your Project Information on a Drive or Floppy Disk. . 52 Restoring from a Backup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Ending an Edit Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Quitting the Avid Xpress Application . . . . . . . . . . . . . . . . . . . . . 54 Turning Off Your Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Mounting and Ejecting Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Ejecting Drives (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Ejecting Drives (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Mounting All Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Using Context Menus (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Using Context Menus (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Using Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Connecting to the Avid Production Network . . . . . . . . . . . . . . . . . . . 59

Chapter 3

Working with the Project Window

Opening and Closing the Project Window . . . . . . . . . . . . . . . . . . . . . 61 Using the Bins Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Viewing a List of Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Displaying Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Creating a Folder in a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Creating a New Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Renaming a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Opening and Closing a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Opening Selected Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Closing a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Deleting a Bin or Folder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Viewing Contents in the Trash . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Emptying the Trash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
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Managing Folders and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Saving Bins Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Saving Bins Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 About Retrieving Bin Files from the Attic Folder . . . . . . . . . . . 76 Retrieving Bin Files from the Attic Folder (Windows). . . . 77 Retrieving Bin Files from the Attic Folder (Macintosh). . . 78 Modifying the Creation Date . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Using the Settings Scroll List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 About Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Defining Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Reviewing Basic Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Bin Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Displaying Project Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Changing the Settings Scroll List Display . . . . . . . . . . . . . . . . . . 89 About the Settings Scroll List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Working with Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Selecting Another User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Modifying Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Working with Multiple Settings . . . . . . . . . . . . . . . . . . . . . . . 94 Duplicating Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Naming Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Selecting Among Multiple Settings . . . . . . . . . . . . . . . . . . . . 96 Deleting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Copying Settings Between Settings Files . . . . . . . . . . . . . . . 97 Moving Settings Between Systems . . . . . . . . . . . . . . . . . . . . 98 Using Site Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Using the Info Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Displaying Project Info . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Viewing Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 About the Memory Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Accessing the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
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Customizing Your Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Creating a New Workspace Setting . . . . . . . . . . . . . . . . . . . . . . . 103 Assigning a Workspace Button. . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Linking User Settings and Workspaces . . . . . . . . . . . . . . . . . . . 105 Switching Between Workspaces. . . . . . . . . . . . . . . . . . . . . . . . . . 108 Deleting a Workspace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Chapter 4

Using Basic Tools

Navigating in Dialog Boxes and Menus . . . . . . . . . . . . . . . . . . . . . . 109 Using the Tools Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Using the Command Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 About Button Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Mapping User-Selectable Buttons . . . . . . . . . . . . . . . . . . . . . . . . 114 Using the Blank Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Mapping the Modifier Key (Windows Only) . . . . . . . . . . . . . . 115 Mapping Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Activating Commands from the Command Palette . . . . . . . . . 117 Using the Avid Calculator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 Using the Console Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Displaying System Information. . . . . . . . . . . . . . . . . . . . . . . . . . 120 Reviewing a Log of Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Getting Information with the Console Window. . . . . . . . . . . . 121 Using the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Checking the Hardware Configuration . . . . . . . . . . . . . . . . . . . 122 Starting the Diagnostic Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Starting Avid System Test Pro (Windows) . . . . . . . . . . . . . 124 Starting Avid System Test Pro (Macintosh) . . . . . . . . . . . . 124 Using the Serial (COM) Ports Tool . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Configuring a Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Chapter 5

Logging
Logging Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Logging Preroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
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Logging Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 Naming Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Double-Checking the Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Adding a Memory Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Preparing Logs for Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 Transferring Bins from MediaLog . . . . . . . . . . . . . . . . . . . . . . . . 134 Creating Avid Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Importing Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 Converting Log Files with Avid Log Exchange . . . . . . . . . . . . . . . . 140 Converting a Log File to an ALE File (Windows) . . . . . . . . . . . 140 Using Drag-and-Drop Conversion (Windows) . . . . . . . . . . . . . 146 Converting a Log File to an ALE File (Macintosh) . . . . . . . . . . 148 Using Drag-and-Drop Conversion (Macintosh) . . . . . . . . . . . . 151 Logging Directly to a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Logging with an Avid-Controlled Camera or Deck . . . . . . . . . 152 Logging with a Non-Avid-Controlled Camera or Deck. . . . . . 155 Modifying Clip Information Before Digitizing. . . . . . . . . . . . . . . . 158 About the Modify Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 Using the Modify Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 Exporting Shot Log Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Chapter 6

Preparing to Digitize
Preparing the Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 Learning About Striped Drives . . . . . . . . . . . . . . . . . . . . . . . . . . 164 Selecting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165 General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165 Digitize Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Configuring Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Deleting Deck Configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 Setting Deck Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Setting Up the Digitize Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176 Opening the Digitize Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
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Selecting a Deck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Selecting a Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Selecting Source Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 Choosing a Resolution in the Digitize Tool. . . . . . . . . . . . . . . . 180 Choosing a Target Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Selecting the Target Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Targeting a Single Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Targeting Separate Drives for Audio and Video . . . . . . . . 183 Interpreting the Time-Remaining Display . . . . . . . . . . . . . . . . 185 Setting the Video and Audio Input . . . . . . . . . . . . . . . . . . . . . . . 185 Choosing Color or Monochrome in the Digitize Tool . . . . . . . 187 Digitizing to Multiple Media Files . . . . . . . . . . . . . . . . . . . . . . . 188 Digitizing Across Timecode Breaks . . . . . . . . . . . . . . . . . . . . . . 191 Using Digitize Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 General Digitize Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Batch Digitize Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 Edit Digitize Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 Preparing for Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 Choosing the Audio File Format . . . . . . . . . . . . . . . . . . . . . . . . . 199 Establishing Sync for Audio-Only Input . . . . . . . . . . . . . . . . . . 201 Checking for a Valid Digital Sync Signal . . . . . . . . . . . . . . . . . 201 Adjusting Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . 202 Using the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 Adjusting the Reference Level . . . . . . . . . . . . . . . . . . . . . . . 207 Calibrating the Eight-Channel Audio I/O Device . . . . . . . . . . . . . . 208 Changing the Audio Hardware Calibration Setting. . . . . 210 Calibrating Input Channels for the Audio I/O Device. . . 211 Calibrating Output Channels for the Audio I/O Device . 213 Using the Console Window to Check Audio Levels . . . . . . . . 214 Calibrating for Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 Before You Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 Manually Calibrating for Video Input . . . . . . . . . . . . . . . . . . . . 215 Saving Video Input Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
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Saving a Custom Default Setting for the Video Input Tool . . 221 Adjusting Video Levels Without Color Bars . . . . . . . . . . . . . . . 222 Compression Resolutions and Storage Requirements . . . . . . . . . . 223 Screen Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223 About Compression and Resolutions . . . . . . . . . . . . . . . . . . . . . 224 Compression Groups and Image Quality . . . . . . . . . . . . . . 224 Video Streams. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 Compression Specifications . . . . . . . . . . . . . . . . . . . . . . . . . 225 Mixing Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 Setting Media Creation Resolutions and Selecting Drives . . 228 Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Chapter 7

Digitizing
Before You Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 Adding Clip Names and Comments On-the-Fly . . . . . . . . . . . . . . . 237 Digitizing and Logging at the Same Time. . . . . . . . . . . . . . . . . . . . . 237 Digitizing from One Point to Another . . . . . . . . . . . . . . . . . . . . 238 Digitizing from an IN Point to an OUT Point . . . . . . . . . . 239 Setting Both Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 Setting Only One Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240 Digitizing On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Autodigitizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 Digitizing from a Non-Avid-Controlled Deck . . . . . . . . . . . . . 248 Digitizing with Time-of-Day Timecode . . . . . . . . . . . . . . . . . . . 250 Digitizing with External Timecode . . . . . . . . . . . . . . . . . . . . . . . 250 Recording Audio from a Music CD . . . . . . . . . . . . . . . . . . . . . . . . . . 252 Digitizing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 Patching When Digitizing to the Timeline . . . . . . . . . . . . . . . . 255 Batch Digitizing from Logged Clips. . . . . . . . . . . . . . . . . . . . . . . . . . 256 Preparing to Batch Digitize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Resizing the Digitize Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Preparing Settings for Unattended Batch Digitizing . . . . 257 Batch Digitizing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
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Redigitizing Your Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260 Redigitizing Master Clips and Subclips . . . . . . . . . . . . . . . . . . 260 Redigitizing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 Saving Two Versions of a Sequence When Redigitizing . 261 Redigitizing the Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . 262 Other Digitizing Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263 Controlling Decks from the Keyboard . . . . . . . . . . . . . . . . . . . . 263 Naming a New Tape from the Keyboard . . . . . . . . . . . . . . . . . . 264 Ejecting Tapes with a Button or Key . . . . . . . . . . . . . . . . . . . . . . 265 Returning to Previous Place in the Select Tape Dialog Box . . 265

Chapter 8

Importing Files
Preparing to Import Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267 Working with Mixed-Resolution Projects . . . . . . . . . . . . . . . . . . . . . 267 Creating and Using Import Settings. . . . . . . . . . . . . . . . . . . . . . . . . . 268 Creating a New Import Setting . . . . . . . . . . . . . . . . . . . . . . . . . . 268 Modifying an Existing Import Setting . . . . . . . . . . . . . . . . . . . . 270 Import Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 Importing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 Using the Drag-and-Drop Method to Import Files . . . . . . . . . . . . . 280 Using Open Media Management (OMM) . . . . . . . . . . . . . . . . . . . . . 281 Specifying OMM Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 Import and Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 284 Using OMM to Import Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 Reimporting Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285 The Batch Import Dialog Box (Windows) . . . . . . . . . . . . . . . . . 286 File Browser Section (Windows) . . . . . . . . . . . . . . . . . . . . . . 287 Status Line (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288 Current Clip Info Section (Windows) . . . . . . . . . . . . . . . . . 288 Import Options (All Clips) Section (Windows). . . . . . . . . 289 Select (All Clips) Section (Windows). . . . . . . . . . . . . . . . . . 289 The Batch Import Dialog Box (Macintosh) . . . . . . . . . . . . . . . . 290 File Section (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
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Import Settings Section (Macintosh) . . . . . . . . . . . . . . . . . . 291 Resolution and Drives Section (Macintosh) . . . . . . . . . . . . 291 Starting the Reimport Process (Windows) . . . . . . . . . . . . . . . . . 292 Starting the Reimport Process (Macintosh) . . . . . . . . . . . . . . . . 295

Chapter 9

Organizing with Bins

Before You Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Adjusting Pan Defaults. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Setting the Bin Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 About Bin Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 Text View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 Frame View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 Custom Bin Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 Customizing Bin Views in Text View . . . . . . . . . . . . . . . . . 306 Saving a Custom Bin View. . . . . . . . . . . . . . . . . . . . . . . . . . . 307 Bin Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 Basic Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 Setting the Bin Font . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 Selecting Clips and Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . 310 Duplicating Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . 310 Moving Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 Copying Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 Deleting Clips, Sequences, or Media . . . . . . . . . . . . . . . . . . . . . 312 Assigning Colors to Bin Objects . . . . . . . . . . . . . . . . . . . . . . . . . 314 Adding a Color Column to a Bin . . . . . . . . . . . . . . . . . . . . . 314 Assigning a Source Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 Assigning a Custom Source Color . . . . . . . . . . . . . . . . . . . . 316 Limiting Color Choices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 Sorting by Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 Sifting by Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 Highlighting Offline Media Clips. . . . . . . . . . . . . . . . . . . . . . . . 318 Sifting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318
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Locking and Unlocking Items in the Bin . . . . . . . . . . . . . . . . . . 320 Selecting Offline Items in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . 321 Selecting Media Relatives for an Object . . . . . . . . . . . . . . . . . . 321 Selecting Unreferenced Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323 Using Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323 Arranging Bin Columns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 Moving and Rearranging Columns . . . . . . . . . . . . . . . . . . . 324 Aligning Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 Showing and Hiding Columns . . . . . . . . . . . . . . . . . . . . . . . 326 Deleting a Column. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 Duplicating a Column. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 Adding Customized Columns to a Bin . . . . . . . . . . . . . . . . 329 Changing a Custom Column Heading. . . . . . . . . . . . . . . . . 331 Managing Clip Information in Text View . . . . . . . . . . . . . . . . . 331 Moving Within Column Cells . . . . . . . . . . . . . . . . . . . . . . . . 331 Modifying Clip Information . . . . . . . . . . . . . . . . . . . . . . . . . 332 Modifying Data Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 Modifying Data by Using the Modify Command. . . . . . . 335 Copying Information Between Columns . . . . . . . . . . . . . . 337 Sorting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337 Sorting Clips in Ascending Order . . . . . . . . . . . . . . . . . . . . 337 Sorting Clips in Descending Order . . . . . . . . . . . . . . . . . . . 338 Performing Multilevel Sorting with Columns. . . . . . . . . . 338 Using Frame View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339 Changing the Bin Background Color . . . . . . . . . . . . . . . . . . . . . 340 Enlarging or Reducing Frame Size . . . . . . . . . . . . . . . . . . . . . . . 341 Rearranging Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342 Changing the Frame Identifying the Clip . . . . . . . . . . . . . . . . . 342 Arranging Frames in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343 Using Script View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343 Entering Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344 Adding Text in Script View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344 Rearranging Clips in Script View . . . . . . . . . . . . . . . . . . . . . . . . 345
12

Printing Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345 Gathering Format Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346 Preparing Digital Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . 346 Importing Color Bars and Other Test Patterns . . . . . . . . . . . . . 347 Creating Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349 Creating Video Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349 Creating Audio Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Chapter 10

Managing Media Files

Using the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353 Basic Media Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353 Opening the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 Deleting Media Files with the Media Tool . . . . . . . . . . . . . . . . 356 Consolidating Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358 About the Consolidate Feature. . . . . . . . . . . . . . . . . . . . . . . . . . . 358 Using the Consolidate Command . . . . . . . . . . . . . . . . . . . . . . . . 361 Loading the Media Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363 Backing Up Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364 Finding a Related Media File. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 Relinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366 Relinking to Selected Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369 Relinking Consolidated Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . 370 Relinking Moved Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 Unlinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 Archiving and Restoring Media Files Using Videotapes . . . . . . . . 372 Archiving Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373 Archive to Videotape Options . . . . . . . . . . . . . . . . . . . . . . . . . . . 377 Restoring an Archive from Videotape . . . . . . . . . . . . . . . . . . . . 378 Workgroup Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380 About MediaManager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380 About TransferManager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

13

Chapter 11

Using Script Integration

Line Script Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383 Explanation of Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384 Lining in the Digital Realm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385 Script Integration Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387 Using Script Integration in Video Projects . . . . . . . . . . . . . . . . 387 Script Window Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388 Modifying Script Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389 Importing a Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390 Opening, Closing, and Saving the Script Window . . . . . . . . . 392 Displaying Clip Information in a Script Window . . . . . . . . . . 392 Navigating in the Script Window . . . . . . . . . . . . . . . . . . . . . . . . 393 Adjusting the Script Margins . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393 Manipulating Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394 Changing the Font of the Script . . . . . . . . . . . . . . . . . . . . . . . . . . 394 Selecting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395 Cutting, Copying, and Pasting Script . . . . . . . . . . . . . . . . . . . . . 397 Removing Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398 Searching Through Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398 Using Page and Scene Numbers . . . . . . . . . . . . . . . . . . . . . . . . . 399 Adding a Page or Scene Number . . . . . . . . . . . . . . . . . . . . . 399 Changing a Page or Scene Number . . . . . . . . . . . . . . . . . . . 400 Deleting a Page or Scene Number . . . . . . . . . . . . . . . . . . . . 401 Searching for a Page or Scene Number . . . . . . . . . . . . . . . . 401 Conducting a Text Search . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402 Linking Clips to the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402 Interpolating Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404 Manipulating Slates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405 Selecting Slates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405 Resizing a Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405 Hiding Slate Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406 Showing One Take per Slate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407 Moving a Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
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Deleting a Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408 Manipulating Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409 Selecting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409 Adding Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410 Deleting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410 Displaying Take Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411 Changing the Representative Frame for a Take . . . . . . . . . . . . 411 Loading Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412 Playing Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412 Adjusting Take Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412 Indicating Off-Screen Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413 Using Color Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414 Using Script Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414 Placing Script Marks Manually . . . . . . . . . . . . . . . . . . . . . . . . . . 415 Automating Screening and Marking. . . . . . . . . . . . . . . . . . . . . . 416 Loading and Playing Marked Segments . . . . . . . . . . . . . . . . . . 418 Moving a Script Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419 Deleting a Script Mark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419 Finding Clips and Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420 Finding Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420 Finding Clips and Bins from the Script Window . . . . . . . . . . . 420 Editing with the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421 Script Editing Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421 Splicing a Script Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422 Revising the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423 Interactive Screenings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Chapter 12

Viewing and Marking Footage

Customizing the Composer Monitor . . . . . . . . . . . . . . . . . . . . . . . . . 426 Changing the Composer Monitor Background Color . . . . . . . 426 Using the 16:9 Display Format . . . . . . . . . . . . . . . . . . . . . . . . . . . 427 Displaying Tracking Information . . . . . . . . . . . . . . . . . . . . . . . . 427 Tracking Format Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428
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Displaying the Clip Information Window. . . . . . . . . . . . . . . . . 430 Moving the Clip Info Window . . . . . . . . . . . . . . . . . . . . . . . . . . . 431 Displaying the Timecode Window . . . . . . . . . . . . . . . . . . . . . . . 432 Setting the Font and Point Size for Monitor Displays . . . . . . 434 Viewing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434 Loading and Clearing Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 Loading into the Source Pop-up and Composer Monitors . . . 435 Using the Clip Name Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436 Switching Between Loaded Sequences . . . . . . . . . . . . . . . . 436 Clearing Sequences from Monitors . . . . . . . . . . . . . . . . . . . 437 Resizing Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438 Hiding the Video in the Composer Monitor . . . . . . . . . . . . . . . 439 Resizing the Composer Monitor . . . . . . . . . . . . . . . . . . . . . . . . . 440 Controlling Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440 Using Position Bars and Position Indicators . . . . . . . . . . . . . . . 441 Using Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442 Stepping Forward and Backward by Field. . . . . . . . . . . . . . . . . 444 About the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 Shuttling with J-K-L Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . 446 Navigating with Home, End, and Arrow Keys . . . . . . . . . 447 Jogging with the Mouse. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448 Shuttling with the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448 Play Length In Use Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . 449 Marking and Subcataloging Footage . . . . . . . . . . . . . . . . . . . . . . . . . 450 Marking IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450 Clearing a Mark and Setting a New One . . . . . . . . . . . . . . 452 Dragging IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . 452 Marking an Entire Clip or Segment . . . . . . . . . . . . . . . . . . . . . . 453 Marking Audio Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454 Using the Tool Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455 Creating Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456 Using Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 Ways to Use Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
16

Adding Locators While Editing . . . . . . . . . . . . . . . . . . . . . . 460 Moving to the Previous or Next Locator . . . . . . . . . . . . . . . 461 Marking an Area Using Locators . . . . . . . . . . . . . . . . . . . . . 462 Deleting Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462 Using the Locators Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462 Viewing and Navigating in the Locators Window . . . . . . 464 Sorting Information in the Locators Window . . . . . . . . . . 464 Displaying Frames in the Locators Window . . . . . . . . . . . 465 Changing the Color of the Locator Icon . . . . . . . . . . . . . . . 465 Accessing a Locator in a Sequence or Clip . . . . . . . . . . . . . 465 Printing the Locators Window. . . . . . . . . . . . . . . . . . . . . . . . 466 Deleting Locators by Using the Locators Window . . . . . . 466 Finding Frames and Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467 Using Frame Offset Timecode to Cue a Frame . . . . . . . . . . . . . 467 Using Timecode to Find a Frame . . . . . . . . . . . . . . . . . . . . . . . . . 467 Using Match Frame. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Chapter 13

First Edits
Setting Up a New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471 Starting a New Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472 Changing Clip Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473 Changing the Start Timecode for Sequences. . . . . . . . . . . . . . . 474 Setting Up Tracks for the New Sequence. . . . . . . . . . . . . . . . . . 474 Adding Filler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476 Making the First Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477 Beginning to Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478 Creating an Instant Rough Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . 479 Undoing or Redoing Edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480 Editing Additional Clips into the Sequence . . . . . . . . . . . . . . . . . . . 481 Performing a Splice-in Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481 Performing an Overwrite Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . 482 Performing a Replace Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483 Lifting, Extracting, and Copying Material. . . . . . . . . . . . . . . . . . . . . 483
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Lifting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484 Extracting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484 Copying Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485 Using the Clipboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486 Placing a Sequence into the Clipboard . . . . . . . . . . . . . . . . 486 Recovering Material from the Clipboard . . . . . . . . . . . . . . 487 Playing the New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488 Playing a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488 Starting a Playback Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489 Playback Performance Tips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489 Proceeding with Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490

Chapter 14

Using the Timeline

Customizing Timeline Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491 Accessing the Timeline Settings . . . . . . . . . . . . . . . . . . . . . . . . . 492 Using the Timeline Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . 495 Additional Procedures for Customizing the Timeline . . . . . . 497 Enlarging and Reducing Tracks . . . . . . . . . . . . . . . . . . . . . . 498 Changing the Timeline Track Color . . . . . . . . . . . . . . . . . . . 498 Saving a Custom Timeline View . . . . . . . . . . . . . . . . . . . . . . . . . 499 Replacing a Timeline View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499 Setting the Scroll Option for the Timeline . . . . . . . . . . . . . . . . 500 Restoring the Default Timeline View . . . . . . . . . . . . . . . . . . . . . 501 Navigating in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502 Using the Position Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502 Using the Timeline Scroll Bar. . . . . . . . . . . . . . . . . . . . . . . . . . . . 503 Displaying Detail in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . 503 Controlling Movement in the Timeline . . . . . . . . . . . . . . . . . . . 504 Using the Track Selector Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . 505 Selecting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506 Monitoring Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507 Monitoring Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507 Monitoring Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
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Monitoring a Solo Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509 Cycling Through a Selection of Tracks . . . . . . . . . . . . . . . . . . . . 509 Locking Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510 Patching Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511 Sync Locking Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512 Deleting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513 Adding an Edit (Match Framing) . . . . . . . . . . . . . . . . . . . . . . . . . 514 Removing Match-Frame Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . 515 Backtiming Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516 Detecting Duplicate Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517 Finding Black Holes and Flash Frames. . . . . . . . . . . . . . . . . . . . 518 Finding Black Holes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519 Finding Flash Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519 Editing in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520 Selecting and Deselecting Segments. . . . . . . . . . . . . . . . . . . . . . 520 Selecting Segments with the Segment Mode Pointer. . . . 521 Lassoing One or More Segments . . . . . . . . . . . . . . . . . . . . . 522 Deselecting Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523 Performing Segment Mode Edits. . . . . . . . . . . . . . . . . . . . . . . . . 523 Extracting/Splicing-in Segments. . . . . . . . . . . . . . . . . . . . . . 524 Lifting/Overwriting Segments . . . . . . . . . . . . . . . . . . . . . . . 525 Deleting Segments with Segment Mode. . . . . . . . . . . . . . . 526 Bin Editing into the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527 Bin Editing Directly into a Sequence . . . . . . . . . . . . . . . . . . . . . 527 Using the Top and Tail Commands . . . . . . . . . . . . . . . . . . . . . . . 528 Setting the Duration for Filler at the Start of a Sequence. . . . 529 Cutting, Copying, and Pasting in the Timeline . . . . . . . . . . . . 530 About Effects Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530 About Nesting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531 Printing the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531

Chapter 15

Working in Trim Mode

Customizing Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532
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Using Basic Trim Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533 Entering Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534 Exiting Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535 Selecting Between Trim Sides . . . . . . . . . . . . . . . . . . . . . . . . . . . 536 Selecting Additional Transitions . . . . . . . . . . . . . . . . . . . . . . . . . 536 Performing a Basic Trim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538 Reviewing the Trim Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539 Reviewing an Edit with the Play Loop Button. . . . . . . . . . 539 Reviewing an Edit with the Edit Review Button. . . . . . . . 539 Trimming On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540 Trimming Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541 Extending an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541 Slipping or Sliding Clips or Segments . . . . . . . . . . . . . . . . . . . . . . . 542 Selecting Segments for Slip or Slide Trimming . . . . . . . . . . . . 542 Performing the Slip or Slide Trim . . . . . . . . . . . . . . . . . . . . . . . . 545 Creating Overlap Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546 Maintaining Sync While Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . 547 Adding Black While Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . 547 Trimming with Sync-Locked Tracks . . . . . . . . . . . . . . . . . . . . . . 548

Chapter 16

Working with Audio

About Audio Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552 Accessing Audio Effect Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553 Audio Editing Aids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554 Soloing Audio Tracks in the Timeline . . . . . . . . . . . . . . . . . . . . 554 Using Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555 Smooth Scrub Versus Digital Scrub. . . . . . . . . . . . . . . . . . . 555 Selecting Tracks for Scrubbing . . . . . . . . . . . . . . . . . . . . . . . 556 Performing Smooth Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . 557 Using the J-K-L Keys to Perform Smooth Scrub . . . . . . . . 557 Using the Mouse to Perform Smooth Scrub . . . . . . . . . . . . 558 Using Digital Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558 Adjusting Digital Scrub Parameters . . . . . . . . . . . . . . . . . . 559
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Performing the Digital Scrub Procedure. . . . . . . . . . . . . . . 560 Displaying Waveform Plots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561 Using the Audio Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563 Resizing the Audio Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565 Adjusting One Audio Track at a Time . . . . . . . . . . . . . . . . . . . . 566 Changing an Audio Level . . . . . . . . . . . . . . . . . . . . . . . . . . . 568 Adjusting Pan Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569 Applying Pan Value Adjustments . . . . . . . . . . . . . . . . . . . . 569 Ganging and Adjusting Multiple Tracks . . . . . . . . . . . . . . . . . . 570 Rendering an Audio Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571 Modifying Pan Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572 Creating or Modifying an Audio Pan/Vol Effect . . . . . . . . 572 Modifying How the System Interprets Pan . . . . . . . . . . . . 572 Bypassing Existing Volume Settings. . . . . . . . . . . . . . . . . . . . . . 573 Adjusting Volume While Playing an Audio Mix Effect . . . . . 573 Limitations on Adjusting Volume . . . . . . . . . . . . . . . . . . . . 574 Improving Response Time . . . . . . . . . . . . . . . . . . . . . . . . . . . 575 Using Audio Gain Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575 Automation Gain Values and System Clip Gain Values. . . . . 576 Adjusting Volume in the Timeline . . . . . . . . . . . . . . . . . . . . . . . 577 Deleting Audio Gain Keyframes . . . . . . . . . . . . . . . . . . . . . 579 Moving Audio Gain Keyframes in the Timeline. . . . . . . . 579 Using an External Fader or Mixer to Adjust Volume . . . . . . . . 580 Adjusting the Volume of Individual Keyframes . . . . . . . . . . . 581 About the Automation Gain Tool . . . . . . . . . . . . . . . . . . . . . . . . 582 Track Solo Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584 Position Indicator Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585 Selecting Tracks in the Automation Gain Tool . . . . . . . . . 586 Automation Gain Tool Fast Menu . . . . . . . . . . . . . . . . . . . . 587 Recording Automation Gain Information . . . . . . . . . . . . . . . . . 589 Using the Automation Gain Tool Sliders . . . . . . . . . . . . . . 589 Using a Keyboard Shortcut . . . . . . . . . . . . . . . . . . . . . . . . . . 590 Using an External Fader Controller or Mixer . . . . . . . . . . . 591
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Using the Audio EQ Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593 Audio EQ Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594 Basic EQ Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594 EQ-Specific Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596 Applying Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598 Saving Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601 Removing Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602 Audio EQ Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603 Low Shelf Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603 Small Octave Range Example . . . . . . . . . . . . . . . . . . . . . . . . 604 Using Audio EQ Templates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606 Applying an EQ Template . . . . . . . . . . . . . . . . . . . . . . . . . . . 607 Creating Your Own Templates . . . . . . . . . . . . . . . . . . . . . . . 608 About Adding an EQ Template to the Fast Menu . . . . . . . 608 Adding an EQ Template to the Fast Menu (Windows). . . 609 Adding an EQ Template to the Fast Menu (Macintosh). . 609 Adjusting EQ While Playing an Audio Effect. . . . . . . . . . . . . . 610 Digidesign AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611 Installing AudioSuite Plug-Ins (Windows) . . . . . . . . . . . . . . . . 611 Installing AudioSuite Plug-Ins (Macintosh) . . . . . . . . . . . . . . . 612 Starting and Quitting DAE (Macintosh Only) . . . . . . . . . . . . . 613 Setting Playback Buffer Size (Macintosh Only) . . . . . . . . . . . . 614 Using Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . 614 Applying an AudioSuite Plug-In to a Clip in the Timeline . . 615 Using a Plug-In Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617 AudioSuite Plug-In Fast Menu . . . . . . . . . . . . . . . . . . . . . . . 618 Rendering Plug-In Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618 Creating New Master Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619 AudioSuite Controls for Creating New Master Clips . . . 619 Mono, Stereo, and Multichannel Processing . . . . . . . . . . . 622 Creating New Master Clips Using Plug-Ins . . . . . . . . . . . . 623 Using AudioSuite Effect Templates . . . . . . . . . . . . . . . . . . . 624 Plug-In Limitations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627
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Troubleshooting AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . 627 Addressing Memory Allocation (Macintosh Only) . . . . . 627 Canceling a Render Operation . . . . . . . . . . . . . . . . . . . . . . . 628 Addressing Errors When Rendering a Plug-in Effect. . . . 629 Recording Voice-Over Narration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629 Using the Audio Punch-In Tool . . . . . . . . . . . . . . . . . . . . . . . . . . 632 Connecting the Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . 632 Creating the Voice-Over . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632 Voice-Over Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635 Fine-Tuning Audio Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635 Fading and Dipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636 Fading Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636 Dipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638 Mixing Down Audio Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639

Chapter 17

Syncing Methods
Autosyncing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641 Managing Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643 Editing to Avoid Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644 Fixing Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644 Fixing Sync in Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 645 Fixing Sync in Segment Mode. . . . . . . . . . . . . . . . . . . . . . . . 645 Managing Sync with Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . . . 646 Using Sync Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646 Syncing with Tail Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 647 Syncing with Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 648 Using Add Edit When Trimming . . . . . . . . . . . . . . . . . . . . . . . . . 650

Chapter 18

Output Options
Preparing for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652 Establishing Sync for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653 Calibrating for Video Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . 654 Using the Factory Preset Buttons . . . . . . . . . . . . . . . . . . . . . 654
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Basic Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . 655 Using Test Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655 Adjusting Phase Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . 656 Calibrating the System with Passthrough Signals . . . . . . 657 Preparing for Audio Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 659 Setting the Calibration Tone . . . . . . . . . . . . . . . . . . . . . . . . . 659 Calibrating Global Output Levels . . . . . . . . . . . . . . . . . . . . 660 Adjusting Output on Two-Channel Audio Systems. . . . . 660 Adjusting Output on Eight-Channel Audio Systems. . . . 662 Preparing Record Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 665 Frame-Accurate Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . 665 Manual Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 665 Recording Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . 666 Enabling Assemble-Edit Recording . . . . . . . . . . . . . . . . . . . . . . 667 Using the Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 668 Previewing a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 670 Creating a Custom Countdown Display . . . . . . . . . . . . . . . . . . 671 Recording a Digital Cut to Tape . . . . . . . . . . . . . . . . . . . . . . . . . . 673 Using EDL Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675 Using the Matchback Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675 Setting Up Matchback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 676 Choosing Film Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 676 VTR Play Emulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677 Opening the VTR Play Emulation Dialog Box . . . . . . . . . . . . . 678 Enabling VTR Play Emulation . . . . . . . . . . . . . . . . . . . . . . . . . . . 679

Chapter 19

Exporting and Exchanging Material

About Exporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 682 Preparing to Export a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683 Mixing Down Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684 Exporting Frames, Clips, or Sequences . . . . . . . . . . . . . . . . . . . . . . . 686 Using the Drag-and-Drop Method for Export . . . . . . . . . . . . . . 689 Using Media Cleaner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 691
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Using AvidLinks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 692 Creating Files for a DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 695 Using OMM to Export Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697 Exporting a Clip with OMM and Drag-and-Drop . . . . . . . . . . 697 Customizing Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698 Creating a New Export Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . 698 About OMF Interchange . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700 Choosing an OMFI Transfer Method . . . . . . . . . . . . . . . . . . . . . 701 Exporting OMFI Compositions Only . . . . . . . . . . . . . . . . . 701 Exporting OMFI Compositions with Media Files . . . . . . . 702 Exporting as an AAF File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 704 Exporting AAF Compositions Only . . . . . . . . . . . . . . . . . . . . . . 705 Exporting AAF Compositions with Media Files. . . . . . . . . . . . 705 QuickTime Reference Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706 Exporting as a QuickTime Reference Movie . . . . . . . . . . . . . . . 707 QuickTime Reference Export Options . . . . . . . . . . . . . . . . . . . . 709 Exporting as a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . 712 Selecting QuickTime Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . 717 Exporting as an AVI File (Windows Only) . . . . . . . . . . . . . . . . . . . . 723 AVI Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 726 AVI Video Compression Dialog Box Options . . . . . . . . . . . . . . 729 About Avid Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 730 Using the Avid Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 730 Exporting with an Avid Meridien Codec . . . . . . . . . . . . . . 731 Exporting with the Avid ABVB NuVista Codec for QuickTime 734 Using the Avid Codec for AVI (Windows Only) . . . . . . . . . . . . 737 Installing an Avid Codec on Other Systems . . . . . . . . . . . . . . . 740 Copying a Codec to a Windows NT Workstation . . . . . . . 740 Copying a Codec to a Macintosh System . . . . . . . . . . . . . . 741 Exporting from a Third-Party Application. . . . . . . . . . . . . . . . . 741 Exporting Tracks as Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 742 Exporting as a Graphic File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 743
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Exporting as an MPEG-2 File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 752 Exchanging Files with QuickTime Macintosh Applications . . . . . 756 Transferring a Project Between Avid Systems . . . . . . . . . . . . . . . . . 756 Methods for Transferring Files Between Avid Systems . . . . . 757 Compatibility Requirements for Transfer . . . . . . . . . . . . . . . . . 758 Transferring a Project and Associated Media Files . . . . . . . . . 758 Transferring Projects, User Profiles, and Site Settings . . . . . . 760 Transferring Media to and from a Video Server . . . . . . . . . . . . . . . 761 Setting Up a Video Server . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 761 Configuring the Video Server . . . . . . . . . . . . . . . . . . . . . . . . 762 Configuring the Video Server as a Deck . . . . . . . . . . . . . . . 762 Transferring from the Avid System to the Video Server . . . . . 763 Transferring from the Video Server to the Avid System . . . . . 765

Appendix A

Using AudioSuite Plug-Ins

Accessing the AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . 767 Core AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 767 Additional Supported Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 768 Broadband Noise Reduction (BNR) . . . . . . . . . . . . . . . . . . . . . . 769 Focusrite D3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 769 Maxim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 770 Digidesign D-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 770 Digidesign D-FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 770 Description of Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . 771 Invert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 771 Duplicate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 771 Normalize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 771 Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 772 Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 773 Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 773 DC Offset Removal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 774 Time Compression Expansion . . . . . . . . . . . . . . . . . . . . . . . . . . . 774 Master Clip Mode Parallel Processing. . . . . . . . . . . . . . . . . 775
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Time Compression Expansion Parameters . . . . . . . . . . . . . 776 Pitch Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 778 Pitch Shift Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 780 EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 782 EQ II Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 782 Compressor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 784 Using Compression Effectively. . . . . . . . . . . . . . . . . . . . . . . 784 Compressor Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 785 Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 787 Limiter Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 788 Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 790 Gate Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 790 Expander/Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 791 Expander/Gate Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . 793 Mod Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 795 Mod Delay Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 796

Appendix B

File Format Specifications

Graphic (Image) Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 798 Preparing Graphic Files for Import . . . . . . . . . . . . . . . . . . . . . . . 801 Graphic File Import Specifications . . . . . . . . . . . . . . . . . . . . . . 802 Animation Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 808 Audio File Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 812 OMFI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 812 Field Ordering in Graphic Imports and Exports . . . . . . . . . . . . . . . 814

Appendix C

Avid Log Specifications

Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 819 Understanding Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . 820 Describing an Avid Log File. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 821 Global Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 822 Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 823 Data Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 826
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Sample Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 829

Appendix D

Connecting an External Fader to Your Avid Xpress System

Supported Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 831 Using the FaderMaster Pro and MCS-3000X. . . . . . . . . . . . . . . . . . . 833 Testing the External Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 833 MCS-3000X Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 834 Using the Snap Mode Feature on the MCS-3000X Fader . . . . 835 Ganging Faders on the FaderMaster Pro Fader. . . . . . . . . . . . . 836 Using the Yamaha 01v Digital Mixing Console . . . . . . . . . . . . . . . . 837 Setting Up the Yamaha 01v Digital Mixer . . . . . . . . . . . . . . . . . 838 Initializing the Yamaha 01v . . . . . . . . . . . . . . . . . . . . . . . . . . 839 Configuring the Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 839 Starting Avid Xpress with the Yamaha 01v Attached. . . . . . . . 840 Operational Notes for the Yamaha 01v Mixer . . . . . . . . . . . . . . 841 Soloing Avid Xpress System Channels. . . . . . . . . . . . . . . . . . . . 842

Appendix E

Using the JL Cooper Media Control Station3

Overview of the MCS3 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 845 Opening the MCS3 Controller Settings Dialog Box . . . . . . . . . . . . 846 Mapping the MCS3 Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 848 Using the Default Button Mappings . . . . . . . . . . . . . . . . . . . . . . 848 Default Navigation Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . 849 Default Function Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . 849 Custom Mapping MCS3 Buttons . . . . . . . . . . . . . . . . . . . . . . . . . 850 Configuring a Shifted Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . 852 Customizing Jog and Shuttle Speeds . . . . . . . . . . . . . . . . . . . . . . . . . 852 Customizing the Maximum Jog Speed . . . . . . . . . . . . . . . . . . . . 853 Customizing the Maximum Shuttle Speed . . . . . . . . . . . . . . . . 853 Operating the Jog/Shuttle Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 854 Moving Through Footage in Jog Mode. . . . . . . . . . . . . . . . . . . . 855 Moving Through Footage in Shuttle Mode . . . . . . . . . . . . . . . . 855 Editing Footage with the MCS3 Controller . . . . . . . . . . . . . . . . . . . . 856
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Creating Multiple Controller Settings . . . . . . . . . . . . . . . . . . . . . . . . 857 Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 858

Index

29

Tables
Table 3-1 Table 3-2 Table 3-3 Table 3-4 Table 3-5 Table 3-6 Table 4-1 Table 5-1 Table 5-2 Table 6-1 Table 6-2 Table 6-3 Table 6-4 Table 6-5 Table 6-6 Table 6-7 Table 6-8 Table 7-1 Table 8-1 Table 9-1 Table 9-2 Table 9-3 Table 9-4 Table 10-1 Table 10-2 Bin Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Bin Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 General Settings Options . . . . . . . . . . . . . . . . . . . . . . . . 85 User Interface Settings Options . . . . . . . . . . . . . . . . . . . 87 Settings Menu Options . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Settings Scroll List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Navigation Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Line Endings Options . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Options for Modifying Bin Information . . . . . . . . . . 160 Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . 173 Deck Preferences Options . . . . . . . . . . . . . . . . . . . . . . 175 Digitize Settings Options (General Tab) . . . . . . . . . . 194 Digitize Settings Options (Batch Tab) . . . . . . . . . . . . 196 Digitize Settings Options (Edit Tab) . . . . . . . . . . . . . . 198 Luminance Settings for Video Input . . . . . . . . . . . . . 218 Compression Resolution Specifications . . . . . . . . . . . 226 Estimated Storage Requirements . . . . . . . . . . . . . . . . 232 Autodigitize Options . . . . . . . . . . . . . . . . . . . . . . . . . . 245 Import Settings Options . . . . . . . . . . . . . . . . . . . . . . . . 272 Object Icon Descriptions . . . . . . . . . . . . . . . . . . . . . . . 301 Shortcuts for Moving in Text View . . . . . . . . . . . . . . 332 Direct Modification Headings . . . . . . . . . . . . . . . . . . . 333 Modify Command Options . . . . . . . . . . . . . . . . . . . . . 335 Consolidate Options . . . . . . . . . . . . . . . . . . . . . . . . . . . 362 Relinking Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
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Table 10-3 Table 10-4 Table 11-1 Table 12-1 Table 14-1 Table 14-2 Table 14-3 Table 16-1 Table 18-1 Table 18-2 Table 19-1 Table 19-2 Table 19-3 Table 19-4 Table 19-5 Table 19-6 Table 19-7 Table 19-8 Table 19-9 Table 19-10 Table 19-11 Table 19-12 Table 19-13

Relinking Location Options . . . . . . . . . . . . . . . . . . . . . 368 Archive to Videotape Options . . . . . . . . . . . . . . . . . . . 378 Script Settings Options . . . . . . . . . . . . . . . . . . . . . . . . 390 Timecode Display Options . . . . . . . . . . . . . . . . . . . . . 433 Timeline Settings Options (Display Tab) . . . . . . . . . . 494 Timeline Settings Options (Edit Tab) . . . . . . . . . . . . . 494 Timeline Fast Menu Options . . . . . . . . . . . . . . . . . . . . 496 Number of Tracks and Scrub Speeds . . . . . . . . . . . . . 556 Film Settings Dialog Box Options . . . . . . . . . . . . . . . . 677 VTR Emulation Settings Options . . . . . . . . . . . . . . . . 678 Applications for AvidLinks Export . . . . . . . . . . . . . . 693 Export Settings Dialog Box Options . . . . . . . . . . . . . . 699 Export Settings Dialog Box (OMFI Options) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703 Export Settings Dialog Box (AAF Options) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706 Export Settings Dialog Box (QuickTime Reference Options) . . . . . . . . . . . . . . . 710 QuickTime Movie Export Options . . . . . . . . . . . . . . . 715 QuickTime Movie Format Options . . . . . . . . . . . . . . . 718 AVI Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . 726 AVI Video Compression Dialog Box Options . . . . . 729 Export Settings Dialog Box (Audio Options) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 743 Export Settings Dialog Box (Graphic Options) . . . . . . . . . . . . . . . . . . . . . . . . . . . 746 Graphic Format Options Settings . . . . . . . . . . . . . . . . 747 Devices for Transferring Files . . . . . . . . . . . . . . . . . . . 757
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Table 19-14 Table B-1 Table B-2 Table B-3 Table B-4 Table B-5 Table B-6 Table C-1 Table C-2 Table C-3 Table C-4 Table D-1 Table E-1 Table E-2 Table E-3

Default Folder and File Locations . . . . . . . . . . . . . . . . 760 Graphic File Import Specifications . . . . . . . . . . . . . . . 803 Animation File Import Specifications . . . . . . . . . . . . 809 QuickTime File Import and Export Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 810 AVI File Import and Export Specifications (Windows Only) . . . . . . . . . . . . . . . . 811 OMFI File Import Specifications . . . . . . . . . . . . . . . . . 813 Recommended Field Settings for Two-Field Import and Export . . . . . . . . . . . . . . . . . . . . . . . . . . . 816 Compatible Log Formats. . . . . . . . . . . . . . . . . . . . . . . . 820 Avid Log Global Headings . . . . . . . . . . . . . . . . . . . . . 822 Avid Log Column Headings . . . . . . . . . . . . . . . . . . . . 824 Avid Log Data Headings . . . . . . . . . . . . . . . . . . . . . . . 827 Fader Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 832 Default Button Mappings . . . . . . . . . . . . . . . . . . . . . . 850 Maximum Jog Speed Options . . . . . . . . . . . . . . . . . . . 853 Maximum Shuttle Speed Options . . . . . . . . . . . . . . . . 854

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CHAPTER 1
Desktop Basics
Although most of your work is performed within the Avid Xpress application, you will need to use a few basic desktop procedures. The following sections describe basic procedures involving the Windows NT or Macintosh operating system and the Avid folders: Working with the Desktop (Windows Only) About the Avid Xpress Folder Managing the Avid Projects and Avid Users Folders Starting the Avid Xpress Application (Windows) Starting the Avid Xpress Application (Macintosh) Accepting Your Avid Xpress License Electronically

(Windows only) This chapter refers to the default installation directory path for the various Avid folders. If you choose a different directory path during the installation, you must substitute that path when using this chapter.

33

Working with the Desktop (Windows Only)

For information on the Windows NT operating system, such as the desktop and icons, see your Microsoft Windows NT Help.

This section describes the following desktop features that you will use when working with the Avid Xpress application.

Creating an Emergency Repair Disk (Windows Only)

You or your system administrator needs to create a Windows NT 4.0 emergency repair disk (ERD) to rebuild your system configuration if it becomes damaged. You need to update the ERD any time you make a system change, like installing new software. To create an emergency repair disk: 1. Click the Start button and click Run. 2. In the text box, type: rdisk /s 3. Click OK. 4. Follow the instructions to create the disk. 5. Store the disk in a safe, dry, static-free location. If you have a problem, search for Emergency Repair Disk in the Windows NT Help.

Using Context Menus (Windows Only)

Instead of using the standard menus to find the command you need in a window, try using the context menus.

34

To use a context menu: t Right-click on a window to access a context menu that shows the most frequently used commands for that window. For a list of the available shortcuts, see the Avid Xpress Quick Reference for the Windows Operating System.

Using the Windows NT Taskbar (Windows Only)

By default, the Windows NT taskbar always appears on the bottom of your screen, on top of your application. You have two other choices: Keeping the taskbar hidden behind the application Setting the taskbar to appear only when you drag the mouse pointer to it

If you keep the taskbar hidden while running Avid Xpress and you minimize an application such as Help, you will not see the minimized icon. To see the taskbar and minimized icons, minimize Avid Xpress. To change the taskbar settings: 1. Right-click an unused part of the taskbar. 2. Choose Properties from the pop-up menu. The Taskbar Properties dialog box appears. 3. Click the Taskbar Options tab. 4. Select the options you want: t t To keep the taskbar hidden, deselect Always on top and Auto hide. To set the taskbar to appear when you want, select Always on top and Auto hide.

5. Click OK.

35

The taskbar can to be dragged to the top, bottom, or either side of the monitor. For more information, see your Windows NT Help.

Dragging Windows (Windows Only)

By default, Windows NT systems show the contents of windows when you drag them. Deselect this option to improve screen display and to avoid problems repainting the screen. To deselect the option Show window contents while dragging: 1. Click the Start button, point to Settings, and then click Control Panel. 2. Double-click Display. The Display Properties dialog box appears. 3. Click the Plus! tab. 4. Deselect Show window contents while dragging." 5. Click OK.

For a shortcut to the Display Properties dialog box, right-click an empty part of the desktop, and choose Properties from the pop-up menu.

Setting the Avid Color Scheme (Windows Only)

By default, Avid Xpress is set to the gray and purple Avid color scheme. To change the color scheme: 1. Click the Start button, point to Settings, and then click Control Panel. 2. Double-click Display.
36

The Display Properties dialog box appears. 3. Click the Appearance tab. 4. Choose a different color scheme from the Scheme menu. 5. Click OK.

For a shortcut to the Display Properties dialog box, right-click an empty part of the desktop, and choose Properties from the pop-up menu.

Setting Your Screen Resolution (Windows)

Avid Xpress works best with the following screen resolutions:

One Monitor 1024 x 768 pixels 1152 x 864 pixels 1280 x 1024 pixels

Two Monitors 2048 x 768 pixels 2304 x 864 pixels 2560 x 1024 pixels

A larger resolution displays more pixels and lets you view more objects in the monitors. The objects will appear smaller. To view or change the screen resolution: 1. Click the Start button, point to Settings, and then click Control Panel. 2. Double-click Display. The Display Properties dialog box appears. 3. Click the Settings tab. 4. Under Desktop Area, drag the slider to the resolution you want.
37

5. Click OK. Also in the Settings tab, make sure the Color palette is set to True Color.

For a shortcut to the Display Properties dialog box, right-click an empty part of the desktop, and choose Properties from the pop-up menu.

About Your Screen Resolution (Macintosh Only)

The screen resolution for the Avid Xpress application is different for NTSC and for PAL: NTSC resolution is 720 x 486 non-square pixels covering all the active video. This also includes 10 lines of blanking or vertical internal timecode (VITC) per frame (5 lines per field). PAL resolution is 720 x 576 non-square pixels covering all the active video. This also includes 16 lines of blanking or VITC per frame (8 lines per field).

About the Avid Xpress Folder

The Avid Xpress folder contains essential operational files and supporting files. You can find the Avid Xpress folder in the following location: (Windows) drive:\Program Files\Avid\ (Macintosh) Avid drive

You should not touch any of these files, except where noted in the following descriptions: Help folder: This folder contains the Help files. You can find information about Help in by clicking the Using Help button in the Help browser.
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Avid Xpress application: The application icon resides here. You can start the application by following the procedures described in Starting the Avid Xpress Application (Windows) on page 41 or Starting the Avid Xpress Application (Macintosh) on page 42. Settings folder: In addition to Project and User settings, the system maintains settings files in this folder that apply to all users and all projects on the system. You can copy or move the Site Settings file to other systems on the desktop, using the same procedure described in Moving Settings Between Systems on page 98. Supporting Files folder: A series of files located in the SupportingFiles folder that add functionality to the application. The system accesses most of these files from within the application. You can add third-party effects to the 3rd Party Plug-Ins folder and AVX_Plug-Ins folder from programs such as Avid Visual Extensions (AVX) for use in effects editing, as described in the Avid Xpress Effects Guide.

Managing the Avid Projects and Avid Users Folders

Managing projects, user profiles, and settings involves moving, copying, or deleting files and folders, and changing project or user names. You use the desktop to move projects and user profiles between systems. For information about moving a project from one system to another, see the Avid Products Collaboration Guide.

About the Avid Projects and Avid Users Folders

When you create a new project or user profile, the system creates the following files and folders: When you create a new user, the system creates three items: a user profile file, a User Settings file, and a user folder containing both. Each item is given the user name you provide. The new folder is
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stored in the Avid Users folder on the internal hard drive (Windows) or on the Avid drive (Macintosh). When you create a new project, the system creates three items: a project file, a Project Settings file, and a project folder containing both. Each item is given the project name you provide. This new folder is stored in the Avid Projects folder on the internal hard drive (Windows) or on the Avid drive (Macintosh).

Avid Projects and Avid Users folders allow you to move entire projects or selected Project and User settings between systems by copying and moving files on your desktop.

Changing Project and User Names

You cannot change project or user names from within the Avid Xpress application. You must change the name from your desktop before starting the application. To change a project or user name: 1. Double-click the internal hard drive (Windows) or the Avid drive (Macintosh) to open it. 2. Double-click the Avid Users or the Avid Projects folder to open it. 3. Click the name of the folder you want to change. The name is highlighted for text entry, and the arrow changes to an I-beam. 4. Type the new name of the folder.

When you change a user name or project name, make sure you change the name of the folder and all the files in the folder that have the old name. The system does not automatically change the names of corresponding files in the folder. 5. Close the windows and restart the Avid Xpress application.

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Deleting Projects and User Profiles

You cannot delete projects and user profiles from within the Avid Xpress application. You must make the change from your desktop before starting the application. The Avid Users and Avid Projects folders are located in: (Windows) drive:\Program Files\Avid\Avid Xpress (Macintosh) Avid drive:Avid Xpress

To delete a project or user profile: 1. Double-click the internal hard drive (Windows) or the Avid drive (Macintosh) to open it. 2. Double-click the Avid Users or the Avid Projects folder to open it. 3. Drag the project or user folder you want to delete to the Recycle Bin (Windows) or the Trash (Macintosh). Empty the Recycle Bin (Windows) or the Trash (Macintosh) to remove the files from the system.

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Deleting a project also deletes any bins that are in that project. 4. Close the windows and restart the Avid Xpress application. Digitized media related to a deleted project is not eliminated with the project folder. For more information on deleting media files, see Deleting Clips, Sequences, or Media on page 312 and Deleting Media Files with the Media Tool on page 356.

Starting the Avid Xpress Application (Windows)

The Avid Xpress application is located in the following location: drive:\Program Files\Avid\Avid Xpress

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For most users, the desktop is a more convenient location for starting the application. For information on creating a shortcut on the desktop, see your Microsoft Windows NT documentation. To start Avid Xpress: 1. Click the Start button. 2. Point to Programs. 3. Point to the Avid folder. 4. Select Avid Xpress. After a few moments, the Open Project dialog box appears.

Starting the Avid Xpress Application (Macintosh)

The Avid Xpress application is located in the Avid Xpress folder on the Avid drive. For most users, the P, Apple menu, is a more convenient location for starting the application. The application does not start properly if the icon is moved out of the Avid Xpress folder. To start the application from a convenient location: t Create an alias and place it in a convenient location.

For information on creating an alias, see the Macintosh documentation. To start Avid Xpress: t Double-click the application icon or alias, or choose it from the Apple menu. After a few moments, the Open Project dialog box appears.

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When you start the application, you might see a message box indicating there is no input or output signal. Check to ensure the Meridien I/O box is connected to the system with cables secures, and that it is turned on.

Accepting Your Avid Xpress License Electronically

The Avid Xpress license agreement appears the first few times you start the system. To accept your Avid Xpress license electronically: 1. Read the License Agreement, and then click Accept or Decline at the bottom of the screen. After the agreement appears a few times, a new button is displayed at the bottom of the screen. 2. If you do not want to see the license agreement again, click Accept and Dont Show Again. A dialog box appears. 3. Type the name of your organization in the dialog box, and click OK. The Open Project dialog box appears, and you can begin working with Avid Xpress.

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CHAPTER 2
Starting a Project
Your work in Avid Xpress begins when you turn on the system, start the application, and open an existing project or create a new project. This chapter describes these and other procedures for starting a project. You can use several techniques to safeguard and restore your work if necessary. These topics are covered in the following sections: Opening a Project Backing Up Your Project Information Ending an Edit Session Mounting and Ejecting Drives Using Context Menus (Windows) Using Context Menus (Macintosh) Using Help Connecting to the Avid Production Network

For information on the Microsoft Windows NT operating system and terminology, see the Microsoft Windows NT Help. For information on the Macintosh operating system, see your Macintosh documentation. For information on turning on your system, see the Avid Xpress Getting Started Guide.

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(Windows only) This chapter refers to the default installation directory path for the various Avid folders. If you chose a different directory path during the installation, you must substitute that path when using this chapter.

Opening a Project
Each time you start the Avid Xpress application, the Open Project dialog box appears.

Users scroll list

Projects scroll list

To establish your identity as a user with the system and to select or create a project to open, use the following procedures: Identifying a User Selecting a Project Opening a Project in Avid Xpress Closing a Project

You can also create additional folders within which to store projects, or you can quit the application from the Open Project dialog box.
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Identifying a User
To identify a user for the project, do one of the following: t t Create and identify a new user. Select a user from a list of existing users. This user name represents the user profile, which includes the settings associated with the user.

Creating a New User

To create a new user profile: 1. Click New User in the Open Project dialog box. 2. Type the name of the new user, and press Enter (Windows) or Return (Macintosh).

If you plan to move bins and projects from one platform to another, do not use the characters / \ : * ? < > |when naming projects, bins, and users. 3. Click OK. The Open Project dialog box reappears with your user name highlighted in the list of users. You are ready to select a project. See Selecting a Project on page 47.

Selecting an Existing User

To select from the list of existing users: t Click the user name to highlight it in the Users scroll list on the left side of the Open Project dialog box. Folders containing collections of users appear in the list with asterisks preceding them (Windows) or dots preceding them (Macintosh).

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To select a user in a folder: 1. Double-click the folder to open it and display the user names. 2. Click a user name to select it.

Selecting a Project
To select a project, do one of the following: t t Open an existing project. Create and open a new project.

You can also place projects in folders and nest the folders within other folders.

Selecting an Existing Project

Existing projects appear in the Projects scroll list in the Open Project dialog box.
Projects pop-up menu

Projects scroll list

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To select an existing project, do one of the following in the Open Project dialog box: t t Click an existing project name to highlight it. Press the first letter of the project name on the keyboard to highlight it.

To open a project nested in a folder: 1. Double-click the folder name to open it and display the contents in the Projects scroll list. 2. Click the project name to highlight it. To locate a project in another folder: 1. Click the Projects pop-up menu, and choose a drive from the Volumes submenu (Windows) or a drive submenu (Macintosh). 2. Double-click a folder name to open it. Continue opening folders until the Projects scroll list displays the project folder you want. 3. Click the project name to highlight it.

Creating a New Project

To create a new project: 1. Click New Project in the Open Project dialog box. The New Project dialog box appears.

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2. Type the name of your new project in the highlighted text box. 3. Choose either NTSC or PAL from the Video Format pop-up menu. 4. Click OK. The system creates the new project files and folder, and returns you to the Open Project dialog box. The project name is highlighted in the Projects scroll list.

Nesting Projects in Folders

You can create folders in the Open Project dialog box for storing related products. Before you can nest a folder, you must first create a folder. To create a folder: 1. Click New Folder in the Open Project dialog box. The New Folder dialog box appears. 2. Type a name for the folder, and press Enter (Windows) or Return (Macintosh) or click OK. The folder name appears in the Projects scroll list with an asterisk (Windows) or a dot (Macintosh) preceding it. 3. Double-click the folder name to open the folder. Any new projects you create now are displayed and stored in this folder. Any existing projects you move into this folder from your desktop are displayed in this folder.

Opening a Project in Avid Xpress

To open a project, do one of the following: t t Click OK. Double-click the highlighted project name in the Projects scroll list.

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Double-click the highlighted user name in the Users scroll list. The Composer monitor and the bin open with the selected User settings loaded.

The title bar of the Project window contains the project name and user name you selected in the Open Project dialog box.
Windows Project name User name Close button

Project window

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Macintosh Close box

Project name

User name

Closing a Project
When you close the current project, you return to the Open Project dialog box. To close the current project, do one of the following: t t With the Project window active, choose Close from the File menu. Click the Close button (Windows) or the close box (Macintosh) in the Project window.

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Backing Up Your Project Information

For information on using the Auto-save feature, see Saving Bins Automatically on page 74.

Although Avid Xpress automatically saves your bins, projects, and settings, you should back up these items frequently to avoid losing any of your work in case your hard drive fails. Because the storage requirements are minimal, you can back up these files easily to a variety of storage devices, including: Floppy disk Network storage device (such as a file server) Mass-storage device

Saving Your Project Information on a Drive or Floppy Disk

To save your work on a drive or floppy disk: 1. Mount the drive or insert a floppy disk as appropriate. 2. (Windows only) From the Windows NT desktop, double-click My Computer. 3. Double-click the icon for the targeted storage drive or floppy disk to open it. Double-click any additional folders to target the appropriate storage location. 4. Double-click the internal hard drive (Windows) or the Avid drive (Macintosh) to open it. 5. Drag a project folder, user folder, or settings file to the targeted storage location. 6. When the system finishes copying the files, unmount the drive or eject the floppy disk and store it where appropriate.

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Restoring from a Backup

To restore a project, user profile, or settings from a backup storage device: 1. Mount the drive or insert a floppy disk as appropriate. 2. From the desktop, double-click the drive or floppy disk and the internal hard drive (Windows) or the Avid drive (Macintosh). 3. Drag the copies from the storage device to the appropriate folder on the internal hard drive (Windows) or the Avid drive (Macintosh):

Folder Avid Projects Avid Users Avid Xpress

Contents Project folders and settings files User folders and settings files Site settings files

4. Start the Avid Xpress application.

Ending an Edit Session

To end an edit session: 1. Quit the application. 2. Turn off your equipment in the order described in this section.

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Quitting the Avid Xpress Application

There are three ways to quit Avid Xpress. To quit the Avid Xpress application and leave the application immediately: t Choose Exit (Windows) or Quit (Macintosh) from the File menu. The project closes, and Avid Xpress returns to the desktop. To quit the Avid Xpress application if you are between projects: 1. Click the Quit button in the Open Project dialog box.

Quit button

A message box appears.

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2. Click Leave to quit the Avid Xpress application. Click Cancel to return to the Open Project dialog box and select another project.

If you want to turn off your system, see Turning Off Your Equipment on page 55. To quit the Avid Xpress application from an open project: 1. Click the Close button at the far right of the Project Window title bar (Windows) or the close box (Macintosh) at the far left of the Project Window title bar. The Open Project dialog box appears. 2. Click the Quit button. 3. Click the Leave button.

Turning Off Your Equipment

Quit Avid Xpress before turning off your equipment. See Quitting the Avid Xpress Application on page 54. To turn off your equipment without damaging your computer or media storage drives: 1. Choose Shut Down from the Start menu (Windows) or choose Shut Down from the Special menu (Macintosh) to turn off your system. 2. Turn off the Meridien I/O box. 3. Turn off your speakers and monitors. 4. Turn off each drive. Move your drives only when the system is completely off. 5. Turn off all other hardware.

Never remove drives from your Avid Xpress system when it is turned on.
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Mounting and Ejecting Drives

The Eject command makes selected media drives inaccessible to Avid Xpress. If the drive you eject supports the auto-eject feature (for example, Jaz drives), the command ejects the disk from the drive. By default, all media drives that are connected to your system are listed and can be seen by Avid Xpress. You can remove one or more drives from the list at any time by choosing Eject from the File menu. For example, if you want to use only some of your drives for a particular project, choose Eject to prevent other drives from appearing in Avid Xpress. The Eject command does not remove drives from the Windows NT system.

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Shut down the Windows NT system completely before you physically remove or add drives. For information on removing and adding drives, see the Avid MediaDrive Utilities Users Guide. On systems with multiple media drives, ejecting unused drives can improve the performance of the Media tool. You need to eject the drives before you can open the Media tool. See Using the Media Tool on page 353.

Ejecting Drives (Windows)

To eject a disk or make a drive unavailable to Avid Xpress: 1. With the Avid Xpress application active, choose Eject from the File menu. The Select a Drive dialog box appears. The scroll list displays all drives currently available. 2. Select a drive to eject. Ctrl+click to select additional drives. 3. Click the Eject button. The drives are no longer available to Avid Xpress.

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Ejecting Drives (Macintosh)

You can eject one or several drive volumes mounted on the desktop at any time from within the Avid Xpress application. You can also remount all the drives and return them to the desktop. This is useful in several circumstances: If you work with optical drives for backup and retrieval of low-resolution material, you can eject drives and mount them as needed to avoid cluttering the desktop during normal use. If you work with an extensive array of fixed-storage drives, which might involve many partitions divided among several projects, you can selectively mount and eject drives according to use.

To eject one or several drive icons from the desktop: 1. With the Avid Xpress application active, choose Eject from the File menu. 2. Select a drive to eject. Shift+click additional drives. 3. Click Eject.

Mounting All Drives

Because the system cannot interface with ejected drives individually, you cannot mount selected drives. However, you can mount all drives connected to the system, including those previously ejected. To mount all drives: t Choose Mount All from the File menu. All drives turned on and connected to the system become available to Avid Xpress.

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Using Context Menus (Windows)

The Windows environment allows you to access frequently used commands by using the right mouse button (right-clicking) to click an object. Your Avid system takes advantage of this feature. When working with your Avid application, right-click in a window to access a pop-up menu that shows the most frequently used commands for that window. You can also right-click a screen object to access Whats This? Help for the object.

Using Context Menus (Macintosh)

Your Avid system allows you to access frequently used commands by pressing the Ctrl+Shift keys and clicking an object. For example, Ctrl+Shift+click in a window to access a pop-up menu that shows the most frequently used commands for that window. You can also Ctrl+Shift+click a screen object to access Whats This? Help for the object.

Using Help
You can get help and background information for tasks, windows, dialog boxes, and screen objects through your Avid Help system. Your Help system is HTML-based and operates in the Web browser Microsoft Internet Explorer. Avid recommends using version 5 or higher. To open Help from within Avid Xpress: t Choose Avid Xpress Help from the Help menu.

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Help opens in Microsoft Internet Explorer. To find out how to use Help: t Click the Using Help button in the Help system.

Connecting to the Avid Production Network

The Avid Production Network (AvidProNet) is a Web site community designed specifically for professionals in the media creation business. The purpose of the AvidProNet Web site is to provide you with Web-based tools and services to allow you to take full advantage of the Internet in your business. To access the AvidProNet Web site from your Avid system: t Choose www.AvidProNet.com from the Help menu.

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CHAPTER 3
Working with the Project Window
The Project window provides controls in three different display modes for structuring and viewing important information about your current project. These include a display of bins and folders associated with the project, a list of all settings, and basic information about the format of the project and use of system memory. These topics are described in the following sections: Opening and Closing the Project Window Using the Bins Display Using the Settings Scroll List Using the Info Display Customizing Your Workspace

(Windows only) This chapter refers to the default installation directory path for the various Avid folders. If you chose a different directory path during the installation, you must substitute that path when using this chapter.

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Opening and Closing the Project Window

The Project window provides three different displays (Bins, Settings and Info) for structuring and viewing information about your current project.

Settings button

Bins button

Info button

Use the Project window to: Create and open bins. View and modify settings. View information about the format of the project and the use of system memory.

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You can also add folders to your projects that allow you to organize the projects. Bins from other projects appear in the Project window in italics. You can see bins and folders in a flat view, which lists only the folder contents and not the folder. Flat view is an option in the Project windows Fast menu. You can also drag bins into folders or folders into folders. The Project window opens automatically when you select a project in the Open Project dialog box. To close the Project window, do one of the following: t t With the Project window active, choose Close from the File menu. Click the Close button (Windows) or the close box (Macintosh) in the Project window.

To reopen the Project window: t Choose Project from the Tools menu.

Using the Bins Display

Bins contain the master clips that are created when you digitize source material. (The master clips are linked to the media files.) Bins also contain the sequences, subclips, group clips, and effect clips that you create during a project. From the Project window, you can view a list of bins associated with the project, and open, close, and create bins. You can also open bins created for another project.

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Viewing a List of Bins

To view a list of bins associated with the project: t Click the Bins button in the Project window.

Bins button

The views for working with clips in a bin are Text view, Frame view, and Script view.

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In Text view, clips are displayed in a database text format using columns and rows, with icons representing the various objects. You can save various arrangements of columns, text, and objects as customized views.

Text View button

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In Frame view, each clip is represented by a single picture frame, with the name of the clip. You can play back the footage in each frame and change the size of frames. You can also rearrange the frames in any order within the bin.

Frame View button

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In Script view, the features of Text view are combined with those of Frame view, with an added script box next to each frame. The frames are displayed vertically on the left side of your screen with the script box next to each. Use the script boxes to hold text for notes or a script. Clip data matching the column headings in Text view appears above each script box.

Script View button

Displaying Bins
By default, your bins display all existing media objects except source clips and rendered effects. You can display only those media objects that you need to organize your project. To set the bin display: 1. Choose Set Bin Display from the Bin menu.

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The Set Bin Display dialog box appears.

2. Select the object types that you want to see: master clips, subclips, sequences, sources, effects, motion effects, or rendered effects. 3. The option Show clips created by user is selected by default. Deselect this option only if you want to hide all objects except those created by the system. 4. Select the option Show reference clips to automatically display those objects that are referenced by sequences in the bin, whether those clips were previously in the bin or not. 5. Click OK. The bin displays objects according to your specifications.

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Creating a Folder in a Project

To create a folder in a project: 1. Click the Bins button in the Project window.

Bins button

Fast Menu button

2. Click the Fast Menu button in the lower left corner. 3. Choose New Folder from the Bin Fast menu. A new, untitled folder appears. 4. Click the untitled folder and rename it.

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Creating a New Bin

To create a new bin from the Project window: 1. Do one of the following: t t Choose New Bin from the File menu. Click the New Bin button in the Project window.

Either one of these procedures opens a new (empty) bin that is given the name of the project as displayed in the title bar of the Project window. The new bin appears in the Bins list of the Project window. A corresponding file is placed in the project folder, and a backup copy is placed in the Attic folder. The new bin appears in the Project window with a default name highlighted. 2. Type the name of the new bin, and press Enter (Windows) or Return (Macintosh). To place a bin in a folder: t Drag the bin to the folder icon.

Renaming a Bin
Each new bin that you create takes the name of the project that appears in the Project window, numbered incrementally. To change the name of a bin: t Click the bin name in the Project window, and type a new name.

Opening and Closing a Bin

To open a bin directly: 1. Click the Bins button in the Project window.
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2. Double-click the icon next to the bin name. To open a bin from the File menu: 1. Choose Open Bin from the File menu. The Open dialog box (Windows) or the Open a Bin dialog box (Macintosh) appears. 2. Select a bin. Navigate to the correct folder, if necessary. 3. Click the Open button.

Never open a bin that is stored on a floppy disk; otherwise, the system will not be able to save your work. Always copy the bin to a project folder on the internal hard drive (Windows) or the Avid drive (Macintosh) before you open it.

Opening Selected Bins

To open several bins at once from the Project window: 1. Click the name of one of the bins in the Bins list. 2. Ctrl+click (Windows) or Shift+click (Macintosh) each additional bin you want to open. 3. Choose Open Selected Bins from the File menu.

Closing a Bin
To close a bin, do one of the following: t t Click the Close button (Windows) or the close box (Macintosh). Choose Close Bin from the File menu.

Deleting a Bin or Folder

To delete a bin or folder within a project: 1. Select the bin or the folder you want to delete in the Bins list.
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2. Press the Delete key. A Trash icon appears in the Bins list in the Project window. It contains the deleted item. The deleted item is stored in the Trash until you empty it.

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The Trash is not visible in the Project window until you select your first item to delete. Clips, subclips, and effects that are in a bin appear in the Trash after you delete the bin. However, if you select a clip, subclip, or effect directly and press the Delete key, the item does not appear in the Trash.

Viewing Contents in the Trash

If you need to view the contents in the Trash or decide you do not want to delete those items in the Trash, you must first move the bins and folders out of the Trash.

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Trash icon Fast Menu button

To view items in the Trash: 1. Double-click the Trash icon in the Bins list to open it. 2. Click the bins or folders you want to remove (or view) from the Trash, and drag them from the Trash to the Bins list in the Project window. 3. Double-click the bin or folder to view it.

Emptying the Trash

To empty the Trash: 1. Click the Fast Menu button. 2. Choose Empty Trash from the Fast menu.
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A message box appears.

3. Click Empty Trash to delete the bins or folders from the Trash and from your internal hard drive.

Managing Folders and Bins

You can use the Project window to create hierarchies of folders and bins that reflect the specific workflow of the current project. This structure should provide both simplicity and backup security. Although the specifics vary depending on your production needs and habits, the following are a few basic principles: Limit the number of sequences you create in each project. For instance, consider creating one new project for each show, episode, spot, or scene. Limit the number and complexity of clips in each bin by creating and organizing bins in three groups, as shown in Table 3-1.

Table 3-1
Set of Bins First Second Third Purpose Digitizing stage Organizing your project Editing stage

Bin Organization
Specific Bins

A current cut bin for storing each work in progress (sequence)

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Table 3-1
Set of Bins Purpose

Bin Organization (Continued)

Specific Bins An archive bin for keeping the original version of each cut (sequence) A selects or storyboard bin for screening selected clips or cuts gathered from the source bins A format cuts bin for storing the final cuts with added format elements such as segment breaks, color bars and tone, slate, or countdown

(Option) Create additional folders at the desktop level for better organization. For example, you can create one folder for each digitizing bin and show cut bin, or a folder containing all shot logs to be imported. Save these files as a template for future productions of a similar nature.

Saving Bins Automatically

Avid Xpress automatically saves changes to your work on a regular basis during each session. Two things happen when an auto-save occurs: Any open bins are updated with changes made since the last auto-save. Copies of these bins are placed in the following location as backup: (Windows) drive:\Avid\Avid Xpress\Attic folder (Macintosh) Avid drive:Avid:Avid Xpress:Attic folder

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To adjust the frequency of automatic saves: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Bin. The Bin Settings dialog box appears.

3. Type a number in the minutes text box for the auto-save interval option. 4. Click OK.

Saving Bins Manually

For added security, you can save a bin manually. You might want to do this immediately after performing an important edit. There are three ways to save bins manually. To save a specific bin: 1. Click the bin to activate it. 2. Choose Save Bin from the File menu.

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To save selected bins: 1. Activate the Project window by choosing Project from the Tools menu or by clicking anywhere in the window. 2. Click a Bin icon to select it. Ctrl+click (Windows) or Shift+click (Macintosh) any additional bins. 3. Choose Save All from the File menu. The system saves all the selected bins.

The Save Bin command appears dimmed if there have been no changes since the last time the active bin was saved. To save all the bins: 1. Click in the Project window to activate it but do not select any individual bins listed in the Bins list. 2. Choose Save All from the File menu. The system saves all the bins for the project.

About Retrieving Bin Files from the Attic Folder

You retrieve files from the Attic folder in the following circumstances: When you want to replace current changes to a sequence or clip with a previous version When the current bin file becomes corrupted

The Attic folder contains a folder for each project. When a bin is saved, a copy of the bin file is stored in the project folder in the Attic folder. The system adds the file name extension .bak plus a version number to the bin name. The bin file with the highest version number represents the latest copy of the bin file.

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When you view a project folder in Details view, you can also identify the most recent backup file based on the name and timestamp of creation displayed in the Date Modified column.

Retrieving Bin Files from the Attic Folder (Windows)

To retrieve a file from the Attic folder: 1. Minimize the Avid Xpress application. 2. From the desktop, double-click the Attic folder in the following location: drive:\Avid\Avid Xpress\ The Attic folder opens and displays project folders that contain the backup files. 3. Double-click the project folder that contains the files you want to retrieve. 4. Choose Details from the View menu, if the project folder is not already in the Details view. The project folder displays the file names and their creation dates. 5. Ctrl+click the files you want to retrieve. 6. Drag the selected backup bin files to the desktop. This makes a copy of the files, leaving the original files in the Attic folder. 7. Double-click the Avid Xpress button in the taskbar to activate it.

If the taskbar is hidden, see your Windows NT documentation. 8. Click the Project window to activate it, and click Bins to display the Bins list. 9. Choose Open Bin from the File menu. Select one of the backup bin files you copied to the desktop and click Open. When you open the backup bin, a link to the backup bin on the desktop is created in the Other Bins folder.
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The Avid Xpress system does not allow a bin and a copy of a bin to be opened at the same time. You must keep all other bins closed and open the backup bins one at a time. You might also need to change the creation date to avoid conflicts. For more information, see Modifying the Creation Date on page 79. 10. Create a new bin if you do not plan to overwrite existing files. 11. Open the new bin, and open the backup bin in the Other Bins folder. 12. Select the material you want to keep from the backup bin, and drag the files to the new bin. Repeat steps 9 through 12 for any other backup bins you copied to your desktop. 13. Select and delete the backup bins in the Other Bins folder. 14. Drag the backup bin files to the Recycle Bin on the desktop. Once you have moved the objects, modify their creation dates so they are considered newest by the system. The creation date is modified whenever you make a change to an object and then save the bin.

Retrieving Bin Files from the Attic Folder (Macintosh)

To retrieve a file from the Attic folder: 1. Quit the Avid Xpress application. See Quitting the Avid Xpress Application on page 54. 2. On your desktop, double-click the Avid drive. 3. Double-click the Attic folder. 4. Choose as List from the View menu if the Attic folder is not already in List view. 5. In the Attic folder, open the project you want to retrieve, and then lasso or Shift+click the bin files you want.

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6. Press and hold the Option key, and drag the backup files to the desktop. This makes a copy of the files, leaving the original files in the Attic folder. 7. Click the Avid Xpress application to activate it. 8. Click the Project window to reactivate it.

The Avid Xpress system does not allow a bin and copy of a bin to be opened at the same time, so you must keep all other bins closed and open the backup bins one at a time. 9. Choose Open Bin from the File menu or press k+O; select one of the backup bins on the desktop and click Open. When you open the backup bin, a link to that backup bin is created in the Other Bins folder. 10. Create a new bin from the Project window. 11. Select the material you want to keep from the backup bin, press and hold the Option key, and drag duplicates to the new bin. Repeat steps 8 through 10 for any other backup bins you copied to your desktop. 12. Select and delete the backup bins in the Other Bins folder. 13. Click on the desktop, and drag the backup copies of the bins to the Trash.

Modifying the Creation Date

After you have moved backup bins from the Attic folder, you must modify the creation date for these backup items so they are considered the newest items by the system. This prevents them from being overwritten by a newer item.

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To modify the creation date: 1. Click the F button at the lower left corner of the Bin window to put the bin in Frame view. 2. Choose Select All from the Edit menu. 3. Click the Step Forward button or press the Step Forward key to advance the pictures displayed by one frame; click the Step Backward button or press the Step Backward key to move back again. This modifies the timestamp on these clips to the present time and date. 4. Close the backup copies of the bins. 5. Quit the Avid Xpress application. 6. Drag the backup copies of the bins to the Recycle Bin (Windows) or the Trash (Macintosh).

Using the Settings Scroll List

From the Settings scroll list of the Project window, you can view, select, open, and alter various User, Project, and Site settings, as described in this section. To view the Settings scroll list: t Click the Settings button in the Project window.

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Settings button

About Settings
Three types of settings appear in the Settings scroll list, as indicated in the second column of information: User, Project, and Site settings. User settings are specific to a particular editor. User settings reflect individual preferences for adjusting the user interface in the system. Individual User settings are stored in each user folder, which is stored in the following location: (Windows) drive:\Program Files\Avid\Avid Xpress\Avid Users (Macintosh) Avid drive:Users:
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Project settings are directly related to individual projects. When you change a Project setting, it affects all editors working on the project. Specific Project settings are stored in each project folder, which is stored in the following location: (Windows) drive:\Program Files\Avid\Avid Xpress\Avid Projects (Macintosh) Avid drive:Users:

Site settings establish default parameters for all new users and projects on a particular system. They can apply to particular configurations of equipment installed at the site; for example, specification and node settings for an external switcher. They can also include other User or Project settings that you copy into the Site Settings window. Site settings are stored in a separate Settings folder, in the following location: (Windows) drive:\Program Files\Avid\Avid Xpress\Avid Users (Macintosh) Avid drive:Users:

Defining Settings
You can use the Settings scroll list to establish a hierarchy of settings that address the specific needs of each production phase. For example, you can establish: User settings that facilitate logging, digitizing, and organizing projects, and editing interface preferences Project settings that reflect the specific needs of the project Bin View settings that display useful columns of information for each bin

By establishing these settings once, and by selecting the appropriate setting or bin view in context, you can save time and effort that would be spent searching for information or adjusting bin headings on-the-fly. You can also save these settings along with your template
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for use on similar projects, as described in Managing Folders and Bins on page 73.

Reviewing Basic Settings

The following list describes basic system settings to review at the start of your project: Bin Settings General Settings Interface Settings

To view the settings: t Double-click each setting in the Settings scroll list of the Project window.

Bin Settings
Bin settings define general system functions related to bins.

Table 3-2 describes the options listed in the Bin Settings dialog box.

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Table 3-2
Option Auto-Save interval Description

Bin Settings Options

Specifies the length of time between attempts to auto-save project files. The default is 15 minutes. To avoid interrupting an edit, the Avid Xpress system waits until the system is inactive before auto-saving. Use the option Force auto-save at to specify an interval at which the system will interrupt an edit to make the auto-save.

Inactivity period

Specifies the length of time the Avid Xpress system waits when the system is inactive before automatically saving the project files. The default is 0 seconds. Specifies the maximum length of time between auto-saves. When the system reaches this time, it will auto-save the project files even if it must interrupt an edit to do so. The default is 30 minutes. Specifies the total number of files stored in the Attic folder. When a bin is saved, the Avid Xpress system copies the previous version of the bin to a special folder called the Attic. The default is 30 files. Keep more files 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 system, store bin settings as Site or Project settings. This ensures that another user does not override your settings and delete your backups.

Force Auto-Save at

Maximum files in attic

Max Versions of any one bin

Specifies the total number of single-bin copies stored in the Attic folder. This setting prevents filling the Attic with too many copies of one bin, at the risk of losing the others. The default is five copies. Determines if a clip loads in an existing Source pop-up monitor or a new one.

Double-click loads clip in Enable edit from bin (Splice, Overwrite)

Allows you to edit clips directly from a bin by selecting a clip and clicking the Splice-in or the Overwrite button.

General Settings
General settings define fundamental system defaults.
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Table 3-3 describes the General Settings options.

Table 3-3
Option Project Format

General Settings Options

Description This option displays the format currently selected for the project (NTSC or PAL). It cannot be changed. When you use the Drag and Drop Export or an export that creates an intermediate movie file, Avid Xpress must store the intermediate file, which can be as large as the final export. By default, the Temporary Files Directory is located in the same directory as the Avid Xpress product. To improve efficiency or to avoid DISK_FULL errors when exporting, you can type in a different directory for these temporary files. The ideal setting for this field is to type in a directory on the drive to which you will be exporting, or simply one with plenty of free space.

Temporary File Directory

Default Starting TC

This option specifies the timecode value you want the system to use as the default starting timecode for each new sequence.

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Table 3-3
Option Audio File Format

General Settings Options (Continued)

Description Choose the file format for the audio: (OMF) WAVE, compatible with Windows application (OMF) AIFF-C, compatible with many third-party applications, including Pro Tools (Windows only) Choose the AIFF-C format for all audio media when you need to transfer audio media files directly to a Pro Tools or AudioVision system for audio sweetening.

NTSC Has Setup

This option allows systems using NTSC-EIAJ to use the correct color mapping. NTSC-EIAJ users should not select this box. All other users should select the box. This option prevents digitizing media to drives that do not have sufficient speed to play the media. If you select this option, the drives affected by drive filtering are unavailable when you try to access them with the Digitize tool. If you are digitizing and cannot access the drives, ensure this option is deselected. Drive filtering 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.

Drive Filtering Based on Resolution

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Interface Settings
Interface settings determine the level of basic information displayed in the interface.

Table 3-4 describes the Interface Settings options.

Table 3-4
Option Show Labels in Tool Palette

User Interface Settings Options

Desciption When this option is selected, the system displays text labels with the icons in the Tool palette. To tear off the Tool palette, click anywhere on the palette, press and hold the mouse button, and drag the palette to the location you want. When this option is selected, the system displays labels for buttons and icons when you position the pointer over them.You can also turn ToolTips on and off from the Help menu. If you select Show ToolTips, you can delay the label display by entering a value in this text box. A delay enables you to move the pointer across the interface without displaying the labels on items between the starting point and the destination of the pointer. When this option is selected, the system displays graphics in the Client display monitor as well as in the Composer monitor.

Show ToolTips

Delay n seconds before showing

Show Graphics on Client Display

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Table 3-4
Option Windows Standard Alt Key Behavior

User Interface Settings Options (Continued)

Desciption This option switches between standard Windows Alt key behavior and Avid system Alt key behavior. When you select this option, pressing and holding the Alt key together with another key works as a keyboard shortcut for certain Windows actions (for example, opening menus). When you deselect this option, pressing and releasing the Alt key and then pressing another key works as the Windows keyboard shortcut, while pressing and holding the Alt key together with another key works as a keyboard shortcut for certain Avid functions. This is the default option. For more information on Windows shortcuts, see your Windows documentation. For more information on Avid shortcuts, see the quick reference card for your system, or choose Shortcuts from the Help menu.

Displaying Project Settings

You can display the Settings scroll list of the Project window in different groups, depending on what you need to view. Table 3-5 describes the different Settings menu options.

Table 3-5
Option All Settings

Settings Menu Options

Description Displays all settings available in the Avid Xpress system Displays Project, User, and Site settings only; no views are displayed Displays bin views

Base Settings

Bin Views

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Table 3-5
Option

Settings Menu Options (Continued)

Description Displays Timeline views Displays all the templates you created for the Title tool Displays Video Tool settings Displays all the Import settings Displays all the Export settings Displays all workspaces Displays only linked workspaces

Timeline Views Title Styles

Video Tool Settings Import Settings Export Settings Workspaces Workspace Linked

Changing the Settings Scroll List Display

To change the Settings scroll list display of the Project window: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Choose a settings display group from the Fast menu or from the Settings menu.

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Settings menu

Fast Menu button

The Settings menu displays the settings group selected and the Settings scroll list displays only the settings in that group.

About the Settings Scroll List

Table 3-6 briefly describes each item in the Settings scroll list. The table also lists where you can find additional information on a particular item and indicates whether the item has an associated dialog box (or window) that you can access from the Settings scroll list.

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Table 3-6

Settings Scroll List

Access to Dialog Box? Yes

Setting Name Audio

Description Sets the default audio pan; contains audio scrub options and audio setup parameters. Sets parameters for audio setup.

For More Information See Adjusting Audio Project Settings on page 202. See Preparing for Audio Input on page 199. See Bin Settings on page 83. See Configuring a Controller on page 126. See Configuring Decks on page 166. See Setting Deck Preferences on page 174. See Digitize Settings on page 166.

Audio Project

Yes

Bin

Sets the Auto-save preferences for bins. Sets the controller type and port.

Yes

Controller Settings

Yes

Deck Configuration Configures channels and decks into the system. Deck Preferences Sets preferences that affect all decks configured into the system. Defines how the Avid Xpress system digitizes and batch digitizes in specific situations. Sets parameters for file export.

Yes

Yes

Digitize

Yes

Export

See Table 19-2 on page 699.

Yes Yes

Film (for models Sets essential parameters for See Choosing Film with the Matchback accurately capturing, tracking, and Settings on page 676. option) editing source material for matchback projects. General Defines default values such as the default starting timecode and the audio file format for your project. Sets parameters for file import. See General Settings on page 84.

Yes

Import

See Table 8-1 on page 272.

Yes

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Table 3-6

Settings Scroll List (Continued)

Access to Dialog Box? Yes

Setting Name Interface

Description Defines the appearance and function of certain interface elements. Displays the default keys on the keyboard. Sets video resolution and selects drives for digitizing, creating titles, importing, and performing audio and video mixdown.

For More Information See Table 3-4 on page 87.

Keyboard

See About the Keyboard on page 445. See Setting Media Creation Resolutions and Selecting Drives on page 228.

Yes

Media Creation

Yes

OMM

Sets the default asset manager location See Using Open Media and preference for logging in to your Management (OMM) on asset manager when you open a page 281. project. Sets the Render Completion sound and controls how motion effects render. Sets the default display options for scripts imported using script integration. See the Avid Xpress Effects Guide.

Yes

Render

Yes

Script

See Chapter 11.

Yes

Timeline

Contains general Timeline preferences. See Accessing the Timeline Yes Settings on page 492. Contains the Timeline display options See Customizing Timeline No; select (color, sizing, and other items in the Views on page 491. saved Timeline fast menu). setting files from within the Timeline. If you save a title style while you are See the Avid Xpress Effects using the Title Tool, Title Style appears Guide. in the Settings scroll list. 92 Yes

Timeline View

Title Style

Table 3-6

Settings Scroll List (Continued)

Access to Dialog Box?

Setting Name Transfer Settings

Description

For More Information

Sets the preferences for using the Avid See the Avid TransferManager Yes TransferManager for sending files to Users Guide. another workgroup. Customizes the Trim mode environment. Sets parameters when using the Avid system to emulate a VTR. See Customizing Trim Mode on page 532. See VTR Play Emulation on page 677. Yes

Trim

VTR Emulation

Yes

Video Input

The Video Input tool enables you to See Calibrating for Video calibrate composite or component Input on page 215. video when digitizing. Appears in the Settings scroll list to facilitate copying settings. The Video Output tool enables you to See Calibrating for Video calibrate output for composite or Output on page 654. component video in a digital cut. Appears in the Settings scroll list to facilitate copying settings. Enables you to associate settings and windows with a workspace See Linking User Settings and Workspaces on page 105.

No; choose Video Input Tool from the Tools menu. No; choose Video Output Tool from the Tools menu. Yes

Video Output

Workspace

Working with Settings

You can view and modify most of your current settings by double-clicking them in the Settings scroll list of the Project window and by selecting new options. You can duplicate, rename, copy, and move settings among files or systems.

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Selecting Another User

Because User settings are not project or site specific, you can choose to display another set of User settings within the Project window. To select another user: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Click and hold the user name to display the User pop-up menu. 3. Select another name from the list.

Modifying Settings
You cannot modify the following two types of settings: Settings that require the presence of standalone peripherals Settings that can be modified only from within the tools in which they are used, such as Bin and Timeline views

To modify available settings: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click the name of a setting. The applicable Settings dialog box appears. 3. Type new values or select new options for the settings. 4. Click the OK, Save, Cancel, Apply, or Close button (Windows) or the close box (Macintosh).

Working with Multiple Settings

You can have multiple versions of settings in your Settings scroll list in the Project window that apply to several users at various stages of production.
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For example, you can have: Two Bin settings: one that automatically saves more often when you are editing intensively, and one that automatically saves less often when you are doing organizational work in the bins Multiple Digitize settings for digitizing various types of source material Multiple Deck Preferences settings for various types of digitizing or for output

Duplicating Settings
To create a new version of a setting: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Click the setting you want to copy. Ctrl+click (Windows) or Shift+click (Macintosh) any additional settings you want to copy. 3. Choose Duplicate from the Edit menu. A copy of each setting appears in the window. Duplicate settings with custom settings names followed by a period and a version number in the second column appear with each custom setting name. Name your settings to indicate their functions.

Naming Settings
You can give settings custom names to differentiate among copies or to indicate a specific use. To rename settings: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Click the Custom setting name column in the Settings scroll list (the column to the right of the settings name).
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Custom setting name column

3. Type a new name and press Enter (Windows) or Return (Macintosh).

Selecting Among Multiple Settings

With multiple settings, only one setting at a time is active. Settings that are currently active have a check mark to the left of the setting name. To change the active setting: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Click in the space to the left of the setting you want to select as the active setting. A check mark indicates that the setting is active.
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Deleting Settings
You can delete settings from the Settings scroll list in the Project window at any time. For example, you might choose to delete one or more versions of a particular setting, or you might want to delete all but a few settings to transfer to another Settings window.

You cannot undo a deletion. You can, however, transfer settings from other files. To delete a setting: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Click a setting to highlight it. Ctrl+click (Windows) or Shift+click (Macintosh) each additional setting you want to delete. 3. Press the Delete key, or choose Delete from the Edit menu. The selected settings are removed.

Copying Settings Between Settings Files

To copy settings between files: 1. With the Settings scroll list active, open the target settings file in one of three ways: t t t Create and open a new settings file by choosing New Setting File from the File menu. Open an existing settings file by choosing Open Settings File from the File menu. Locate and select the settings file you want in the Avid Projects or Avid Users folder, and click Open.

2. Click the setting you want to copy in the Settings scroll list of the Project window. Ctrl+click (Windows) or Shift+click (Macintosh) any additional settings that you want to copy. 3. Drag the highlighted settings to the open Settings window.
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4. Click the close box. A message box appears. 5. Click Save. The copied settings are also saved when you close or save the file or project.

Moving Settings Between Systems

You can move selected settings between existing settings files or into a new settings file: To use in other projects To transfer to other Avid Xpress systems To change one type of setting to another

You can also move selected settings into the Site Settings folder to establish standard system settings for all new projects and users.

Using Site Settings

When the system opens a new project, it first searches the Site Settings folder and loads any site settings and other settings placed there. The system then proceeds to load any Project and User settings not included in the Site Settings folder. Adding site settings to the site settings file is useful if you need to establish global settings for all new users and projects, such as deck configuration settings or a specific start timecode for all sequences. To load settings into the Site Settings folder: 1. Open a project with the settings you want to establish as Site settings. If a project does not already exist with the settings you want, create one and make adjustments to the default settings as needed. 2. Click the Settings button in the Project window.
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The Settings scroll list appears. 3. Choose Open Setting File from from the File menu. The Open dialog box appears. 4. Navigate to the Settings folder, and click Open. 5. Select the Site Settings file, and click Open. The Site Settings window opens. 6. Click a project or user setting in the Settings scroll list, or Ctrl+click (Windows) or Shift+click (Macintosh) multiple settings and drag them into the Site Settings window. Copies appear in the Site Settings window. 7. Close the Site Settings window. All new users and projects opened from the Open Project dialog box use these settings as the default settings.

Using the Info Display

The Info display in the Project window allows you to view basic project information, such as the video format, in a view called Profile (the default view). It also allows you to see information about system memory and hardware.

Displaying Project Info

To open the Info display: t Click the Info button in the Project window. Basic project information is displayed.

The items listed in this view are for information only and cannot be changed.

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To select the information you want displayed: 1. Click the Fast Menu button. 2. Choose a menu item from the pop-up menu.

Viewing Memory
To view system memory for an open project: 1. Click the Info button in the Project window. Basic project information is displayed. 2. Click the Fast Menu button and choose Memory from the pop-up menu. The Memory window opens.

About the Memory Window

The Memory window displays the following information: Objects: The total number of memory handles currently used by Avid Xpress. Objects include memory requirements of the
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application, such as windows, as well as clips, sequences, and other items associated with a project. Total Physical Mem (Windows) or Total Mem (Macintosh): The total number of bytes of RAM (random-access memory). Avail Physical Mem (Windows) or Free Mem (Macintosh): The amount of RAM available for allocation by Windows NT or the Macintosh system. (Windows only) Total Page File: The total number of bytes that can be stored in the paging file. The paging file is used as virtual memory by Windows NT. (Windows only) Avail Page File: The total number of bytes available in the paging files. (Windows only) Working Set (min and max): The set of memory pages currently available to the application in RAM.

(Windows only) You can view additional memory information through the Window NT tools Task Manager and Performance Monitor. You can view information about system activities, such as driver messages, through the Windows NT Event Viewer. For information on these tools, see the Windows NT Help.

You can improve performance on large projects by reducing the number of objects. Close unused bins, unmount unneeded media drives, consolidate finished elements, and eliminate old material from the project. Then quit and restart the Avid Xpress application. If performance is still slow, restart your system.

Accessing the Hardware Tool

The Hardware tool gives a visual representation of usage for each drive and provides operating system information.

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For additional information on the Hardware tool, see Using the Hardware Tool on page 122.

To view hardware for an open project: 1. Click the Info button in the Project window. Basic project information is displayed. 2. Click the Fast Menu button and choose Hardware from the pop-up menu. The Hardware tool opens.

Customizing Your Workspace

A workspace is the arrangement and size of tool windows displayed on your Avid Xpress system. If you are accustomed to working with a particular group of windows arranged and sized in a particular setup, you can assign them to a workspace setting that you can then recall with a workspace button. For example, during digitizing you might want to display the Digitize tool in specific locations. During effects editing, you might want to display the Effect Palette and Effect Editor in a particular location and size. For information on switching between workspaces, see Switching Between Workspaces on page 108. While in a workspace, you can move tool windows or open and close tool windows. The next time you select that workspace, the tool windows appear with either: The arrangement from the last time you left the workspace The arrangement you set for the workspace, regardless of any changes you made

You cannot assign certain tool windows to a workspace, such as the Hardware tool, Serial (COM) Ports tool, and Media tool. You can select your preference in the Workspace Settings dialog box. For more information, see Creating a New Workspace Setting on page 103.
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Creating a New Workspace Setting

To create a new workspace setting: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Scroll to the bottom of the Settings scroll list and click Workspace. Workspace is highlighted. 3. Choose Duplicate from the Edit menu. A new Workspace setting appears in the Settings scroll list.

If you are duplicating a previously named workspace setting, a .1 appears at the end of the new name. 4. Click to the left of the new workspace you want to set. A check mark appears next to the workspace. 5. Assign a custom name to the new workspace: a. In the column between Workspace and User, click until you see a text cursor and box. Make sure you click the Custom setting name column and not the Setting name.

Custom setting name column

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b. c.

Type a name for the new custom workspace, for example, digitizing. Press Enter (Windows) or Return (Macintosh).

6. Open the windows and tools with which you want to associate the workspace. Resize and move the windows to the location where you want them to appear on the monitors. 7. Double-click the custom workspace setting. The Workspace Settings dialog box appears.

8. Select or deselect the following options, depending on your preference for the behavior of the workspace: Activate Settings Linked By Name: This option allows you to link other settings to the workspace. See Linking User Settings and Workspaces on page 105. Continually Update This Workspace: This option automatically preserves the workspace in its most recent arrangement. Future changes to the arrangement of the tool windows are saved. Manually Update This Workspace: This option saves the workspace in its current arrangement when you click Save Workspace Now (which appears only after you select Manually Update This Workspace). Future changes to the arrangement of the tool windows are disregarded.

9. Click OK.
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Assigning a Workspace Button

To assign a workspace button: 1. Choose Command Palette from the Tools menu. 2. Click the More tab. 3. Select Button to Button Reassignment. 4. Click a workspace button (W1W8) and drag it to a location on another palette (for example, to the Tool palette.) The buttons are assigned to the workspaces in the Settings scroll list of the Project window in the order that they appear. For example, the W1 button is assigned to the first workspace that appears in the Settings scroll list, W2 is assigned to the second workspace that appears in the Settings scroll list, and so forth. Avid Xpress sorts the workspaces alphabetically. The workspace button assignments might change if you add workspaces. To keep a designated order, name the workspaces with a number preceding the first letter (for example, 2editing). 5. Click the W1 button to show the first workspace that appears in the Settings scroll list. When you open the windows associated with the first workspace, they open in the assigned locations.

Linking User Settings and Workspaces

User settings can be linked to a workspace. You can create a customized workspace and set up specific options in any Settings dialog box, and link them together by name. For example, you can create an Audio workspace that opens the Audio Mix tool and Audio tool. This workspace can also open a customized Timeline (with enlarged audio tracks and Automation Gain displays). Then, you can link this workspace to a Settings dialog
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box with customized options selected. You do this by creating a setting and giving it the same name in the Project window as the name of the workspace. To link User settings and a workspace: 1. Create a new workspace setting. See Creating a New Workspace Setting on page 103. 2. Give the workspace a custom name. 3. Click a setting from the Settings scroll list that you want to link to the new workspace. For example, click Digitize. Adjust the Digitize setting to what you want. 4. Give this Digitize setting the same name you gave the workspace previously.

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Linked settings

5. Double-click another setting, for example, Interface. Select the new options, for example, Show ToolTips, and click OK. 6. Give this setting the same name you gave the workspace previously. 7. Double-click the workspace you just created. The Workspace Settings dialog box appears. 8. Click Activate Settings Linked By Name. 9. Click OK. All the settings and the new workspace you created will be activated when you activate this workspace.

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Switching Between Workspaces

To switch from one workspace to another: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Click to the left of the workspace setting you want to use. A check mark appears next to the workspace.

Deleting a Workspace
To delete a workspace: 1. Select the workspace you want to delete from the Settings scroll list of the Project window. The workspace is highlighted.

Make sure a check mark does not appear next to the workspace you want to delete. You cannot delete the active workspace. 2. Press the Delete key. The selected workspace is removed from the Settings scroll list.

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CHAPTER 4
Using Basic Tools
The Tools menu on the Avid Xpress menu bar provides quick access to a collection of essential tools for use in your projects. This chapter provides information about several basic tools that you can use at any time during your project. Navigating in Dialog Boxes and Menus Using the Tools Menu Using the Command Palette Using the Avid Calculator Using the Console Window Using the Hardware Tool Using the Serial (COM) Ports Tool Configuring a Controller

Navigating in Dialog Boxes and Menus

You can use the keys shown in Table 4-1 to navigate in many dialog boxes and menus and to select and deselect options.

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Table 4-1
Key

Navigation Keys
Function Moves from tabbed page to tabbed page within a dialog box. Moves from check box to check box or radio button to radio button in a dialog box. Selects or deselects a check box or radio button in a dialog box. Moves up or down through a menu, or increments a numeric value.

Page Up, Page Down

Tab

Right Arrow, Left Arrow, space bar Up Arrow, Down Arrow

Using the Tools Menu

You can open any of the most frequently used system tools from the Tools menu. To open a tool: t Choose its name from the Tools menu.

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Using the Command Palette

The Command palette provides a central location for all user-selectable buttons that you can map to various locations for ease of use. User-selectable buttons allow you to perform a wide range of commands with a single click of the mouse. The Command palette organizes buttons by editing function. Tabs are displayed for each editing function and the buttons that perform those

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functions are displayed within each tab. The functions are: Move, Play, Edit, Trim, FX, 3D, Other, and More.

You can use the Command palette to: Map buttons to the Tool palette or the keyboard. See Mapping User-Selectable Buttons on page 114. Map menu commands to various buttons and keys. See Mapping Menu Commands on page 116. Directly activate a command. See Activating Commands from the Command Palette on page 117.

For information about each button on the Command palette, right-click a button (Windows) or Ctrl+Shift+click a button (Macintosh) and choose Whats This? from the context menu.

About Button Mapping

Mapping user-selectable buttons allows you to reconfigure Command palettes or the keyboard in various combinations to suit different editing needs. The following are a few examples: Subcataloging clips: You can map the Make Subclip button and other clip management buttons.

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Make Subclip

Find Bin

Add Locator

Complex layering and effects editing: You can map buttons such as Motion Effect, Remove Effect, and Fade Effect.

Motion Effect

Remove Effect

Fade Effect

For more information on multiple settings, see Working with Multiple Settings on page 94.

When you remap buttons or commands, the system immediately saves your new configuration in one of the default settings that you can open from the Project window. You can also save, rename, and recall multiple versions of any of these settings to serve various purposes. The Avid application saves button configurations as follows: Changes to the Keyboard palette are saved in the Keyboard settings. Changes to the Tool palette are saved in the Interface settings.

Both of these settings are saved in the User settings.

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Mapping User-Selectable Buttons

To map buttons or keys on the keyboard by using the Command palette: 1. Open a window that has a user-selectable button palette by doing one of the following: t t Activate the Composer monitor or Source pop-up monitor, select the Fast menu, and drag to tear off the Tool palette. Open the Keyboard palette from the Settings scroll list in the Project window.

2. Choose Command Palette from the Tools menu. The Command Palette window opens. 3. Select Button to Button Reassignment.

4. Click the tab from which you want to choose a user-selectable button. 5. Drag the button from the Command palette to a button location in the Tool palette or the Keyboard palette (whichever one you opened previously).

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Using the Blank Button

Blank button

The Blank button allows you to replace a defined button with an undefined button. If you do not need or use a specific button within a Tool palette, you can replace the button with a blank button. To access the Blank button: 1. Choose Command Palette from the Tools menu. 2. Click the Other tab. For information on mapping the Blank button to a new location, see Mapping User-Selectable Buttons on page 114.

Mapping the Modifier Key (Windows Only)

You can add modifier keys to functions already associated with keys and buttons. The Other tab of the Command palette contains the following modifier key button:

Add Alt Key

For example, on a Windows NT system, if you map the Add Alt Key button to the Mark IN key (I key), the function of the I key changes to Go to IN Point (which is equivalent to pressing the Alt and I keys). For a list of other functions that use modifier keys, see the quick reference card for your Avid system.

After you modify a key or button with the modifier key buttons, you can use the default function of the key or button by pressing the appropriate modifier key and command key, or by pressing the modifier key and clicking the button.

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Mapping Menu Commands

You can map menu commands displayed in the pull-down menus on the Avid application menu bar directly to buttons in the Tool palette or to the Keyboard palette. This is especially useful if you frequently use the keyboard or the Tool palette during editing. In some cases, you can avoid using the menus altogether.

Before you can map some commands, you must first establish the condition that enables the command. For example, before you can map the Render In/Out command from the Clip menu, you must first place IN and OUT points in the Timeline so that the menu command appears. To map menu commands: 1. Open a window that has user-selectable buttons by doing one of the following: t Tear off the Tool palette by clicking the Fast Menu button on a Source pop-up or Composer monitor and dragging the palette. Open the Keyboard palette from the Settings scroll list in the Project window.

2. Choose Command Palette from the Tools menu. The Command Palette window opens. 3. Select Menu to Button Reassignment.

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4. Click a target button in the Keyboard palette or Tool palette. The pointer changes to a small white menu. 5. Choose the menu command you want to map to the target button. For example, choose Effects Editor from the Tools menu. The initials for the menu command appear on the target button.

Effect Editor menu command mapped to a key

Activating Commands from the Command Palette

You can perform a command function directly from the Command palette. For example, in the Move tab, click the Go to Next Locator button to move the position indicator to the next locator.

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To activate a command from the Command palette: 1. Choose Command Palette from the Tools menu. The Command Palette window opens. 2. Select Active Palette. 3. Click the tab from which you want to choose a command function. 4. Click the button in the tab for the function you want to perform.

Using the Avid Calculator

The Avid Calculator helps you calculate video and film durations, and convert timecode and film key numbers to different formats. For example, you can: Convert drop-frame to non-drop-frame timecode values. Convert timecode durations between 30-frames-per-second (fps) and 25-fps projects. Convert a duration in video to the corresponding length in footage and frames for measuring 35mm film. Convert durations to total frame count.

To use the Avid Calculator: 1. Choose Calculator from the Tools menu. The Avid Calculator window opens.

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Format pop-up menu

2. Choose a format from the Format pop-up menu. 3. Make calculations in the one of the following ways: t t t Use the top row of numbers on the keyboard to enter numbers and functions in the Avid Calculator. Press the Caps Lock key, and then enter numbers and functions with the numeric keypad. Use the numbers on the Calculator.

You do not need to enter leading zeros, colons, or semicolons for timecode. To convert your totals at any time to another format: t Choose a different frame code or key number format from the Format pop-up menu.

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Using the Console Window

The Console window provides a number of features, including: Current system information, including your system ID number A log of error messages Detailed information about sequences in the Timeline or about objects in a bin Information after you digitize or import

Do not use the programming features of the Console without guidance from Avid professionals. Contact your Avid Reseller with specific questions. (In North America, you can contact Avid Customer Support.)

Displaying System Information

To display current system information: 1. Choose Console from the Tools menu. The Console window opens.

2. Scroll to the top of the Console window to view your system information and ID. This feature is especially useful for finding the system ID when you need to contact your Avid Reseller or Avid Customer Support.

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Reviewing a Log of Errors

To review errors logged to the Console window: 1. When an error occurs and a message box appears, close the message box and choose Console from the Tools menu. 2. Scroll through the Console window to find a log of the error to use when you contact your Avid Reseller or Avid Customer Support.

Getting Information with the Console Window

The Console window provides quick access to bin information such as total duration of selected clips or total items in a bin, including hidden items. You can also use the Console window to display information about a shot, segment, or sequence in the Timeline. To get information with the Console window: 1. Choose Console from the Tools menu. The Console window opens. 2. Select the item about which you want information: t t In the Timeline, place the position indicator in the chosen clip or segment. In the bin, select an object or Ctrl+click (Windows) or Shift+click (Macintosh) multiple objects.

3. Choose Get Bin Info or Get Position Info from the File menu. Information about the clip appears in the Console window.

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Using the Hardware Tool

The Hardware tool provides the following information about the systems hardware configuration: The Drives tab lists each online drive. The shaded portion of the bar next to each drive shows the total size of the drive and the amount of storage space currently filled. The System tab lists the operating system, its version and build, and the physical memory.

Checking the Hardware Configuration

To check the hardware configuration of your Avid Xpress system, do one of the following: t t t Choose Hardware from the Tools menu. Click the Info button in the Project window. Click the Fast Menu button and choose Hardware from the Fast menu. The Hardware tool opens.

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The Hardware tool contains the following information: Each online drive is listed on the left side of the Drives tab. The name of each drive and its total size are listed below each Drive icon. The shaded portion of the bar graph to the right of each drive shows the amount of storage space currently filled. The number in the bar graph indicates the amount of available drive storage space for each drive. (Windows) The name of the operating system, version number, service pack, and build number and version number appear on the System tab. The total physical memory is also listed in the same location.

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(Macintosh) The name of the operating system appears on the System tab. The total physical memory is also listed in the same location.

Starting the Diagnostic Utility

For information on the boards included in your system, use the Avid System Test Pro diagnostic utility. Avid System Test Pro comes with a users guide and online help.

Starting Avid System Test Pro (Windows)

To start Avid System Test Pro: 1. Click the Start button, and then point to Programs. 2. Point to Avid, point to Utilities, and then click Avid System Test Pro. 3. Click OK in the opening dialog box. 4. Choose Board Info from the Window menu. The Board Information window opens. 5. Choose Exit from the File menu to close the utility.

Starting Avid System Test Pro (Macintosh)

To start the Avid System Test Pro: 1. Open the Avid folder, then the Utilities folder, and then click Avid System Test Pro. 2. Click OK in the opening dialog box. 3. Choose Board Info from the Window menu. The Board Information window opens. 4. Choose Exit from the File menu to close the utility.

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Using the Serial (COM) Ports Tool

The Serial (COM) Ports tool allows you to view the current configuration of the serial interface at any time during editing. You can also use it to reconfigure the ports without closing the Avid Xpress application or shutting down the computer. The Serial (COM) Ports tool allows you to view and assign serial ports for these peripheral devices. VTR Emulation: Choose a port for an edit controller that uses the Sony serial control protocol. For more information, see VTR Play Emulation on page 677. Controller: View the port for the Avid controller or the JL Cooper MCS3. Choose the controller type and port in the Controller Settings dialog box. You can change the port in the Serial (COM) Ports tool, but whenever the application starts it uses the port selected in the Controller Settings dialog box. Deck Control: View the port for one or more decks. Configure the deck and port in the Deck Configuration dialog box. You can change the port in the Serial Ports tool, but whenever the application starts it uses the port selected in the Deck Configuration dialog box.

Although you can use the Serial (COM) Ports tool to reassign ports, you still need to reconnect the appropriate cables to the newly assigned ports. To open the Serial (COM) Ports tool: 1. Choose Serial (COM) Ports from the Tools menu. The Serial (COM) Ports tool opens.

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2. Assign ports for VTR emulation and a controller by choosing a port or no port from either of the pop-up menus.

The options available in the Serial (COM) Ports tool vary depending on what peripheral equipment you have connected to your system. 3. Close the Serial (COM) Ports tool.

Configuring a Controller
Adding a controller to your Avid system provides an alternative to using the keyboard and mouse for editing footage. Avid supports two types of controllers: JL Cooper Media Control Station3 (MCS3) Avid Controller

For information on installing the controller hardware, see the setup guide for your Avid system. To configure a controller: 1. Double-click Controller Settings in the Settings scroll list of the Project window. The Controller Settings dialog box appears.

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2. Choose the appropriate port from the Port pop-up menu: (Windows) COM1 or COM2 (Macintosh) Port #1, #2, #3, or #4

3. Choose the appropriate controller from the Controller pop-up menu: Avid Controller JL Cooper MCS3 Controller

The following figure shows the Controller Settings dialog box for a JL Cooper MCS3 Controller connected to the COM1 port.

4. (Option) Click the Edit Settings button. If you have selected a port and controller, the appropriate Controller Settings dialog box opens.

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5. Customize the controller buttons: t t To map Command palette functions to JL Cooper MCS3 Controller buttons, see Appendix E. To map Command palette functions to the Avid Controller buttons, see the documentation for the Avid Controller.

6. Click OK. The Controller Settings dialog box appears. 7. Click OK.

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CHAPTER 5
Logging
When you log with a deck or import shot log files, you provide the Avid Xpress system with frame-accurate clip information used to digitize the source footage. The logs you create form the foundation for organizing, tracking, storing, retrieving, and generating lists of edit information throughout your project. Techniques for preparing log information prior to digitizing are covered in the following sections: Logging Tips Preparing Logs for Import Importing Shot Log Files Converting Log Files with Avid Log Exchange Logging Directly to a Bin Modifying Clip Information Before Digitizing Exporting Shot Log Files

Logging Tips
The following sections provide important guidelines for preroll, timecode formats, and naming of tapes when logging prior to digitizing.

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Logging Preroll
Be sure to leave adequate preroll with continuous timecode prior to IN points when logging your tapes. The recommended minimum preroll is 2 or 3 seconds for Betacam playback, and 5 seconds for 3/4-inch U-matic playback.

Use Deck Settings (click Add Deck in the Deck Configuration dialog box) to set the default preroll for tape playback.

Preroll setting

Logging Timecode
Within an NTSC project, check the timecode format of each tape (drop-frame versus non-drop-frame timecode) when you are logging without a tape in the deck.
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Drop-frame and non-drop-frame timecode exists only in NTSC projects. To log drop-frame timecode: t Use semicolons (;) between the hours, minutes, seconds, and frames.

To log non-drop-frame timecode: t Use colons (:) between the hours, minutes, seconds, and frames.

Naming Tapes
When you type tape names in the Digitize tool, consider the following: It is important that you devise a naming scheme for your tapes. For example, tapes with similar names can be easily sorted and viewed together in a bin. However, it might be difficult to distinguish among tapes with similar names when you try to locate a specific tape quickly. Name tapes based upon the amount and complexity of your source material. Tape names must be alphanumeric characters (AZ, 09), with no spaces before the name. They can include uppercase and lowercase letters. The maximum length of a name is 32 characters. It is possible to have a single tape listed as several different tapes if you alter the case of the letters. This can cause significant problems in keeping track of clips. Choose a case convention and maintain it throughout a project. If you are planning to generate an edit decision list (EDL) for import into an edit controller for online editing, double-check the controllers specifications beforehand. Some edit controllers will truncate source tape names to as few as six characters, while others will eliminate characters and truncate to three numbers.

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Double-Checking the Logs

When importing shot logs for video, the Avid Xpress system compares the video duration to the video out minus the video in. When importing film shot logs, the system compares the key number out minus the key number in. If the system detects a discrepancy, it reports the error and does not bring the clip into the bin. To ensure that clips are not discarded on import: t Double-check the logs for discrepancies in duration and marks.

Adding a Memory Mark

You can add a memory mark to a particular location on a tape. The Mark Memory button in the Digitize tool allows you to add one mark per tape. The Go to Memory button allows you to move through the tape to the marked location. You can clear the memory mark by using the Clear Memory button. The memory mark is not stored on the tape. When you remove the tape from the deck, the mark is cleared.

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Go to Memory button Clear Memory button Mark Memory button

Preparing Logs for Import

Avid Xpress provides many useful tools to help you prepare frame-accurate log information for import to the bin from any number of sources. This process might involve one or more of the following methods:
For Avid Log Exchange information, see Converting Log Files with Avid Log Exchange on page 140.

To log the material on any personal computer, use the Avid MediaLog application, and transfer the bins directly into Avid Xpress with minimum effort. Use a word processor or standard text editor to create and import logs, including those using the Avid Log Exchange (ALE) format.

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Transferring Bins from MediaLog

MediaLog is a standalone application that speeds the process of creating and importing log information from a Windows NT or Macintosh computer. MediaLog mirrors the Avid Xpress interface for creating projects, bins, and clip information in the bin and includes serial deck control for logging directly from tape.

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MediaLog is included with your Avid Xpress system. For information on specific MediaLog procedures, see the Avid MediaLog Users Guide. The bins you have imported contain master clips only with no associated media files. Before you can view or manipulate these clips, you must create the associated media files by batch digitizing the source material. For information about batch digitizing, see Digitizing to the Timeline on page 254. To transfer bins from MediaLog: 1. Save the MediaLog bins to a floppy disk.

(Windows only) If you are transferring bins from MediaLog for Macintosh, make sure the disk is DOS-formatted or that your Windows NT system can mount Macintosh disks by using a third-party utility. If your MediaLog folders are available through a server or other networked source mounted on your desktop, locate the MediaLog folder there instead. 2. Quit the Avid Xpress application. 3. Locate the project folder where you want to store the MediaLog bins: t (Windows) In the Windows NT Explorer, open the project folder where you want to store the MediaLog bins. This folder is located on the internal hard drive in the following location: Program Files\ Avid\Avid Xpress \Avid Projects folder.

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(Macintosh) Choose Finder from the Apple menu, and open the project folder where you want to store the MediaLog bins. This folder is located in the following location: on the Avid drive in the Avid Projects folder.

4. Insert the floppy disk from MediaLog into the Avid Xpress systems floppy drive. 5. Double-click the Floppy Drive icon. 6. Ctrl+click (Windows) or Shift+click (Macintosh) to select the bins in the Directory window, and drag them to the project folder. 7. Restart the application and open your project. 8. Associate the imported bins with your project by doing the following: a. b. c. Choose Open Bin from the File menu. Locate the new bin by using the Open Bin dialog box. Double-click the bin to open it within your project.

The new bin appears in the Bins list of the Project window.

Creating Avid Logs

You can prepare an Avid log on any type of Macintosh or IBM compatible computer by using a word processing application or a text editor. To ensure accuracy, you must follow the Avid log specifications. You can use any text editor to create Avid logs. However, you must save the file as a text document (ASCII format). (Windows only) Your Windows NT system ships with a text editor called WordPad. WordPad can handle large files and it allows you to save the files as text documents. (Windows only) To start WordPad: 1. Click the Start button, and then point to Programs.
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2. Point to the Accessories folder, and then click WordPad. To create Avid logs by using a word processor:
For Avid log specification information, see Appendix C.

1. Enter shot log information according to the specifications. 2. Save your file as a text file in the Save As dialog box.

The Avid Xpress system accepts only text files (ASCII format). When you are logging manually, document the following information: Identify the source tape for each shot. Document each clips name, start timecode, and end timecode.

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

Importing Shot Log Files

You can import any log created or converted to meet Avid log specifications. You can also combine or merge events while importing a log so that fewer master tapes require digitizing. The system imports any additional information logged with each clip. To save this display after importing the log: t Save the bin.

To import shot log files into a bin: 1. Open a bin, click anywhere in an open bin to select it, or create a new bin for the shot log import. 2. Choose Import from the File menu.
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The Select Files to Import dialog box appears.

Windows Up One Level pop-up menu

Files of type pop-up menu Options button

Macintosh Directory pop-up menu

Source file list

File Type pop-up menu

Options button

Import file list

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3. Do one of the following: t Choose Shot Log from the Files of Type pop-up menu. The system displays file types that belong to the chosen category only. t Choose All Files from the Files of Type pop-up menu. The system displays all files in a chosen folder, regardless of file type. Use this option if you want to batch import multiple file types.

When batch importing multiple files and file types, you should establish global Import settings in advance. See Creating and Using Import Settings on page 268. 4. Click the Options button to open the Import Settings dialog box if you want to select options for combining events on import from the Import settings.

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5. After selecting the appropriate options, click OK to close the Import Settings dialog box and return to the Select Files to Import dialog box appears. 6. Use the Up One Level pop-up menu to locate the folder containing the source file. 7. Select the file. 8. Click Open. When the system finishes importing the file, the clips appear in the selected bin.

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Converting Log Files with Avid Log Exchange

You can use the Avid Log Exchange (ALE) utility included with your system to quickly convert shot log files created by other sources. You can then import the files directly into bins, as described in Importing Shot Log Files on page 136. The ALE utility allows you to: Modify the text in a log file. Convert log files to the ALE file. Convert an ALE file to either an ATN or FLX file.

Any options you set in the ALE utility are saved each time you exit the ALE utility. When you are converting an ATN file that contains multiple sections to an ALE file, multiple ALE files are created. The Avid Log Exchange window displays only the first ALE file created. The succeeding ALE files are given the same file name with incremental numbering. For example, the file Nations1.atn is converted to Nations1.ale, Nations1_2.ale, Nations1_3.ale, and so on. The converted output files are stored in the folder containing the original input file.

Converting a Log File to an ALE File (Windows)

To convert a log file to an ALE file: 1. Click the Start button, and then point to Programs. 2. Point to Avid, point to Utilities, and then click Ale. The Avid Log Exchange window opens.

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3. Choose Open from the File menu. The Open dialog box appears. 4. Double-click the file you want to convert. 5. Depending on the type of file you are opening, one of the following occurs: If the file type is recognized by the ALE utility, the file appears in the Avid Log Exchange window.

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If the file does not contain the Windows line-ending format, then the Line Endings dialog box appears.

Table 5-1 explains your options.

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Table 5-1
Click

Line Endings Options

To Open the file in the Avid Log Exchange window and change the file to the Windows NT format. Open the file in the Avid Log Exchange window but not save the file. Display the file as is without changes.

Display & Save

Display Only

Ignore

The file appears in the Avid Log Exchange window.

For specific information on the various file types shown here, see Appendix C.

If the file type is not recognized, the Choose File Type dialog box appears. Select the type of file you are converting, and click OK.

The file appears in the Avid Log Exchange window. 6. Use the Options menu to select the tracks to include in the Tracks column of the log. The default track selections are Log V, Log A1, and Log A2. After you import the log into an Avid bin, the system digitizes all tracks shown in this column when batch digitizing.
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7. Choose Clean from the Options menu if you want Avid Log Exchange to clean the ALE output file to eliminate overlapping timecodes for clips. By default, Clean is selected. When you choose Clean, the utility removes the end timecode from any clip that overlaps the start of the next clip. 8. If you chose Clean, you can also choose Relaxed from the Options menu to prevent deleting events that come earlier in the transfer. Relaxed is not set by default. For example, if you transfer film footage with a timecode of 2:00:00:00 and then add some clips at the end with a timecode of 1:00:00:00, Relaxed prevents the Clean function from deleting the clips. This occurs when you shoot footage across the midnight hour and the first half of the film has 24 hours and the second half has 0 hours. 9. Choose ALE from the Convert menu. The default output selection is the Avid Log Exchange (ALE) format. This is the required format for import into an Avid bin. The Avid Log Exchange window displays the converted ALE file. The converted file has the same file name as the original file, except the file name extension matches the converted file format.
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10. (Option) Choose the original file from the Window menu if you want to convert the file again, using different options. 11. Choose Close from the File menu. If you made changes in the editor, a message box appears.

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

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Using Drag-and-Drop Conversion (Windows)

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

Before you use the drag-and-drop conversion, check the options in the ALE utility. The current options are used when you perform the drag-and-drop conversion. To convert a log file by using drag-and-drop conversion: 1. Create a shortcut for the ALE utility. 2. Open the folder that contains the files you want to convert, positioning the folder so the shortcut icon for the ALE utility is visible. 3. Select the files you want to convert.

4. Drag the selected files to the shortcut icon for the ALE utility, and release the mouse button. 5. Depending on the type of files you are converting, one of the following occurs: If the file type is recognized by the ALE utility, a message box appears, indicating the conversion was successful.

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If the file type is not recognized, the Choose File Type dialog box appears. Select the type of the file you are converting, and click OK.

A message box appears, indicating the conversion was successful. If the file type is an ALE file, the ALE Convert Type dialog box appears. Select a file type for the converted output file, and click OK.

A message box appears, indicating the conversion was successful. 6. Click OK to close the message box.
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The converted files have the same file names as the original files, except the file name extension matches the converted file format. For example, the .ale file name extension is added to the new file names for the Avid format. The converted files are stored in the folder containing the original log files.

Converting a Log File to an ALE File (Macintosh)

You can use the Avid Log Exchange (ALE) utility included with your system to quickly convert shot logs that are created during a film-to-tape transfer. You can then import the files directly into bins, as described in Importing Shot Log Files on page 136. To convert a file: 1. In the Finder, open the Utilities folder on the Avid drive and locate the Avid Log Exchange application inside the folder labeled ALE f. 2. Double-click the Avid Log Exchange icon to start the application. The Avid Log Exchange dialog box appears.

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Files you can convert

Files you can generate

Clean option

Track selection

Convert button

Quit button

For specific information on the various file types shown here, see Appendix B.

3. Make selections for Input and Output. The default output selection is the Avid Log Exchange (.ALE) format. This is the required format for import into an Avid bin. 4. Select the tracks to include in the Tracks column of the log. After you import the log into an Avid bin, the system digitizes all tracks shown in this column when batch digitizing. 5. Select the Clean option if you want Avid Log Exchange to clean the input file to eliminate overlapping timecodes for clips. When you select the Clean option, the utility removes the end timecode from any clip that overlaps the start of the next clip. 6. Click the Convert button to open the File Selection dialog box. 7. Open the drive and folder that contain the files you want to convert.

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Location of the files File to be converted

8. Double-click the input file name. Only one file is converted at a time. Avid Log Exchange stores the converted file in the same folder as the original input file.
Input file Converted file

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

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Using Drag-and-Drop Conversion (Macintosh)

To convert any type of file into an .ALE file: 1. Insert the floppy disk in the floppy drive, if the files you want to convert are stored on a floppy disk. 2. Open the folder that contains the Avid Log Exchange icon. 3. Open the folder that contains the files you want to convert, positioning the folder so the Avid Log Exchange icon is visible. 4. Select files for conversion.

5. Drag the selected files to the Avid Log Exchange icon and release. The system converts the files to Avid format, adding the .ALE file name extension to the new file names.

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Logging Directly to a Bin

You can log clips directly to a bin by using the Digitize tool in one of two ways described in this section:
For complete information on working with bin columns and clip information, see Using Text View on page 323.

Log directly to a bin with an Avid-controlled deck for semiautomated data entry. See Logging with an Avid-Controlled Camera or Deck on page 152. Log manually during or after viewing of footage offline with a non-Avid-controlled deck or other source. See Logging with a Non-Avid-Controlled Camera or Deck on page 155.

Logging with an Avid-Controlled Camera or Deck

When you log with a camera or compatible video deck controlled from within Avid Xpress, you can automate part of the logging process by using buttons to enter frame-accurate timecode information from the camera or deck. This method is more accurate than manual entry because timecodes are transferred directly from tape to the bin. To log clips to a bin by using the Digitize tool: 1. Make sure the camera or deck is properly connected, and turn on power to the video deck. 2. Open the bin in which you want to store the clips. 3. Choose Digitize from the Tools menu. The Digitize tool opens.

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Digitize/Log Mode button

Log button

Deck Selection pop-up menu

4. Select a deck or device in the Digitize tool, and then load your tape into the deck. The Select Tape dialog box appears.

5. Use the options in the dialog box as follows: t Click Cancel to stop the process at any time.
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Select the option Show other projects tapes to display the tape names and associated project names for all bins that have been opened in the current session. Click Scan for tapes to scan the system and display tape names and associated project names for all media files that are currently online (volumes that are currently mounted on the system).

6. Provide the system with a tape name in one of the following ways: t t Select the name of the tape from the list in the Select Tape dialog box and click OK. Click New if the tape is not in the list. A new tape name line appears in the dialog box. Type the new name and click OK.

The tape name is displayed in the Digitize tool. A message that the system is waiting for you to mark an IN point is displayed in the message bar. The Log button displays an IN point. 7. Mark either an IN point or an OUT point for the clip you want to log, using one of the following methods:
Mark IN button Mark OUT

Use the deck controls in the Digitize tool to cue your source tape to the start or end point, and click the Mark IN or the Mark OUT button. Click the Mark IN button in the Digitize tool to enter the mark. (The Log button replaces the Mark IN button in the Digitize tool after you enter a Mark IN point.) If the footage starts at a known IN point or ends at a known OUT point, type the timecode in the text box next to the Mark IN or Mark OUT button, click the Go To IN or the Go To OUT button to scan the tape forward to the mark, or press Enter (Windows) or Return (Macintosh) to enter it.

Log button

Go To IN Go To OUT

After you set the mark, the icon in the Log button changes to the corresponding OUT or IN mark, and a pencil appears on the button.
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8. To finish logging the clip, do one of the following: t t Mark the remaining IN or OUT point on-the-fly by using the Mark IN and Mark OUT buttons. Type a timecode for the clips IN, OUT, or duration in the timecode text boxes next to the corresponding icon and press Enter (Windows) or Return (Macintosh).

The system automatically calculates the appropriate timecode for the remaining IN point, OUT point, or duration, and enters the clip into the bin. The clip name, which is chosen and automatically numbered by the system, is highlighted and ready to be changed.

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You must enter at least two of the three timecode marks (IN point, OUT point, or duration) to complete the log entry. 9. Type a new name for the clip before clicking any of the buttons in the Digitize tool. You should change the clip name immediately because it is very easy to forget the contents of each clip among the dozens that you log. You can, if necessary, accept the clip name and proceed with the logging process, and then change the clip names in the bin later. 10. Repeat these steps until you have logged all your clips. While viewing the footage, you can continuously update your marks on-the-fly by clicking the Mark IN or the Mark OUT button repeatedly before entering the second mark.

Logging with a Non-Avid-Controlled Camera or Deck

You can use the Digitize tool to log clips directly to a bin from a source that is not Avid-controlled. For example, you can log clips from a camera deck that is not connected to the system or from handwritten or printed log information for a tape that was previously logged but is not currently available.
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When logging with the Digitize tool, you should leave the deck empty. If a tape remains in the deck, the system determines drop-frame or non-drop-frame from that tape, whether or not it matches your tapes timecode format. To log with a non-Avid-controlled camera or deck: 1. If there is a camera or deck connected to the system, eject the tape from the deck.

For NTSC projects, when you are logging within the Digitize tool, you should leave the deck empty. If a tape remains in the deck, the system will determine drop-frame or non-drop-frame from that tape, whether or not it matches your tapes timecode format. (Drop-frame and non-drop-frame timecode exists only in NTSC projects.) 2. Double-click Deck Preferences in the Settings scroll list of the Project window to open the Deck Preferences dialog box. 3. For NTSC projects, choose Non-Drop-Frame or Drop-Frame from the When no tape in deck log as pop-up menu. 4. Click OK to close the dialog box. 5. Open the bin where you want to store the clips. 6. Choose Digitize from the Tools menu. The Digitize tool opens.

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Digitize/Log Mode button

Log button Channel selection buttons Message bar

Timecode display Deck controls Deck Selection pop-up menu

Mark IN text box Clear IN button Clear OUT button Mark OUT text box Source Tape Display button Mark OUT button Mark IN button

7. Click the Digitize/Log Mode button in the Digitize tool until the LOG icon appears. 8. Click the Source Tape Display button. A dialog box appears. 9. Click Yes to open the Select Tape dialog box. 10. Double-click the name of the tape in the dialog box, or click New and enter the name of the tape. Click OK. 11. Select the tracks that you want to log, using the Channel Selection buttons. 12. Type the start and end timecodes in the Mark IN and Mark OUT text boxes. 13. Click the Log button. The clip is logged to the bin.

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Modifying Clip Information Before Digitizing

The following conditions apply to modifying clip information: When you modify a clips information, related objects are automatically updated to reflect the new data. For example, if you change the name of a clip, the updated name appears in the sequences that use the clip. Some data cannot be modified after digitizing because changes would prevent you from playing back and editing the material successfully. Sequence data cannot be changed even though it appears in your bin. The only way to modify sequence data is to edit the sequence itself. You can, however, change the name and start time for the master timecode track.

You can modify some data directly for master clips, subclips, and other objects stored in a bin.

About the Modify Command

The Modify command gives you specialized control over groups of clip information. For example, you can use the Modify command to change the name of source tapes for some or all of your clips, to change the timecode format from drop-frame to non-drop-frame, or to increment or decrement the start and end timecodes by a specified length of time for one or several clips at once. You can apply changes with the Modify command to master clips only; subclips and sequences cannot be altered in this way. In addition, you can perform only modifications that alter the end timecodes or the tracks before digitizing.

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Using the Modify Command

To modify selected clips: 1. Open the bin. 2. Click a clip icon to select it. Ctrl+click (Windows) or Shift+click (Macintosh) each additional clip you want to modify.

Selected clip is highlighted.

3. Choose Modify from the Bin menu. The Modify dialog box appears.

Click here to display pop-up menu.

4. Choose an option, such as Set Timecode By Field, from the pop-up menu.
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Depending on the modification you select, different options appear in the dialog box that allow you to establish the specific modification, as shown in Table 5-2. 5. After choosing the type of modification, select an option or type information in the text boxes (for example, timecode values) when they appear. 6. Click OK. The modification takes effect. Table 5-2 lists options available from the pop-up menu in the Modify dialog box.

Table 5-2
Type of Modification Set Timecode Drop/Nondrop Options

Options for Modifying Bin Information

Description Changes the timecode format between drop-frame and non-drop-frame. Setting must match the timecode format of the tape. Changes either the start or end timecode. Only start timecode can be altered after digitizing. Allows you to enter custom timecode.

Drop, Nondrop

Set Timecode By Field

Start or End

Hour, Minutes, Seconds, Frames Increment Timecode Start or End

Changes either the start or end timecode. Incrementing the start timecode automatically modifies the end timecode by the same amount. Only start timecode can be incremented after digitizing. Allows you to enter custom incremental timecode.

Timecode entry field

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Table 5-2
Type of Modification Decrement Timecode Options

Options for Modifying Bin Information (Continued)

Description Changes either the start or end timecode. Decrementing the start timecode automatically modifies the end timecode by the same amount. Only start timecode can be decremented after digitizing. Allows you to enter new decremental timecode. Allows you to enter a custom generic key number (film projects only). Sets the timecode location of the punch frame for pullin (film projects only). Selects the pulldown frame to match the timecode entry (film projects only). Changes the clips configuration of tracks (film projects only). Opens the Select Tape dialog box. Selects another source tape name for the clips. Should match the original source tape name.

Start or End

Timecode entry field

Set Key Number Generic (Prefix) Set Pullin

Key Number field

Punch frame timecode entry field A, B, C, or D

Set Tracks

V, A1, A2, A3, A4, A5, A6, A7, A8 track selector None

Set Source

Exporting Shot Log Files

You can export a shot log file from the Avid Xpress system in either Tab Delimited or Avid Log Exchange formats for making adjustments in a text editor or for importing to another system. To export a shot log based on clip information in a bin: 1. Open the bin containing the clips you want to export and switch to Text view.
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2. Click a clip icon to select it. Ctrl+click (Windows) or Shift+click (Macintosh) each additional clip you want to export. 3. Choose Export from the File menu. The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears. 4. Do one of the following: t If you have previously created an Export setting for exporting shot log files, choose the setting from the Export Setting pop-up menu. Then go to step 11. For information on creating Export settings, see Customizing Export Settings on page 698. t If you want to create a new Export setting, go to step 5.

5. Click the Options button. The Export Settings dialog box appears. 6. Choose either Avid Log Exchange or Tab Delimited from the Export As pop-up menu. 7. Click the Save As button. The Save Export Setting dialog box appears. 8. Type a name in the Setting Name text box. The export setting name is added to the list of formats available from the Export dialog box. 9. Click OK. 10. (Option) Change the file name in the Export As dialog box (Windows) or the destination dialog box (Macintosh), but keep the default file name extension. 11. Select the destination folder for the file, and click Save. The file is exported and appears at the chosen destination.

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CHAPTER 6
Preparing to Digitize
Digitizing is the process of creating digitial media from videotape or audio input. Before you begin the recording process in Chapter 7, you need to prepare for it as described in the following sections: Preparing the Hardware Selecting Settings Configuring Decks Setting Up the Digitize Tool Preparing for Audio Input Adjusting Audio Project Settings Using the Audio Tool Calibrating the Eight-Channel Audio I/O Device Calibrating for Video Input Compression Resolutions and Storage Requirements

Before digitizing, see the Avid Xpress Getting Started Guide to ensure you have properly connected your recording equipment such as a camera or deck.

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Preparing the Hardware

Before you begin digitizing, check the following: Remote switch. The deck control switch on the front of the source deck must be set to Remote rather than Local to control the deck with the Digitize tool.

The deck should be turned on and the control switch set to Remote before you start Avid Xpress. Striped drives. If your footage contains complex images that you digitize at high resolution, you must use striped drives. See Learning About Striped Drives on page 164. Digital Audiotape (DAT). If you want to digitize music or audio from a DAT deck, check the setup guide supplied with your system to determine whether your model requires VLXi for video deck control.

Learning About Striped Drives

Avid maintains a set of tables on the Web containing information about striping drives. To learn about striped drives: 1. Navigate to www.avid.com. 2. Click Customer Service. 3. Click Knowledge Center. 4. Log in.

If you are not already a registered user of the Knowledge Center, register now. Registered users can access more information. 5. Click the Documentation tab.
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6. Click the Drive Striping Tables link.

Selecting Settings
A number of settings have a direct effect on the digitizing process. Before you digitize, review the following options: General Settings Digitize Settings

General Settings
General settings include options for NTSC tape formats, the audio file format, and drive filtering. To access General settings: 1. Click the Settings button in the Project window. 2. Double-click General. The General Settings dialog box appears.

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Table 3-3 describes the General Settings options.

The Avid Xpress system will not prevent you from using non-Avid drives, but their reliability cannot be guaranteed.

Digitize Settings
Digitize settings include essential options for digitizing, batch digitizing, autodigitizing, and digitizing to multiple media files. Table 6-3, Table 6-4, and Table 6-5 describe the Digitize Settings options. For a complete description of the Digitize settings, see Using Digitize Settings on page 193.

Configuring Decks
Deck Configuration settings allow you to establish deck control parameters for a single deck or for multiple decks. As with all settings,
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you can create multiple versions, allowing you to select among them for frequent changes in hardware configurations. Deck Configuration settings and global deck control preferences appear as separate items in the Settings scroll list in the Project window.

Deck control settings

You must manually configure the appropriate hardware connections before Deck Configuration settings can take effect. For more information, see the setup documentation for your Avid Xpress system. To configure a deck or multiple decks: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Deck Configuration. The Deck Configuration dialog box appears.

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

4. Choose one of the following items from the Channel Type pop-up menu: Direct, if you are connecting a deck directly to the serial port. VLAN VLX connection, if you are connecting a deck by means of a V-LAN/VLXi connection.
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5. Choose the port to which you are connecting the deck from the Port pop-up menu.

If you are not sure which port to choose, check the 9-pin serial port connectors on the back of the system. If the ports are not labeled, see the hardware documentation supplied with your system. 6. Click OK to close the Channel dialog box. A dialog box appears with a question asking if you want to automatically configure the channel now. 7. Click Yes if you want to automatically configure the channel. A new channel appears in the display area of the Deck Configuration dialog box, along with the autoconfigured deck.

Channels appear on the left side.

Decks appear on the right side.

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You can reopen the Channel settings to change the options at any time by double-clicking the channel box. 8. If you did not autoconfigure the deck, click the channel box to select it. 9. Click Add Deck to open the Deck Settings dialog box.

With a deck already connected to the system, you can click the Autoconfigure button to bypass the Deck Settings dialog box and automatically configure a deck with the default settings.

. 10. Select settings based on your device. For information on the new deck settings, see Deck Settings Options on page 172. 11. Click OK to close the Deck Settings dialog box and return to the Deck Configuration dialog box.
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You can reopen the Deck Settings dialog box to change the options at any time by double-clicking the deck box in the Deck Configuration dialog box. 12. Repeat steps 2 to 11 for each additional channel or deck you want to configure. 13. (Option) Select the Verify configuration against actual decks option if you want the system to check the deck configuration against the devices physically connected to the system. The system checks the deck configuration after you click Apply in the Deck Configuration dialog box and when you start Avid Xpress. A message warns you if the configuration does not match the deck. 14. Type a name in the Configuration Name text box to name the deck configuration. The new deck configuration will appear in the Settings scroll list of the Project window. 15. Click Apply to complete the configurations and close the Deck Configuration dialog box. 16. If necessary, double-click Deck Preferences in the Settings scroll list of the Project window to adjust global deck control options.

Deleting Deck Configurations

To delete a deck configuration: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Deck Configuration. The Deck Configuration dialog box appears.

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Delete button

3. Click the names of the currently configured channel and deck in the display area. The entire display area should have a red border. 4. Click Delete. 5. Click Apply to complete the changes and close the dialog box.

Deck Settings Options

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

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Table 6-1 describes the Deck Settings options.

Table 6-1
Option Name Suboption

Deck Settings Options

Description Type your custom name for the tape deck. The default name matches the deck type. Enter notes about the deck. Choose your manufacturer and model from the menus. For VLXi use only (see your VLXi documentation). If you are using direct serial port deck control, this option is unavailable.

Description Deck Type Address

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Table 6-1
Option Preroll Suboption

Deck Settings Options (Continued)

Description Specifies how many seconds the tape rolls before a digitize or digital cut starts. The default is based on the type of videotape recorder (VTR). Speeds up long searches if your decks can read timecode in fast forward or rewind mode. Otherwise, this option is not useful.

Fast Cue

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

Setting Deck Preferences

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

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Table 6-2 explains the Deck Preferences options.

Table 6-2
Option

Deck Preferences Options

Description

When the deck contains no Choose the timecode format (Drop-Frame or Non-drop Frame) for logging tape Log as clips when no tape is in the deck. When a tape is in the deck, the system automatically uses the existing timecode format on the tape. Allow assemble edit for digital cut When this option is selected, you can use the assemble-edit features in the Digital Cut tool along with the assemble-editing capabilities of your record deck. Select this option to record frame-accurate digital cuts quickly and without striping entire tapes in advance. For more information about digital cuts and assemble editing, see Chapter 18. This option defines the function of the Stop key (space bar) on the keyboard. Select this option to map the space bar to the Pause button on the deck. Deselect this option to map the space bar to the Stop button. If the videotape heads are down in Stop key pauses deck mode, pressing the space bar brings up the heads and pauses the deck. The Stop button in the Digitize tool always stops the decks. Shuttle holds speed When this option is selected, the Shuttle button continues shuttling at a constant speed instead of stopping when you release it.

Stop key pauses deck

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Table 6-2
Option Stop any paused decks when quitting

Deck Preferences Options (Continued)

Description When this option is selected, any paused decks are stopped when you quit the Avid Xpress application. Selecting this option saves wear on the deck heads. This option is selected by default. When it is selected, the Avid Xpress system checks the deck for the current timecode and displays it in the timecode window of the deck controller. If you see degraded image quality on your digital cut (particularly visible as noise during black), deselect this option and record the digital cut again. With the option deselected, the timecode display in the deck controller will not be updated for the duration of the digital cut.

Poll deck during digital cut

Setting Up the Digitize Tool

The Digitize tool provides controls for cueing, marking, and logging footage, and specifies digitizing parameters such as source and target locations.

Opening the Digitize Tool

To open the Digitize tool: t Choose Digitize from the Tools menu.

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Deck Selection pop-up menu

Selecting a Deck
The Deck Selection pop-up menu in the Digitize tool contains a list of decks or cameras that were connected to the system, powered up, and initialized when you entered Digitize mode. The first deck or camera in the list is selected by default, unless all decks or cameras are offline. To activate playback from an available deck or camera, do one of the following: t t Choose the name of a previously configured deck or camera from the menu. Choose Auto-configure to automatically establish the default deck settings for a VTR that is currently connected to the system.

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Not all devices respond to the Auto-configure command. Due to this limitation, Auto-configure selects only the generic devices. When a digital camera is attached to your system, choose the proper device from the Deck Type pop-up menu. When a deck with a transcoder is attached, choose the applicable deck from the Deck Type pop-up menu. If you forgot to turn on or connect a deck or camera prior to entering Digitize mode: 1. Make sure that the deck is connected and the power is turned on. 2. Choose Check Decks from the Deck Selection pop-up menu in the Digitize tool to reestablish deck control.

Selecting a Tape
To select a source tape: 1. Load a tape into your deck. The Select Tape dialog box appears.

2. In an NTSC project, play the tape briefly so that the system can detect the timecode format of the tape (drop-frame or non-drop-frame). Otherwise, the system maintains the timecode format set in the Deck Preferences dialog box, regardless of the
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format on the tape, and you might receive a message indicating a wrong tape.

n
For information on tape naming conventions, see Naming Tapes on page 131.

Drop-frame timecode appears in the timecode indicator with semicolons between hours, minutes, seconds, and frames. Non-drop-frame timecode appears with colons. (Drop-frame and non-drop-frame timecode exists only in NTSC projects.) 3. Provide the system with a tape name in one of the following ways: Select the name of the tape from the list displayed in the Select Tape dialog box, and click OK. Click New if the tape is not in the list. Type the new name in the dialog box, and click OK.

Selecting Source Tracks

You can select the tracks to digitize from the source tape. To select only those tracks that you want to digitize: t Click the Channel Selection buttons in the Digitize tool. The TC (timecode) track is selected by default.

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Channel Selection buttons

If you are not seeing the source video or hearing source audio in Digitize mode, click the Channel Selection buttons to make sure the correct tracks have been selected. To select or deselect all tracks at once: t Press and hold the Alt key (Windows) or the Option key (Macintosh), and click any Channel Selection button.

Choosing a Resolution in the Digitize Tool

Choose a video resolution from the Resolution (Res) pop-up menu in the Digitize tool.

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Bin pop-up menu

Resolution pop-up menu

For more information on compression ratios (resolutions), see Compression Resolutions and Storage Requirements on page 223.

Choosing a Target Bin

You select a target bin as the destination for the master clips created when you digitize on-the-fly. You can also select a target bin containing the logged clips you will use to batch digitize your media. To choose a target bin, do one of the following: t t Choose an existing bin from the Bin pop-up menu in the Digitize tool. Activate a previously created bin by choosing Open Bin from the File menu; then locate and open the bin in the Open Bin dialog box.

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Create a new bin by choosing New Bin from the File menu and then naming and opening the new bin in the New Bin dialog box.

Selecting the Target Drives

To target drives for the digitized media: 1. Make sure you are in Digitize mode. If the Digitize tool is in Log mode, click the Digitize/Log Mode button to return to Digitize mode (that is, the DIG icon appears.) 2. Decide whether to digitize audio and video to a single drive or to separate drives. 3. Choose the specific target drives from the pop-up menus.

Targeting a Single Drive

By default, the Digitize tool targets a single media drive for digitizing the audio and video for each clip. Use this option when you are digitizing in a single-field resolution, for instance, and playback performance is generally not an issue. To target a single drive: 1. Choose Digitize from the Tools menu. 2. Click the Single/Dual Drives Mode button in the Digitize tool until it displays the Single-Drive icon.

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Target drive pop-up menu Single/Dual Drives Mode button Time remaining

3. Choose a drive from the Target Drive pop-up menu. The name shown in bold in the menu has the most storage available. The time remaining is calculated based on your resolution selection.

Targeting Separate Drives for Audio and Video

Targeting separate drives for video and audio tracks can improve performance because the system is not required to address all the information in separate locations on a single drive. You can also digitize for the longest continuous amount of time because the system stores material on two drives rather than one. To target separate drives for audio and video: 1. Choose Digitize from the Tools menu.

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2. Click the Single/Dual Drives Mode button in the Digitize tool until it displays the Dual-Drive icon.

Target drive pop-up menu Single/Dual Drives Mode button Time remaining

3. Choose separate drives for audio and video from each Target Drive pop-up menu. The names shown in bold in the menus have the most storage available. The time remaining on each selected drive is calculated based on your resolution selection.

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Interpreting the Time-Remaining Display

You can interpret the numbers in the Time-Remaining display in the Digitize tool based on the following factors: Each digitized clip is limited by the Avid Xpress system to a maximum file size of 2 GB. Any clip whose size exceeds 2 GB will have more than one media file associated with it. When adequate space exists on the chosen drive, the time remaining displayed in the Digitize tool is based on 2 GB per clip at the chosen resolution. This number reappears for each clip digitized, as long as there is adequate drive space. When you choose another resolution, the Time-Remaining display adjusts accordingly. When the storage space on the chosen drive is less than 2 GB, the time remaining begins to decrease for each clip digitized until the drive is full.

Setting the Video and Audio Input

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

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Video Input pop-up menu

Audio Input pop-up menu

Monochrome/Color Selection button

To change the Video Input settings: t Choose one of the following: Composite Component S-Video Serial Digital

To change the Audio Input settings: t Choose one of the following: Analog AES/EBU S/PDIF

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Microphone Mic w/ Phantom Pwr

For more information see Calibrating for Video Input on page 215 and Adjusting Audio Project Settings on page 202.

If you change the settings, the settings in the Video Input tool or in the Audio Project Settings dialog box change automatically.

Choosing Color or Monochrome in the Digitize Tool

The Monochrome/Color Selection button in the Digitize tool allows you to filter out all of the color from each frame of video when digitizing. To obtain more efficient storage and picture quality with original media that is black and white: t Click the Monochrome/Color Selection button until it appears in monochrome.

To digitize in full color: t Click the Monochrome/Color Selection button until it appears in color.

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

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

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Digitizing to Multiple Media Files

You can digitize video and audio to multiple media files across multiple drives, with the following advantages: You can create longer clips whose media files would otherwise exceed the file size limitation of 2 GB. You can group all drives with the multiple file options, enabling the system to record long clips continuously; for example, satellite feeds. The system makes more efficient use of drive space, particularly when digitizing long clips.

To digitize video or audio to multiple media files: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Digitize. The Digitize Settings dialog box appears.

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3. Select the option Digitize to multiple files in the General tab. 4. Select the option Prepare multiple files for (minutes). You can accept the default or type a different time limit in the text box.

If you think that any of your digitized clips might exceed 30 minutes, make sure you enter a higher estimate in this text box; otherwise, the system will stop digitizing at 30 minutes. 5. Click OK to close the dialog box and apply the options. 6. Choose Digitize from the Tools menu. The Digitize Tool window opens.

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Target Drive pop-up menu

7. To digitize to multiple files across drives, choose Change Group from the Target Drive pop-up menu in the Digitize tool. The Drive Group dialog box appears.

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8. Ctrl+click (Windows) or Shift+click (Macintosh) multiple drives to include in the digitizing session, or click the All button to select all drives. 9. Click OK to close the dialog box and apply the changes. 10. Proceed with digitizing.

For media file management purposes, any clip whose media exceeds the 2-GB limit will have more than one media file associated with it. When you view the Timeline for the clip loaded in the Source pop-up monitor, you will also notice edit breaks based on the separate media files. The breaks do not appear in the Timeline for the sequence in the Composer monitor.

Digitizing Across Timecode Breaks

You can select the option Use control track instead of timecode for preroll when digitizing across timecode breaks.

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Preroll option

For a complete description of procedures for locating and changing settings, see Using the Settings Scroll List on page 80.

Control track preroll allows you to digitize all the footage following a timecode break. Otherwise, the system uses approximately 1 to 6 seconds of unbroken timecode following the break to perform the preroll before digitizing begins. This option is especially useful when you are batch digitizing across timecode breaks, but you can also select this option when you are manually digitizing one clip at a time.

For a complete description of procedures for locating and changing settings, see Using the Settings Scroll List on page 80.

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Using Digitize Settings

The Digitize settings specify how to digitize clips. To open the Digitize Settings dialog box: 1. Click the Settings button in the Project window. 2. Double-click Digitize. The Digitize Settings dialog box opens.

General Digitize Settings

The following illustration shows the General tab of the Digitize Settings dialog box.

Table 6-3 describes the options available in the General tab of the Digitize Settings dialog box.

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Table 6-3
Option Stop deck after digitize

Digitize Settings Options (General Tab)

Description Select this option if you want to stop the deck when the digitize operation is complete. Select this option if you want to pause the deck when the digitize operation is complete. When this option is selected, the system writes digitized video or audio to multiple files across multiple drive partitions. Select this option for clips that might exceed the file-size limit of 2 GB. When this option is selected, the system preallocates space on the drive partitions to accommodate the specified number of minutes. (The preallocation can take a long time.) The system digitizes for only the specified number of minutes; be careful not to underestimate. The default is 30 minutes.

Pause deck after digitize

Digitize to multiple files

Prepare multiple files for (minutes)

Switch to emptiest drive when

When this option is selected, the system switches to another storage drive when the specified amount of time remains. Select this option if you want the Avid system to automatically assign a clip name based on the bins name and to make sure this name, or another name you choose, is not already used by any other object in the bin. Select this option if you want the Avid system to change the focus from the Digitize Tool window to a bin window after digitizing is complete. This allows you to immediately start working in the bin. Select this option if you want to use the space bar to create clip names during the digitizing process. When you press the space bar during a digitize operation, the system stops digitizing, creates a clip from the digitized material, and places the clip in the active bin.

Force unique clip names

Activate bin window after digitize

Space bar stops digitize

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Table 6-3
Option Use control track instead of timecode for preroll

Digitize Settings Options (General Tab) (Continued)

Description When this option is selected, the system does not use timecode to perform 1 to 6 seconds of preroll before digitizing. Instead, it uses the control track to time the preroll, and records all footage after the timecode break. This option is useful when you are batch digitizing across timecode breaks or when you are manually digitizing one clip at a time.

Digitize across timecode breaks When this option is selected, the system digitizes sections of discontinuous timecode on a tape as separate clips. Deselect this option to make the system stop digitizing and report an error when it encounters a timecode break. Latency for External Timecode Use this setting to compensate for problems that could occur when digitizing with external timecode, as described in Digitizing with External Timecode on page 250. If you notice that your digitized media consistently starts on the wrong frame (usually one or two frames off), use this option to ensure that digitizing starts on the correct frame. The option is deselected by default.

Batch Digitize Settings

The following illustration shows the Batch tab of the Digitize Settings dialog box.

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Table 6-4 lists the options available in the Batch tab of the Digitize Settings dialog box.

Table 6-4
Option Optimize for Disk Space

Digitize Settings Options (Batch Tab)

Description When this option is selected, the system digitizes only the exact amount of material in the master clips plus any additional handles. The tape will pause and pre-roll independently for each master clip that is batch digitized.

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Table 6-4
Option Optimize for Batch Speed

Digitize Settings Options (Batch Tab) (Continued)

Description When this option is selected, the system speeds up batch digitizing by allowing the deck to continue to roll forward between adjoining clips. To qualify for this operation, the two adjoining clips must meet the following criteria: There must be 5 seconds or less between the OUT point of the first clip and the IN point of the second clip. The two clips must have the same video resolution and the same audio rate.

n If you select this option, the system might occasionally digitize more than is required
Switch to emptiest drive when current drive is full When this option is selected, the system switches to the target media storage drive with the most available space when the current target drive becomes full during batch digitizing. The system switches before starting to digitize the clip, based on the number of minutes in the clip. For complete instructions, see Batch Digitizing Clips on page 257. If you do not select this option, digitizing stops when a drive becomes full. Rewind tape when finished When this option is selected, the system automatically rewind tapes after batch digitizing is finished. When this option is selected, the tape ejects as soon as the last shot from that tape has been used. This adds to efficiency since you can do other tasks while the tape is being used and yet still be alerted at the moment the tape is no longer needed.

Eject tape when finished

Edit Digitize Settings

The following illustration shows the Edit tab of the Digitize Settings dialog box.

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Table 6-5 lists the options available in the Edit tab of the Digitize Settings dialog box.

Table 6-5
Option Enable Edit to Timeline (Splice, Overwrite) Handles

Digitize Settings Options (Edit Tab)

Description Select this option to display the Splice-in Edit and Overwrite Edit buttons in the Digitize tool. Indicate the amount of footage you want to digitize before and after the IN and OUT points of the clips (when digitizing to the Timeline only).

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Preparing for Audio Input

The Avid Xpress system supports direct input of eight channels of audio. Source track assignments are mapped directly to audio tracks in the digitized clips. For example, when you digitize source footage with audio channels 1 to 5, the resulting master clip has matching audio tracks 1 to 5.

Choosing the Audio File Format

AIFF-C and WAVE audio media files can be mixed within a project. Macintosh systems also support SDII. The system default is OMF (WAVE) audio.

Choose the AIFF-C format or the SDII format (Macintosh) for all audio media when you need to transfer media files directly to a Pro Tools system for audio sweetening. Audio is written in the chosen file format when you: Digitize audio tracks in Digitize mode. Create tone media by using the Audio tool. Mix down audio tracks by using Audio Mixdown. Import files by using the Import dialog box. Apply an AudioSuite plug-in that creates new source audio.

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

To choose the audio file format: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click General. The General Settings dialog box appears.

3. Choose OMF (AIFF-C), SDII (Macintosh only), or OMF (WAVE) from the Audio File Format pop-up menu. 4. Click OK to apply the settings and close the General Settings dialog box.

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Establishing Sync for Audio-Only Input

When you digitize audio with video, the video input always generates sync for both. When you digitize audio only, sync for the input signal can come from several sources: Analog audio input: If you are digitizing audio-only from an analog source, sync is generated from a black burst generator or house sync source when it is connected to REF IN on the Meridien I/O box. If there is no reference connected, sync is generated from internal timing.

If you need to synchronize audio with video clips recorded on separate devices in the field, Avid recommends that you connect video reference to REF IN on the Meridien I/O box for sync. Otherwise, you might experience drifting of the audio during editing. For more information on connecting a reference signal, see the setup guide that came with your system. Digital audio input: If you are digitizing audio from a digital source, for example, a DAT recording, you should establish sync from the digital source. For more information, see Checking for a Valid Digital Sync Signal on page 201 and Adjusting Audio Project Settings on page 202.

Checking for a Valid Digital Sync Signal

If you are digitizing audio-only input from a digital source such as a DAT deck, the eight-channel audio converter is limited to acquiring a digital sync signal from channels 1 and 2.

Channels 1 and 2 are often the first choice for input of a signal that provides digital sync. If you want to input audio from channels 3 through 8, however, you must have a valid digital signal coming in on either channel 1 or channel 2.
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Check for a valid digital sync signal as follows: If the yellow indicator light labeled DIGITAL on the audio converter shines steadily during input, the system is receiving a valid digital sync signal. If the yellow indicator light blinks during input, the system is not receiving a valid sync signal. Make sure you have a digital sync signal source properly connected to channel 1 or channel 2.

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

Adjusting Audio Project Settings

You can use the Audio Project Settings dialog box to save the track-to-channel output mappings. Use the Audio tool to create the mapping between tracks in the Timeline and output channels. To open the Audio Project Settings dialog box: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Audio Projects. The Audio Project Settings dialog box appears.

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Some items in the dialog box are informational and cannot be changed from within the Audio tool. They include: Card: The type of audio card installed. Peripheral: The type of peripheral audio device attached to the system (audio interface). Slot #: The slot number where the card or board is located.

You can make adjustments to any of the other options by clicking the option and choosing another item from the pop-up menu. Any changes made are saved as Project settings. These selections include: Sample Rate pop-up menu, which allows you to choose audio rate settings. The options are: 44.1 kHz 48 kHz

The broadcast standard for most high-end video postproduction houses is 48 kHz. Choose the rate based on the requirements of your facility. The Sync Mode pop-up menu, which includes two optional sources for audio sync: Use Video Sync for all analog audio input and output to ensure the audio sample clock is always in sync with the video clock. This prevents long-term drift between audio and video.
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Audio locks to the video output signal except for digitizing video, when it is locked to the video input signal. Use Digital whenever you are working with digital audio input and output, such as DAT (digital audiotape), through either the AES/EBU or S/PDIF (Sony/Philips Digital Interface Format) connections. When you are working with video and digital audio simultaneously, set your digital audio equipment to the same video reference signal as your video equipment.

Changing the audio input selection automatically chooses the correct audio clock source for audio sync. Input Source pop-up menu, which includes four options for the type of input: Analog AES/EBU S/PDIF Microphone Mic w/Phantom Pwr, which draws power from the audio board for condenser microphones.

You can damage the microphone if you connect or disconnect it while Mic w/Phantom Pwr is selected. Choose Analog or Microphone from the Input Source pop-up menu before you connect or disconnect a microphone. HW Calibration pop-up menu, which allows you to select a default audio calibration to match your audio I/O peripheral hardware calibration. Render Sample Rate Conversion Quality pop-up menu, which allows you to set the conversion quality of all non-real-time sample rate conversions. The options are: High and Slow
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Balanced Low and Fast

Convert Sample Rates When Playing pop-up menu, which allows you to choose whether or not to perform the conversion rate. The options are: Always Never

If you choose the option Never, the segments not set at the sample rate chosen in the Audio Project Settings dialog box plays as silence. If you choose the option Always, the system attempts to perform a sample rate conversion on-the-fly. Although the resulting audio quality might not be useful for a finished project, it can be useful during an editing session since it prevents audio from playing back with silence. Setting pop-up menu, which allows you to name this audio project setting.

Using the Audio Tool

For information on output procedures involving the Audio tool, see Preparing for Audio Output on page 659.

The Audio tool, along with your hardwares audio parameters, allows you to do the following in preparation for input: Check and manage your audio hardware setup. Check audio levels before digitizing.

To open the Audio tool, do one of the following: t

Audio Tool button

Choose Audio Tool from the Tools menu. Click the Audio Tool button in the Digitize tool.

The Audio tool appears, and displays meters for two or eight channels, depending on the configuration of your system.
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Show/Hide Output Control button

Show/Hide Setup Control button

Show/Hide Input Control button Reset Peak button

In/Out toggle buttons Peak Hold Menu button

Digital scale (fixed)

Volume unit scale (adjustable)

The Audio tool has the following characteristics: The Show/Hide Input Control button displays a microphone and a single slider control for raising or lowering global audio input. The Show/Hide Output Control button displays a panel that contains a single slider control for raising or lowering global audio output. The Show/Hide Setup Control button displays a panel of audio output options for channel assignments, mixing tracks, and ignoring audio effects and volume settings. The Reset Peak button resets the current maximum peak measurements. It also stops the playback of the internal calibration tone. The In/Out toggle buttons switch the meter displays for each channel between input levels from a source device and output levels to the speakers and record devices. I indicates Input, and O indicates Output.

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The Peak Hold Menu button displays a pop-up menu that allows you to choose options for customizing the meter displays, and for setting and playing back the internal calibration tone. The digital scale to the left of the meters displays a fixed range of values from 0 to 90 dB (decibels), according to common digital peak meter standards. The volume unit scale (analog) to the right of the meters displays a range of values that you can conform to the headroom parameters of your source audio. The meters dynamically track audio levels for each channel as follows: Meters show green below the target reference level (default reference level is 20 dB on the digital scale). Meters show yellow for the normal headroom range, above the reference level to approximately 3 dB. Meters show red for peaks approaching overload, between 3 dB and 0 (zero) dB. Thin green lines at the bottom indicate signals below the display range.

Adjusting the Reference Level

The volume unit (VU) scale to the right of the meters is a sliding scale relative to the fixed digital scale displayed on the left. You can adjust the volume unit scale up or down based upon the headroom parameters of your playback devices. To customize the volume unit scale: 1. Choose Set Reference Level from the PH (Peak Hold) pop-up menu. The Set Reference Level dialog box appears. 2. Enter the new value for the reference level (12, for example), and click OK.
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3. Choose Calibrate from the PH pop-up menu. The volume unit scale slides to match the new reference level, which is displayed on the digital scale.

Digital scale displays corresponding reference value.

Volume unit scale slides up to display less headroom.

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Adjusting the reference level requires recalibration of the audio I/O device. For more information, see Calibrating the Eight-Channel Audio I/O Device on page 208. If the reference level doesnt match the hardware calibration setting, the 0 VU entry appears red in the Audio tool.

Calibrating the Eight-Channel Audio I/O Device

For information about connecting the eight-channel audio I/O device, see the setup guide for your Avid system.

Previously, all Avid editing systems were calibrated for analog 0 Volume Unit (VU) to be digital 14 dB. However, Sony digital decks are calibrated to 20 dB and 20 dB has become the emerging standard.

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The applications default audio hardware calibration is now set to 20 dBFS and new audio I/O devices (888 I/O) shipping from Avid are calibrated to 20 dBFS. You can use the Audio Project Settings dialog box to change your default audio hardware calibration. However, if you change the applications default, you must recalibrate your audio I/O device to match. If the settings do not match, the analog VU (volume unit) scale in the Audio tool will display incorrect values. To help you maintain the correct values, the Avid system displays the 0 VU display in the Audio tool in red if the hardware and software calibration values do not match. To synchronize the audio hardware calibration setting with the audio I/O device, do one of the following: t t Change the calibration of the audio I/O device to match the applications hardware calibration setting value. Change the applications hardware calibration setting value to match the calibration of the audio I/O device.

For procedures on how to calibrate the audio I/O device, see Calibrating Input Channels for the Audio I/O Device on page 211.

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

Changing the Audio Hardware Calibration Setting

If you use the default hardware and software settings, you do not need to change the audio hardware calibration settings. To change the audio hardware calibration setting: 1. Double-click Audio Project in the Settings scroll list of the Project window. The Audio Project Settings dialog box appears.

2. Select a new default hardware calibration setting from the HW Calibration pop-up menu: 14 dBFS, 18 dBFS, or 20 dBFS. A message box appears.

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3. Do one of the following: t If the calibration of your audio I/O device does not match the new Hardware Calibration setting value, click Help for procedures on how to calibrate the audio I/O device, or see Calibrating Input Channels for the Audio I/O Device on page 211 and Calibrating Output Channels for the Audio I/O Device on page 213. If the calibration of your audio I/O device matches the new Hardware Calibration setting value, click OK.

4. Save the new Hardware Calibration as a Site setting. To establish a global setting, see Using Site Settings on page 98.

Calibrating Input Channels for the Audio I/O Device

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

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

Indicates the hardware calibration value you selected in step 2: 14, 18, or 20.

The VU scale varies, displaying a custom reference level setting, +1 dB above and 1 dB below.

8. Adjust the channel 1 input level by inserting a screwdriver into the trim pot on the audio I/O device and turning it until the Audio tools on-screen meter reaches 0 VU. The input channel is now calibrated. 9. Repeat this procedure for each input channel of the audio I/O device.
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To return to the default Audio tool display: t Choose Calibrate from the PH (Peak Hold) pop-up menu.

Calibrating Output Channels for the Audio I/O Device

If the input channels of the audio I/O device are calibrated correctly, you can use the input channels to calibrate the output channels. To calibrate output channels for the audio I/O device: 1. Make sure the audio I/O device is calibrated properly for input (see Calibrating Input Channels for the Audio I/O Device on page 211). 2. Connect two output channels to two different input channels. For example, connect output channels 1 and 2 to input channels 7 and 8. 3. Choose Set Calibration Tone from the Peak Hold (PH) pop-up menu in the Audio tool. 4. Click the In/Out toggle buttons to display I for the channels you are using for input, for example, 7 and 8. Click the In/Out toggle buttons to display O for the channels you are calibrating, for example, 1 and 2. 5. Choose Calibrate from the Peak Hold (PH) pop-up menu. 6. Choose Play Calibration Tone from the Peak Hold (PH) pop-up menu. 7. Adjust the audio I/O device trim pots on the output channels (1 and 2) to 0 VU, using the meters of the input channels (7 and 8) as your guide. 8. Repeat this procedure for each channel.

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Using the Console Window to Check Audio Levels

Once you have played back audio through the Audio tool, you can use the Console window to view a list of precise information about the peak levels. To check peak levels in the Console window: 1. Choose Audio Tool from the Tools menu. The Audio Tool window opens.

Reset Peak button

2. Click the Reset Peak button to clear the systems record of the most recent maximum peaks. 3. Play a sequence or portion of the sequence. 4. After playing back the audio, open the Console window by choosing Console from the Tools menu. 5. In the Console command line, type DumpMaxPeaks. 6. Press Enter (Windows) or Return (Macintosh). A list of peak values appears in the Console window.
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Calibrating for Video Input

You should calibrate the input levels for each videotape when you digitize to ensure continuity of picture quality between tapes. The following sections provide essential information for input calibration: Before You Begin Manually Calibrating for Video Input Saving Video Input Settings Saving a Custom Default Setting for the Video Input Tool Adjusting Video Levels Without Color Bars

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If you are capturing digital video from a D1, D5, or digital Betacam VTR, you cannot adjust levels by using the video input controls in Avid Xpress. If you plan to make adjustments at the source deck, information in this section regarding the Internal Waveform and Vectorscope monitors might be useful. Otherwise, you can proceed to Chapter 7. When redigitizing media from an offline project, check video settings for each tape. Do not rely on saved settings.

Before You Begin

Before you calibrate for video input, check that your monitor is properly calibrated for displaying footage accurately. For more information, see your monitors hardware documentation.

Manually Calibrating for Video Input

To manually calibrate for videotape input: 1. Choose Video Input Tool from the Tools menu. The Video Input Tool window opens.
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2. Choose the appropriate input channel from the Input pop-up menu: Composite, Component, S-Video, or Serial Digital. The Video Input tool displays the appropriate parameters for the chosen video format.

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Sync for video input comes from the source you select in the Video Input tool, whether Composite, Component, S-Video, or Serial Digital. The proper source device must be connected to the Meridien I/O box, as described in the setup guide provided with your system. When you digitize audio with video, the audio is always synced to the video source. For information regarding sync during audio-only input, see Establishing Sync for Audio-Only Input on page 201. 3. Cue the tape to the section containing bars and tone (usually the beginning), and play the tape. Always play the tape when calibrating. Signal display is unstable when the tape is paused. 4. Click the Consumer Source button located below the sliders in the Video Input tool only if you are digitizing from a consumer-grade videotape deck (such as a home VCR) or a deck that has no built-in time-base corrector (which includes a number of 3/4-inch U-matic or S-Video models) and you are having trouble with the incoming video quality. If clicking the Consumer Source button does not improve the video quality, Avid recommends that you purchase a time-base corrector (TBC). For more information, see the Avid Xpress Release Notes. Make sure the deck and TBC support the advanced sync feature. This feature eliminates the one-frame delay that many TBCs introduce. 5. Click the 100% Bars button if the source displays 100% bars for calibration.

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You can distinguish between the two types of bars by checking the following: in 100% bars, the waveform plot displays fairly even steps in level from the first bar (white) to the last (black). In 75% bars, there is a larger drop in level from the first bar to the remaining color bars. 6. Open the Waveform monitor by clicking the Internal Waveform Monitor button in the Video Input tool.

Internal Waveform Monitor button

Line Selector slider

7. Adjust the Line Selector slider located below the Internal Waveform monitor to display the appropriate line of the test pattern; then adjust the luminance values based on Table 6-6.

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Table 6-6
Parameter/ Video Standard Black level (setup)

Luminance Settings for Video Input

Full-Field Bars at 75% or 100% Signal Level Adjust Line Selector slider to approximately 150. Adjust Black slider to place black level at:

SMPTE Bars Adjust Line Selector slider to approximately 190. Adjust Black slider to place black level at:

Video Standard: NTSC NTSC-EIAJ PAL White level (gain)

7.5 IRE 0.0 IRE NA Adjust Line Selector slider to approximately 220. Adjust Gain/Y Gain slider to place white level at:

7.5 IRE 0.0 IRE 0.3 V Adjust Line Selector slider to approximately 150. Adjust Gain/Y Gain slider to place white level at:

Video Standard: NTSC NTSC-EIAJ PAL

100 IRE 100 IRE NA

100 IRE 100 IRE 1.0 V

8. Close the Internal Waveform monitor, and open the Vectorscope monitor by clicking the Vectorscope Monitor button.

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Vectorscope Monitor button

Line Selector slider

9. Adjust the Line Selector slider to display the signal for color bars at approximately line 150 (this applies to all formats and all types of bars). 10. Use the Vectorscope monitor to set chrominance by adjusting the Sat and Hue sliders (Composite or S-Video), or the RY Gain and BY Gain sliders (Component), until the angle and amplitude of the six color vectors fall within the target boxes on the vectorscope.

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There is no hue adjustment for PAL video.

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

Saving Video Input Settings

You can save the settings for an individual tape each time you calibrate bars. For example, you might have one or a series of shots that require color correction (the shots are dark, too bright, or were not
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shot with the proper color balance or filtering). You can make corrections using the Video Input tool now or at any time during or after editing in order to match shots in the sequence. To save the calibration settings for an entire tape: 1. After calibrating the videotape input, choose Save As from the Settings pop-up menu. The View Name dialog box appears.

2. Accept the default name, or type a new name for the settings.

If you give the settings the same name as the tape name, Avid Xpress applies the settings automatically when that tape is loaded into the deck in the future (for example, when you are redigitizing). 3. Click OK. Whenever you batch digitize or redigitize, the system recalls the saved settings as follows: The system looks for a tape setting. If the setting exists, the system recalls it. If no matching tape setting exists, the system looks for a setting labeled Default and loads that setting. For information on customizing this default setting, see Saving a Custom Default Setting for the Video Input Tool on page 221.

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If no matching tape setting or Default setting exists, the Video Input tool remains in its prior state (with the most recent settings applied during the session).

Tape settings and the Default setting are Project settings and are available to the current project only.

Saving a Custom Default Setting for the Video Input Tool

To create a customized default Video Input tool setting: 1. Choose Video Input Tool from the Tools menu. The Video Input Tool window opens.

Settings pop-up menu

2. Adjust the calibration settings as described in Manually Calibrating for Video Input on page 215. 3. Choose Save As from the Settings pop-up menu in the Video Input tool. A dialog box appears. 4. Type Default in the dialog box and click OK. (You must use this spelling and initial capitalization.)

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Whenever you mount a new tape that has no setting, the system will recall these default settings.

Tape settings and the Default setting are Project settings and are available to the current project only.

Adjusting Video Levels Without Color Bars

Color bars are the best way to set the video levels consistently. However, if you have a tape or series of tapes with no color bars, you might need to adjust video levels by using the Internal Waveform and Vectorscope monitors.

Calibrate your monitor before adjusting video levels by eye. To adjust video levels by eye, without color bars, use the following criteria: Blacks should not seem flat and lacking detail. Find a series of frames in the footage that include black areas. Shadows work better than black objects. Blacks should fall around 7.5 IRE for NTSC, 0 IRE for NTSC-EIAJ, or 0.3 V for PAL in the Internal Waveform monitor. Whites should not be washed out or lacking detail. Find a series of frames in the footage that include white areas. Bright, well-lit regions work better than white objects. Whites should peak at around 100 IRE for NTSC-EIAJ or 1.0 V for PAL in the Internal Waveform monitor. Skin colors should be realistic. Find a series of frames in the footage that include skin colors. Skin colors should fall generally between the target boxes for the red and yellow vectors in the Vectorscope monitor. Pure yellows should be a rich gold and not reddish or greenish in tone. Find a pure yellow, and adjust both hue and saturation as necessary.

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Chroma should not exceed 110 or fall below 120 on the Vectorscope monitor.

Compression Resolutions and Storage Requirements

When the Avid Xpress system digitizes and stores video, it employs compression techniques that affect the size of the resulting files and the resolution of the images they contain. The less compression, the higher the image resolution, and the more drive space the file takes up. Large media files at high resolutions can take up very large amounts of disk space. When you are choosing an image resolution for your project, you need to balance your requirements in terms of image quality with your available disk resources. You can use lower resolutions when your work does not require very high image quality (for example, in offline work or in CD-ROM or Web authoring projects) and higher resolutions when you need excellent image quality. You can also mix different resolutions within the same project as long as those resolutions are compatible with one another. This section describes the different resolutions and lists their specifications. It also explains how to estimate the disk space you will require to store your digitized media.

Screen Resolution
The screen resolution for the Avid Xpress application is different for NTSC and for PAL: NTSC resolution is 720 x 486 non-square pixels covering all the active video. This also includes 10 lines of blanking or vertical internal timecode (VITC) per frame (5 lines per field).
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PAL resolution is 720 x 576 non-square pixels covering all the active video. This also includes 16 lines of blanking or VITC per frame (8 lines per field).

About Compression and Resolutions

The Avid Xpress application uses a simple notation x:1 to identify the compression resolutions it supports. The value of x indicates the level of compression that is applied to the image data. For example, a 3:1 ratio compresses the original data to one-third of its uncompressed size. There are two groups of compression resolutions: Single-field (identified by an -s suffix to the ratio notation): 15:1s, 4:1s, 2:1s Two-field: 20:1, 10:1, 3:1, 2:1 Using a lower compression ratio (a lower number to the left of the colon) when you digitize results in better image quality but requires more disk space to store the digitized media. A lower compression ratio might also require drive striping to keep up with the high volume of data.

Compression Groups and Image Quality

Although it is generally true that a lower resolution means higher image quality, the compression group itself (single-field or two-field) is also a factor in the quality of the final image. Single-field resolutions work with smaller amounts of original image data than two-field resolutions. They use only half the image width of two-field resolutions, and they use only one of the two fields in the standard video signal.

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For example, there is a 2:1 resolution for both single-field and two-field groups. In both cases, the image data is compressed to one-half of its original size. However, the image quality of these two resolutions is different. The single-field 2:1 resolution has a lower image quality because it processes only one-quarter of the original image data used by the two-field 2:1 resolution.

Video Streams
Whenever you have more than one video track, you have two streams of data (dual streams). Some effects create a second stream. When you render effects, you combine two streams into one. Two streams demand a significantly higher throughput than one stream. Sometimes, drive striping is required to accommodate two streams, even though a single stream at the same resolution would not require striping.

Compression Specifications
Table 6-7 provides information about the resolutions from which you can choose. The table includes basic information about which resolutions require drive striping. For more detailed information on drive configuration requirements for different resolutions, see the documentation for your drives. For detailed guidelines on estimating space requirements, see Storage Requirements on page 230.

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Table 6-7

Compression Resolution Specifications

Fields per Frame

Resolution 15:1s

Field Size (Pixels)

Drive Striping Requirements None

Quality Offline Maximum storage with enough image detail to make basic editing decisions (You can check lip-sync on a medium shot.)

352 x 248 (NTSC) 1 352 x 296 (PAL)

4:1s

352 x 248 (NTSC) 1 352 x 296 (PAL)

None

Offline A good storage resolution combined with a good offline image quality

2:1s

352 x 248 (NTSC) 1 352 x 296 (PAL)

2-way striping

Online Provides enough detail for finishing multimedia jobs such as CD-ROM and Web authoring

20:1

720 x 248 (NTSC) 2 720 x 296 (PAL)

None

Offline Useful for mixing storageefficient offline footage with online-quality resolutions

10:1

720 x 248 (NTSC) 2 720 x 296 (PAL)

None

Offline/Online A good compromise for high-quality, two-field offline or low-quality online that saves disk space

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Table 6-7

Compression Resolution Specifications (Continued)

Fields per Frame

Resolution 3:1

Field Size (Pixels)

Drive Striping Requirements 2-way striping

Quality Online A medium-quality online resolution that can sustain two-stream playback on 2-way striped drives

720 x 248 (NTSC) 2 720 x 296 (PAL)

2:1

720 x 248 (NTSC) 2 720 x 296 (PAL)

4-way striping

Online Provides the highest image quality of any compressed resolution and sustains two-stream playback on 4-way striped drives Online Provides the highest image quality

1:1 (Uncompressed)

720 x 248 (NTSC) 2 720 x 296 (PAL)

Mixing Resolutions
In a single sequence, you can mix resolutions from the single-field group or from the two-field group. You cannot mix resolutions from different groups in one sequence. You cannot mix uncompressed video (1:1) with any of the compressed video formats. Mixing resolutions in a sequence saves time and effort in a variety of circumstances: You can do most of your work at a resolution that can play back real-time effects, digitizing only the most complex shots and graphics at a high-quality, single-stream resolution.
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For storage and playback efficiency, you can digitize complex footage at the draft-quality online ratio and edit it along with other online resolutions. You can avoid some redigitizing by importing complex graphics at a high resolution and by digitizing the remaining footage at draft quality during the offline phase. You can exchange material between projects with a minimum of redigitizing. You can develop material among workstations at different resolutions and bring the material together for a final cut without redigitizing.

For any limitations concerning playback with mixed resolutions, see the release notes that came with your system.

Setting Media Creation Resolutions and Selecting Drives

The Media Creation Settings dialog box allows you to set the video resolution and to select drives for digitizing, creating titles, importing, and performing audio and video mixdowns.

You can also choose a video resolution and select drives directly in the Digitize tool, the Save Title dialog box, the Select Files to Import dialog box, the Audio Mixdown dialog box, and the Video Mixdown dialog box. To choose a video resolution and drives in the Media Creation Settings dialog box:

You can also open the Media Creation dialog box by choosing Media Creation from the Tools menu.

1. Choose Media Creation from the Settings scroll list of the Project window. The Media Creation Settings dialog box appears.

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2. Click the tab for the area in which you want to work. 3. Choose a video resolution from the Video Resolution pop-up menu. The Video Resolution pop-up menu contains a list of the available compression ratios. The list of resolutions depends on the model of your Avid system and the type of project. The default resolution is the highest compressed two-field or progressive resolution available.

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Clicking Apply to All sets your chosen video resolution for all four tabs. Your settings are not saved until you click OK. 4. Choose a video drive and an audio drive. To choose the same drive for both audio and video, click the Single/Dual Drives Mode button. If you are working with the Digitize tab, you can select a drive group. For more information on selecting a drive group, see Digitizing to Multiple Media Files on page 188.

Because there is no audio associated with titles, you can only choose a video drive in the Titles tab of the Media Creation Settings dialog box. 5. Click OK to save your settings.
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Storage Requirements
Plan the use of drive volumes in advance, especially when you digitize numerous reels. You need to choose a resolution that provides adequate picture quality for your project. However, you might be limited by the amount of disk space that is available. Before you digitize, estimate your disk space requirements. This section contains recommendations for achieving efficient storage for your digital media. It explains how playback performance can be affected by the way you set up the storage disks and target them when you digitize. To estimate storage requirements: 1. Using Table 6-7, and the information in your drive documentation, select a resolution that is compatible with the drive and striping capacity on your system. 2. Use the Hardware tool to determine the available space on your drives. For information about the Hardware tool, see Using the Hardware Tool on page 122.

Be sure the Digitize tool is not open when you are using the Hardware tool. The Digitize tool takes control of the drives, and the display shows no available space. 3. Determine a total duration for all the clips to be digitized. Use the Get Bin Info procedure described in the Avid Xpress Getting Started Guide. 4. Use Table 6-8 on page 232 to estimate your disk space requirements based on the resolution and the number of audio tracks. To get an estimate of the number of gigabytes needed, do one of the following: t Calculate by dividing the duration of your material (number of minutes) by the estimated minutes per gigabyte.

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Calculate by combining storage figures from the Disk space needed for n Minutes of Media columns as necessary to match the number of minutes of material you have.

5. Compare the gigabytes available on your drives with the result of step 4. If your needs are greater than your disk space, choose a lower resolution and recalculate. Table 6-8 on page 232 shows estimated disk space requirements for each resolution. It shows figures for estimated minutes per gigabyte and also figures for the disk space required for certain amounts of material.

The figures in the table represent disk space for video material that includes typical variations in image complexity. Actual disk space requirements might vary slightly from these estimates, depending on the overall complexity of the video you digitize and store. Consider the following when you interpret this information: Minutes per gigabyte are approximately the same for NTSC (29.97 fps) and PAL (25 fps) because PAL video contains approximately 17 percent fewer frames per second, but each frame contains approximately 16 percent more pixels. Figures for audio storage in the table are based on the standard rates for audio sampling (16 bits per sample, 44.1 kHz). To calculate additional audio storage (for numbers of channels not listed in the table), add 88.2 kilobytes (KB) per second (approximately 5.3 megabytes [MB] per minute) to your estimate for each additional audio channel. Storage requirements are affected by the number of channels of audio, not the frequency of the digitized audio signal. For example, the difference in storage requirements between 44.1 kHz and 48 kHz audio is negligible, while the difference between two or three channels is more significant, as reflected in Table 6-8.

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Rolling titles add 1.4 MB (NTSC) or 1.6 MB (PAL) per second to storage requirements. If you are on the upper edge of the requirements for drive capacity or striping, adding a rolling title might prevent you from playing real-time material.

Table 6-8

Estimated Storage Requirements

Disk Space Needed for 1 Minute of Media 20.6 MB 25.9 MB 31.2 MB 35.5 MB 40.8 MB 85.8 MB 91.1 MB 95.4 MB 101 MB 106 MB 172 MB 177 MB 182 MB 187 MB Disk Space Needed for 10 Minutes of Media 206 MB 259 MB 312 MB 355 MB 408 MB 858 MB 911 MB 954 MB 1.01 GB 1.06 GB 1.72 GB 1.77 GB 1.82 GB 1.87 GB Disk Space Needed for 30 Minutes of Media 618 MB 777 MB 936 MB 1.07 GB 1.22 GB 2.57 GB 2.73 GB 2.86 GB 3.03 GB 3.18 GB 5.16 GB 5.28 GB 5.46 GB 5.61 GB

Resolution 15:1s

Audio Tracks 0 1 2 3 4

Minutes per Gigabyte 48.5 38.6 32.1 28.2 24.5 11.6 11.0 10.5 9.9 9.4 5.8 5.7 5.5 5.4

4:1s

0 1 2 3 4

2:1s

0 1 2 3

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Table 6-8

Estimated Storage Requirements (Continued)

Disk Space Needed for 1 Minute of Media 193 MB 60.1 MB 65.4 MB 70.7 MB 76.0 MB 81.3 MB 120 MB 126 MB 131 MB 136 MB 140 MB 344 MB 349 MB 354 MB 360 MB 365 MB 516 MB 521 MB 233 Disk Space Needed for 10 Minutes of Media 1.93 GB 601 MB 654 MB 707 MB 760 MB 813 MB 1.20 GB 1.26 GB 1.31 GB 1.36 GB 1.40 GB 3.44 GB 3.49 GB 3.54 GB 3.60 GB 3.65 GB 5.16 GB 5.21 GB Disk Space Needed for 30 Minutes of Media 5.79 GB 1.80 GB 1.96 GB 2.12 GB 2.28 GB 2.44 GB 3.60 GB 3.78 GB 3.93 GB 4.08 GB 4.20 GB 10.32 GB 10.47 GB 10.62 GB 10.80 GB 10.95 GB 15.48 GB 15.63 GB

Resolution

Audio Tracks 4

Minutes per Gigabyte 5.2 16.6 15.3 14.1 13.2 12.3 8.3 7.9 7.6 7.3 7.2 2.9 2.9 2.8 2.8 2.7 1.9 1.9

20:1

0 1 2 3 4

10:1

0 1 2 3 4

3:1

0 1 2 3 4

2:1

0 1

Table 6-8

Estimated Storage Requirements (Continued)

Disk Space Needed for 1 Minute of Media 526 MB 531 MB 537 MB 1.22 GB Disk Space Needed for 10 Minutes of Media 5.26 GB 5.31 GB 5.37 GB 12.2 GB Disk Space Needed for 30 Minutes of Media 15.78 GB 15.94 GB 16.11 GB 36.6 GB

Resolution

Audio Tracks 2 3 4

Minutes per Gigabyte 1.9 1.9 1.9 0.8

1:1 (Uncompressed)

1 2 3 4

0.8 0.8 0.8 0.8

1.23 GB 1.23 GB 1.24 GB 1.26 GB

12.3 GB 12.3 GB 12.4 GB 12.6 GB

36.9 GB 36.9 GB 37.2 GB 37.8 GB

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CHAPTER 7
Digitizing
When you digitize, you convert source material from videotape to master clips that contain reference information. You also create associated media files that contain the digital audio and video. Once you prepare the digitize tools, as described in Chapter 6, you can digitize the source material in one of several ways, as described in the following sections: Before You Begin Adding Clip Names and Comments On-the-Fly Digitizing and Logging at the Same Time Recording Audio from a Music CD Digitizing to the Timeline Batch Digitizing from Logged Clips Redigitizing Your Material Other Digitizing Functions

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Before You Begin

Depending on your immediate needs and chosen digitizing method, use the following guidelines for working through this chapter: If you want to add clip names and comments on-the-fly while you digitize, see Adding Clip Names and Comments On-the-Fly on page 237. If you have no logs and would like to begin digitizing right away, see Digitizing and Logging at the Same Time on page 237. If you want to digitize video to multiple media files across multiple drives, see Digitizing to Multiple Media Files on page 188. If you have logs already entered in a bin and would like to automate the digitizing process with playback from an Avid-controlled deck, see Batch Digitizing from Logged Clips on page 256. If you are redigitizing deleted media or have imported a sequence that lacks the associated media files, see Redigitizing Your Material on page 260. If you have not already prepared a structure of bins for your project, as described in Managing Folders and Bins on page 73, consider the following tips before digitizing: You can create one bin for each source tape. This method avoids slowing the system with large bins, associates each bin with a source tape for better organization, and simplifies redigitizing. You can name the bin after the tape so that when you autodigitize or digitize on-the-fly without noting a tape name, the system will automatically name each clip after the bin (tape) and number them sequentially for easy reference.

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Adding Clip Names and Comments On-the-Fly

The annotate feature allows you to type clip names and comments during the digitizing of a clip. The information is saved in the clip Name and Comments columns in the bin. You can add comments about the clip such as color correction or editing directions. To add clip names and comments on-the-fly: 1. Start typing the clip name at any time during the digitizing of a clip. The Annotate window opens, allowing you to see the text as you type. 2. After typing the clip name, press the Tab key and begin typing comments. You cannot edit the text until after the digitizing is complete, but you can backspace and retype the information.

Digitizing and Logging at the Same Time

When you digitize without entering log information in a bin ahead of time, the system creates clips and associated media files while you digitize. Digitizing in this manner involves manually cueing source footage with an Avid-controlled deck by using the deck controls in the Digitize tool. There are several ways to digitize and log at the same time: Digitizing from an IN point to an OUT point. This method lets you specify the exact timecode location to begin and end digitizing. You can also specify only an IN point or an OUT point and enter the other mark on-the-fly. These procedures are described in Digitizing from One Point to Another on page 238.
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Digitizing on-the-fly. This method is easier than setting marks, but it is less precise. It involves using the deck controls in the Digitize tool to cue, play, and stop the source footage manually while digitizing. These procedures are described in Digitizing On-the-Fly on page 241. Autodigitizing. This method requires the least amount of supervision and effort but usually calls for more digitizing time and drive storage space. It involves playing each source tape from a cue point near the beginning and letting the system digitize the entire tape, automatically naming and entering each clip into the bin. These procedures are described in Autodigitizing on page 243.

Additional techniques you can use when digitizing and logging at the same time are described in Digitizing from a Non-Avid-Controlled Deck on page 248, Digitizing with Time-of-Day Timecode on page 250, and Digitizing with External Timecode on page 250.

Digitizing from One Point to Another

Digitizing from an IN point to an OUT point allows you to specify exactly where to begin and end digitizing. You can specify only an IN point or an OUT point, and the system enters the other mark on-the-fly. Use this method in the following circumstances: If logs exist in written or printout form but not in the proper format for quick import into the system If the IN and OUT points are rough and need to be double-checked for accuracy If you are familiar enough with the source material to estimate the timecode for the IN point, the OUT point, or both, quickly and accurately

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Digitizing from an IN Point to an OUT Point

To digitize from an IN point and an OUT point:
Mark IN Mark OUT

1. Cue the tape to the start of the clip you want to digitize and mark an IN point. 2. Cue the tape and mark the OUT point, or set the OUT point on-the-fly when you stop digitizing. 3. Click the Record button in the Digitize tool.

Record button

4. The Digitize tool automatically rewinds the tape to the preroll point before the IN point of the clip, and the tape begins to play. The box to the right of the Record button flashes bright red, and the message bar displays the message that the system is digitizing. 5. While the system is digitizing, you can type a clip name or enter comments about the clip. When the tape reaches the clips OUT point or you click the Record button again, digitizing stops, and the system creates a new clip in the bin.

Setting Both Marks

To digitize by specifying an IN point and an OUT point: 1. Make sure you have selected the proper Digitize settings as described in Selecting Settings on page 165 and have set up the Digitize Audio, and Video Input tools, as described in Chapter 6.
Mark IN Mark OUT

2. Set either an IN point or an OUT point for the clip you want to digitize, using one of the following methods: t Use the deck controls in the Digitize tool. Cue your source tape to where you want to start or end the clip, and click the Mark IN or the Mark OUT button. If the material starts at a known IN point or ends at a known OUT point, you can type the timecode in the display area next to the mark. Press Enter (Windows) or Return (Macintosh) to enter the mark.
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Go to IN

To double-check the accuracy of the IN or OUT point, click the Go to IN button. The system cues the tape and pauses the deck at the mark. You can play the tape and reset the mark, if necessary. 3. To finish logging the clip, use either of the following methods: t t Set the corresponding IN or OUT point. Type a timecode for the clips duration in the display area next to the Duration mark (below the OUT point) in the format HH:MM:SS:FF.

The system automatically calculates the appropriate timecode for the corresponding IN point, OUT point, or duration. 4. Click the Record button in the Digitize tool. The Digitize tool automatically rewinds the tape to the preroll point before the IN point of the clip, and the tape begins to play. The box to the right of the Record button flashes bright red, and the message bar displays the message that the system is digitizing. 5. While the system is digitizing, you can type a clip name. To enter comments about the clip, press the Tab key after typing a clip name and enter comments in the comment box. The information that you type does not appear on the screen until you have completed digitizing. (After you log clips, you can modify information to correct input errors or to add information.) When the tape reaches the clips OUT point or you click the Record button again, digitizing stops, and the system creates a new clip in the bin.

Setting Only One Mark

To set only one mark and enter the other mark on-the-fly, do one of the following: t Mark an IN point, and click the Record button to begin digitizing. Then, click the Record button again to stop digitizing on-the-fly and mark an OUT point.

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

Digitizing On-the-Fly
Use the digitizing on-the-fly method in any of the following circumstances: If you are eager to begin editing immediately and no adequate logs exist for importing to the system or setting marks If you are digitizing from a source deck that cannot be controlled by the Digitize tool or a VLXi unit If your source tape does not have timecode If you are digitizing from a live source, such as a studio feed or an in-house router

There is a slight delay of several frames after you manually select a spot to start and to stop digitizing. Therefore, use this method when you dont need precise beginning and end points in your clip. In some circumstances, the digitized material might exceed the logical file size of the Avid Xpress application. For example, the maximum size of a media file cannot exceed the size of a 2-GB partition. A 2-GB file at a high resolution consists of approximately 10 to 18 minutes of footage. In this case, consider digitizing the clip in shorter overlapping

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pieces, breaking it at points that are likely to be removed during editing. To digitize on-the-fly: 1. Click the Digitize/Log Mode button in the Digitize tool until the DIG icon appears. The Digitize tool is ready to digitize.

Digitize/Log Mode button Record button Trash button

Triangular opener (to display comments)

Name text box Comment text box

Deck controls

2. (Option) Click the triangular opener in the Digitize tool to display the Name and Cmnt (Comment) text boxes, if you plan to enter clip names or comments during digitizing. 3. Use the deck controls in the Digitize tool to locate the position on the tape where you want to start digitizing.

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Step Backward 1 Frame button Fast Forward button Rewind button Stop button Pause button Play button Single-Frame Step Forward button Eject button

4. Click the Play button and when it gets up to speed, click the Record button.

Make sure you have cleared any previous marks so that the deck does not begin cueing to the previous location. 5. While the system is digitizing, you can type a clip name in the Name text box. Press the Tab key after typing a clip name to enter comments about the clip. 6. Click the Pause button at any time to pause play. You can also stop the digitize procedure by clicking the Trash button in the Digitize tool. The clip will be discarded. 7. To stop digitizing and enter the OUT point of the clip, click the Record button, or press the Esc key. The system creates a new clip in the bin.

n
Autodigitizing

There is a slight delay of several frames after you manually select a spot to start and to stop digitizing. Therefore, use this procedure when you dont need precise beginning and end points in your clip.

Autodigitizing can save you time by allowing you to bypass both the logging process and the time it takes to cue each clip. However, this process requires the most storage space, and more time is spent while the system is actually digitizing entire tapes.
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When you autodigitize, you mount and cue your tape to a starting point and start the digitizing process through the Digitize tool. When you have long, continuous clips (for example, footage from a live event), the digitized material for a single clip might exceed the 2-GB limit for file sizes in Avid Xpress. In this case, you must select the option Digitize to multiple files in the Digitize Settings dialog box. Follow the tips and techniques described in the Autodigitize procedure to allow the system to complete the digitizing process unattended for an entire tape. To autodigitize: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Digitize. The Digitize Settings dialog box appears.

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3. In the General tab, select either of the autodigitize options shown in Table 7-1.

Table 7-1
Option

Autodigitize Options
Description

Digitize across timecode Begins a new master clip at each timecode break. breaks Digitize to multiple files Digitizes the entire tape as one master clip. Deselect Digitize across timecode breaks if you select this option.

4. Click OK. 5. In the Digitize tool, click the name of the camera or deck and choose Adjust Deck from the pop-up menu. The Deck Configuration dialog box appears.

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6. Double-click the deck box for the video deck from which you are digitizing. The Deck Settings dialog box appears.

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7. Deselect Fast Cue, and set the preroll to approximately 4 seconds. 8. Click OK to close the Deck Settings dialog box. 9. Click Apply to close the Deck Configuration dialog box. 10. Create one bin for each source tape. This keeps bins to a manageable size and automatically names all clips from each tape after the names of their respective bins. 11. Name each bin after the source tape. By default, all clips are named after the tape and are numbered incrementally beginning with .01. 12. Choose Digitize from the Tools menu, and open the bin for the first tape. 13. Load the source tape and cue past any false starts.

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Mark OUT

14. (Option) If you want the system to stop digitizing at a chosen point on the tape, cue the tape to a chosen OUT point and click the Mark OUT button in the Digitize tool. 15. Play the tape, and wait 4 seconds before clicking the Record button. The system automatically digitizes the entire tape.

Digitizing from a Non-Avid-Controlled Deck

To digitize with manual deck control on a deck that cannot be controlled directly by the system: 1. Open the Digitize tool and prepare to digitize, as described in Chapter 6. 2. Click the Toggle Source button in the Digitize tool to disable the deck controls.
Toggle Source button

The Deck Offline icon appears, and the Tape Name display remains. The Select Tape dialog box appears.

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The TC button also disappears. The footage will be digitized with time-of-day timecode generated by the system.

List of tapes

New Tape Name button

Show Tapes option

3. Select Show other projects tapes to display the tape names and associated project names for all bins that have been opened in the current session.

Because the media file database does not open when you start your Avid Xpress system, tape names of all online media files do not appear automatically. If the tape name for which you are searching does not appear in the Select Tape dialog box, click the Scan for Tapes button. Tape and project names are listed. 4. Identify the source tape name in one of the following ways: t Select a tape name from the list. Tape names and associated projects are listed in two columns. t Click New if the tape is not in the list, and type a new tape name in the text box that appears at the bottom of the Tape Name list.

You can stop the process any time by clicking Cancel.

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For guidelines on naming tapes, see Logging Tips on page 129. 5. Click OK. The tape name is displayed in the Digitize tool. 6. Play the tape manually, and click the Record button to stop and start the digitizing of each clip.

Digitizing with Time-of-Day Timecode

When you digitize with an Avid-controlled deck, you can digitize your footage with time-of-day timecode rather than source timecode. To digitize with time-of-day timecode: 1. Open the Digitize tool and prepare to digitize, as described in Chapter 6. 2. When selecting tracks, deselect the TC button. 3. Digitize by using any of the techniques described in Digitizing On-the-Fly on page 241.

Digitizing with External Timecode

LTC (longitudinal or linear timecode) from an external source allows production facilities to digitize from multiple sources at the same time that they are recording to tape. A facility that has a central timecode generator can use that clock to send identical timecode to all systems. This timecode output can be run directly to the Avid system through the LTC IN connection on the Meridien I/O box. External timecode is especially useful for live events, dramatic multicamera shows, and video material coming in on routers that do not support timecode. You can start editing immediately after the shooting without waiting to digitize from the backup reference tapes.

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If you are taking a feed from a source based on a time-of-day timecode generator, setting IN and OUT points is especially useful. When the time of the external timecode source matches the IN point, the Avid system begins to digitize. Digitizing stops when the external timecode matches the OUT point. To prepare for digitizing with external timecode: 1. Choose Digitize from the Tools menu. The Digitize Tool window opens. 2. Click the Toggle Source button until the External Timecode icon appears. The Select Tape dialog box appears.
Toggle Source button

TC Source pop-up menu

3. Identify a source tape name. See Digitizing from a Non-Avid-Controlled Deck on page 248. 4. Click OK. 5. Choose LTC Input from the TC Source pop-up menu.
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The menu contains two other choices: Internal: Uses internal system timecode. Auto Detect: Detects LTC input by default. If the LTC input is deactivated, the Digitize tool automatically switches to internal timecode. If the LTC Input is reactivated, the Digitize tool switches back to LTC Input.

6. Digitize by using any of the techniques described in Digitizing On-the-Fly on page 241.

If you notice that your digitized material is consistently one or more frames off, use the Latency for External Timecode Mode option in the Digitize settings dialog box (General tab) to fix the problem. See General Digitize Settings on page 193.

Recording Audio from a Music CD

Avid Xpress allows you to record selected tracks from a music CD using the Digitize tool. Once the audio is recorded, you can then edit the audio clip to an audio track in your sequence. To record audio from a music CD: 1. Insert the music CD in the computers CD-ROM drive. 2. Start the CD player application and select the track you want to record. 3. Minimize the CD player application. 4. Choose Digitize from the Tools menu. The Digitize Tool window opens.

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Toggle Source button

Record button

Selected Bin pop-up menu

5. Click the Toggle Source button until the No Deck control icon appears. The Select Tape dialog box appears. 6. Click the New button in the Select Tape dialog box. 7. Name the tape, then select the tape. 8. Click OK. 9. Choose CD from the Audio pop-up menu. 10. Click the New Tape button. 11. Click the Record button. Avid Xpress records the audio to the selected bin. 12. Click the Record button again or press the Esc key to stop the recording. The audio file appears in the bin. 13. When you are finished recording music from the CD, quit the CD player application.
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Digitizing to the Timeline

You can digitize footage directly from tape to a sequence loaded in the Timeline in one step, bypassing several steps such as organizing and reviewing clips, marking edit points, and performing edits. To digitize to the Timeline: 1. Prepare for digitizing as explained in Chapter 6. 2. Set options in the Digitize Settings dialog box: a. b. Click the Settings button in the Project window. In the Settings scroll list, double-click Digitize. The Digitize Settings dialog box appears. c. Click the Edit tab.

d. Select Enable Edit to Timeline. e. f. Set the handle length (the amount of footage you want to digitize before and after the IN and OUT points of the clips). Click OK.

3. Load a sequence into the Composer monitor. 4. (Option) Patch tracks you are digitizing (source tracks) to the tracks in your sequence (record tracks). See Patching When Digitizing to the Timeline on page 255. 5. Mark an IN point in the sequence or move the position indicator to where you want the edit to take place. 6. Mark the source material that you want to digitize by using the Digitize tool logging controls. 7. (Option) Mark an OUT point based on the following: If you are digitizing to the middle of a sequence in the Timeline, mark both IN and OUT points for frame accuracy. If you are digitizing to the end of a sequence, you can mark just an IN point and then mark the OUT point later on-the-fly.
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8. Click the Splice-in button or the Overwrite button in the Digitize tool to choose the type of edit.
Splice-in Overwrite button button

Record button

9. Click the Record button to begin digitizing. 10. If you did not mark the OUT point in advance, click the Record button again when the footage reaches the appropriate frame. If you already marked an OUT point, digitizing stops automatically. When digitizing ends, the clip appears in place in the sequence, and a master clip appears in the bin.

Patching When Digitizing to the Timeline

By default, the tracks you have selected for digitizing (V1, A1, A2, and so on) are edited to the corresponding tracks in the Timeline. You can now patch the digitized footage to any track in the Timeline. To patch tracks when digitizing to the Timeline: 1. In the Digitize tool, click and hold the Channel Selection button for the track (video or audio) that you want to patch. 2. From the pop-up menu, choose the track to which you want to patch the digitized footage. For example, if you want to digitize video footage to track V2, click and hold the red V button in the Digitize tool and choose V2 from the pop-up menu. The Track Selector panel in the Timeline displays the resulting patch.
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Choose the track to patch.

The result is displayed in the Timeline.

You can also patch tracks in the Timeline in the same way that you patch tracks when editing from a Source pop-up monitor. See Patching Tracks on page 511.

Batch Digitizing from Logged Clips

Once you have imported a log or manually logged a group of clips to a bin, you can automate the digitize process by using the batch digitizing capabilities of Avid Xpress. If you want to batch digitize, source tapes must have timecode that matches the timecode for the selected clips. You can also use the batch digitize process to redigitize existing clips. The redigitizing process is described in Redigitizing Your Material on page 260.

To batch import media without timecode, see Reimporting Files on page 285.

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Preparing to Batch Digitize

Preparing for batch digitizing involves an option of resizing the Digitize tool and establishing settings that allow you to batch digitize with minimal system supervision.

Resizing the Digitize Tool

Because your clips are already logged in the bin, you can simplify the interface during batch digitizing by hiding the deck controller and logging controls in the Digitize tool. To resize the Digitize tool during batch digitizing: t Click the triangular opener to the left of the deck controller.

Preparing Settings for Unattended Batch Digitizing

Unattended batch digitizing allows you to digitize a large number of clips with a minimum of system supervision by selecting Digitize settings that avoid pauses in the digitize process. To prepare for unattended batch digitizing: t Select the following options in the Digitize Settings dialog box: Switch to emptiest drive when current drive is full Digitize across timecode breaks

Batch Digitizing Clips

To batch digitize clips: 1. Make sure you selected the correct Digitize settings and set up the Digitize tool, as described in Chapter 6. 2. Open the bin that stores the clips you want to digitize.

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3. If you are redigitizing a project created on an offline system, readjust the video levels for each tape. You cannot reuse video settings from an Avid offline session. For information, see Calibrating for Video Input on page 215. 4. Select the clips to batch digitize: t t Choose Select All from the Edit menu to select all the clips. Ctrl+click (Windows) or Shift+click (Macintosh) to select specific clips.

5. Choose Batch Digitize from the Bin menu. The Batch Digitize dialog box appears.

Handle length options appear only when a sequence is selected.

If the clips that you want to batch digitize are not highlighted in the active bin, Batch Digitize appears dimmed in the Bin menu. 6. Select options in the dialog box: t If the bin contains some clips that are already digitized and you do not want to redigitize those clips, select the option Digitize only those items for which media is currently unavailable. If this option is not selected and some of the selected clips have media files, the system deletes the media files and redigitizes new media files.

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For more information on handle lengths when redigitizing, see Redigitizing Sequences on page 261.

If your selections include a sequence for batch digitizing, the dialog box prompts you for handle-length information. The system will create new master clips based on the length of edited clips in the sequence.

If you are batch digitizing the original source master clips used in the sequence, the sequence will be updated automatically. Therefore, you might want to deselect the sequence during this procedure. 7. Click OK. If you have not loaded a tape, the system prompts you to insert the first tape. 8. Insert the tape into the video deck, and click Mounted. The digitizing process begins. The system digitizes each clip from the tape, in start timecode order. 9. If the system needs another source tape, the system prompts you for the tape. At this point, you have several options: t t t t Insert the new tape, and click Mounted to continue the digitizing process. Click Skip this clip to bypass just the first clip from the tape and continue digitizing the remaining clips. Click Skip this tape to bypass all the clips from the mounted tape. The system then prompts you for the next tape. Click Abort to end the batch digitizing process. You can also stop digitizing at any time by clicking the Trash button in the Digitize tool.

To bypass specific clips in the process of batch digitizing a particular tape, you must abort each clip manually by clicking the Trash button and then clicking the next clip in the Abort window to continue. When the system has finished batch digitizing, a message box notifies you that the process is complete.
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Redigitizing Your Material

Redigitizing is the process of capturing previously digitized source footage based on existing clips and sequences. Redigitizing uses the batch digitize process and does not require extra logging time because the clip information for items such as source tracks, timecodes, and Compression settings already exists in the bin. There are several situations in which you might want to redigitize: You can redigitize a sequence after you transfer it to another system. You can redigitize low-resolution clips at a higher resolution setting after they have been edited into a sequence. You can quickly redigitize selected clips if you make an error while digitizing the first time (for example, if you forget to check audio levels or set the wrong resolution). You can redigitize clips if you accidentally delete media files.

Redigitizing requires your original source footage. Do not delete the media files if the source footage is no longer available, unless you will not need the material again.

Redigitizing Master Clips and Subclips

The procedure for redigitizing master clips and subclips is identical to the process for batch digitizing logged clips. See Batch Digitizing from Logged Clips on page 256. Although the procedure is the same, the result is slightly different, as follows: Master clips are linked to entire media files and serve as sources for subclips and sequences. Therefore, when you redigitize a master clip, changes in Compression settings and levels affect all subclips and sequences created from the master clip.
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Subclips are smaller sections of master clips. When you redigitize a subclip, the system creates a new master clip that is linked to new media files and reflects the shortened length of material. Therefore, redigitizing subclips streamlines the digitizing process. Also, redigitizing breaks the link from the subclip to the original master clip. If you edit the subclip into a sequence, however, the sequence will reflect any changes in the newly digitized subclip.

Redigitizing Sequences
Redigitizing a sequence creates new master clips and associated media files based on the length of each clip edited into the sequence. It breaks any links to the original source clips, and only the sequence and its new master clips are linked to the newly digitized media files. When you redigitize the sequence, the digitizing process creates media files for each clip in the sequence. You cannot make changes after the media files are created without repeating the entire procedure.

Saving Two Versions of a Sequence When Redigitizing

To save the original version of your sequence before redigitizing, you can create a duplicate. For example, use this method if you create a sequence at a low resolution to save storage space and want to redigitize the sequence at a higher resolution while retaining the first version. To make a duplicate of the sequence: 1. Select the sequence in the bin, and choose Duplicate from the Edit menu. 2. (Option) Create a new bin by choosing New Bin from the File menu, and move the duplicate sequence to the bin. This second step is optional, but it saves you from the confusion of mingling new sequences and master clips with existing ones.
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Redigitizing the Sequence

When you redigitize the sequence, the digitizing process creates media files for each clip in the sequence. To redigitize a sequence: 1. Open or activate the bin containing the sequence or clips. 2. Select the sequences or the clips you want to redigitize: t t Choose Select All from the Edit menu to select all the clips in the bin. Ctrl+click (Windows) or Shift+click (Macintosh) to select specific clips.

3. Choose Batch Digitize from the Bin menu. See Batch Digitizing Clips on page 257. The Batch Digitize dialog box appears. 4. To preserve clips that already have existing media, select Digitize only those items for which media is currently unavailable. 5. Click the Handle Length text box and type the number of additional frames you want to digitize at the head frames and tail frames of the new master clips.

The Handle Length text box appears only if a sequence is selected for batch digitizing. 6. Click OK. If you have not loaded a tape, the system prompts you to insert the first tape. 7. Insert the tape into the video deck, and click Mounted. The digitizing process begins. The system digitizes each clip from the tape, in start timecode order.

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If another source tape is needed, the system prompts for the tape. At this point, you have several options: t t t t Insert the new tape, and click Mounted to continue the digitizing process. Click Skip this clip to bypass just the first clip from the tape and continue digitizing the remaining clips. Click Skip this tape to bypass all the clips from the mounted tape. The system then prompts you for the next tape. Click Abort to end the batch digitizing process. You can also stop digitizing at any time by clicking the Trash button in the Digitize tool.

Other Digitizing Functions

The following are also available when digitizing: Controlling Decks from the Keyboard Naming a New Tape from the Keyboard Ejecting Tapes with a Button or Key Returning to Previous Place in the Select Tape Dialog Box

Controlling Decks from the Keyboard

You can use J-K-L keys to control a deck from the Digitize tool, Digital Cut tool, and Deck Controller window. The J-K-L keys work the same as they do in the Source pop-up and Composer monitors as shown in the following table.

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Press K L J

To Stop the deck. Shuttle the deck at 1x, 2x, 3x, 5x, 8x, 16x, or 24x normal speed. Shuttle the deck at 1x, 2x, 3x, 5x, 8x, 16x, or 24x normal speed. Shuttle the deck at 0.25x normal speed. Shuttle the deck at 0.25x normal speed.

K+L J+K

The following restrictions apply: The Digitize tool, Digital Cut tool, or Deck Controller window must be selected for keys to be active. Single-field stepping is not supported. If you remap the function of the J-K-L keys, you are no longer able to control decks with those keys.

Naming a New Tape from the Keyboard

You can name a new tape without taking your hands off the keyboard. To create a new tape name by using a keystroke in Digitize mode: 1. Choose Digitize from the Tools menu. The Digitize Tool window opens. 2. Put a tape in the deck or click the Source Tape Display button. The Select Tape dialog box appears. 3. Press Ctrl+N (Windows) or k+N (Macintosh). A new tape name text box appears.
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4. Type the new tape name. 5. Press Enter (Windows) or Return (Macintosh) to register the tape name. 6. Press Enter (Windows) or Return (Macintosh) or click OK to close the Select Tape dialog box.

Ejecting Tapes with a Button or Key

By pressing an eject button and ejecting a tape, the fact that the tape must be changed can be brought to the attention of any tape operator in a remote machine room. To eject tapes by using a button: 1. Choose Command Palette from the Tools menu. 2. Click the Play tab. 3. Select Active palette. 4. Press the Eject button.

You can map the Eject button to any button on the Tool palette or any key on the Keyboard palette. See Mapping User-Selectable Buttons on page 114.

Returning to Previous Place in the Select Tape Dialog Box

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

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CHAPTER 8
Importing Files
When you import files, the system converts them into objects in a bin. You can manipulate and edit these objects as you would any other clip or sequence. Any corresponding media files are stored on a target drive that you specify. You can import files by using the procedures in the following sections: Preparing to Import Files Working with Mixed-Resolution Projects Creating and Using Import Settings Importing Files Using the Drag-and-Drop Method to Import Files Using Open Media Management (OMM) Reimporting Files

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Preparing to Import Files

Before you begin the import process, make sure the system and the files are ready for import as follows: Read about issues and tips for mixed-resolution projects in Working with Mixed-Resolution Projects on page 267. For graphics file and OMFI (Open Media Framework Interchange) file import, prepare the files in advance according to specifications described in Appendix B For a complete description of all options in the Import Settings dialog box, see Table 8-1.

Working with Mixed-Resolution Projects

For more information on resolutions, see Compression Resolutions and Storage Requirements on page 223.

You can work with mixed resolutions in the same sequence. This feature allows you to import graphics that will match the resolution of the final sequence. For example, assume that you want to use a low resolution such as 20:1 for your initial work and then redigitize your media at 2:1 for the final version. In this case, you should import the graphics at 2:1. Then when you redigitize your material, you will not have to reimport the graphics. If you plan to redigitize your media at a higher resolution, the lower resolution must be from the same family (single-field or two-field). For example, if you plan to finish at 2:1, you could start the project at 20:1, but not 15:1s.

To reimport imported graphics at a higher resolution, use the Batch Import feature, which maintains links to the original master clips and sequences. For more information, see Reimporting Files on page 285.

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Creating and Using Import Settings

You can create one or more sets of import parameters and save them as an Import setting. For example, you can create one setting for importing QuickTime files and another for importing files from AudioVision. This feature is especially useful when you use the drag-and-drop method to import multiple files (see Using the Drag-and-Drop Method to Import Files on page 280). The default Import setting and any additional Import settings you create appear in the Settings scroll list (see Working with Settings on page 93). After you select a setting in the Settings scroll list, the parameters remain the default settings for all imported files, unless you change them during import.

Creating a New Import Setting

To create a new Import setting: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Click Import. 3. Choose Duplicate from the Edit menu. 4. Name the setting by clicking the Custom setting name column, by typing a name, and by pressing Enter (Windows) or Return (Macintosh).

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Custom setting name column

5. Double-click the new Import setting. The Import Settings dialog box appears. 6. Select the appropriate options. 7. Click OK. Once you create a new import setting, you can choose the setting whenever you import a frame, clip, or sequence. For more
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information, see Importing Files on page 276 and Using the Drag-and-Drop Method to Import Files on page 280.

Modifying an Existing Import Setting

To modify an existing Import setting: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click an Import setting. The Import Settings dialog box appears. 3. Select the appropriate options. 4. Click OK.

Import Settings Options

The Import Settings dialog box allows you to specify import information. The following illustration shows the default settings.

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Table 8-1 describes the options available in the Import Settings dialog box.

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Table 8-1
Option Aspect Ratio, Pixel Aspect Suboption 601, non-square

Import Settings Options

Description Select this option to import images with the dimensions used by the Avid system: 720 x 486 (NTSC) or 720 x 576 (PAL). Also use this option for 720 x 540 images, or for other images that fit the 4:3 aspect ratio. You can use this option to maintain field data when you import two-field media that follows exact NTSC or PAL dimensions. The system converts the existing pixel dimensions, if necessary, so that the image fills the screen. If the aspect ratio of the original frames does not match the 4:3 aspect ratio used by the Avid system, the imported frames might appear distorted. For best full-screen resolution of files created in a square-pixel environment, use 648 x 486 (NTSC) or 768 x 576 (PAL). To create a single resolution for both NTSC and PAL, use 720 x 540.

n This option is selected by default.

Maintain, non-square Select this option for an image that was created in a non-square-pixel environment, but does not match exact NTSC or PAL dimensions. Maintain, non-square will preserve up to 486 (NTSC) or 576 (PAL) lines, and will either remove additional lines or pad with video black if there are fewer lines. Maintain, non-square never scales or resizes.

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Table 8-1
Option Suboption

Import Settings Options (Continued)

Description

Maintain, square Select this option for an image that was created in a squarepixel environment, such as a graphics application. Use this option primarily for icons, logos, and other graphics that cannot be resized and are not intended to fill the entire screen. The system fills the rest of the screen with video black. If the image has an alpha channel, this black will be keyed out in the alpha channel. Do not use this option if you are importing: Images in the 720 x 486 (NTSC) or 720 x 576 (PAL) non-square-pixel dimensions A full-screen square-pixel image that has already been stretched to non-square-pixel dimensions Maintain and Resize, square Select this option for an image that was created in square-pixel terms. The system fits the longest dimension to the screen size and fills in the missing pixels in the shorter dimension with video black, creating a border. If the image has an alpha channel, this black will be keyed out in the alpha channel. For example, a 540 x 300 image would have its longer dimension resized to 720, and the shorter dimension resized in proportion (to 400). The remaining short side pixels are replaced with black. For best full-screen resolution of files created in a square-pixel environment, use 648 x 486 (NTSC) or 768 x 576 (PAL). To create a single resolution for both NTSC and PAL, use 720 x 540. Do not use this option if you are importing: Images in the 720 x 486 (NTSC) or 720 x 576 (PAL) non-square-pixel dimensions A full-screen square-pixel image that has already been stretched to non-square-pixel dimensions

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Table 8-1
Option File Field Order Suboption

Import Settings Options (Continued)

Description This section allows you to select the field dominance of the media you are importing. When the field dominance of the imported media matches the field dominance of the project format, no special processing is required. For more information, see Field Ordering in Graphic Imports and Exports on page 814. This setting does not apply to OMFI imports when the import resolution matches the OMFI file.

Non-interlaced

Select this option to import still images to all formats without concern for the temporal ordering of the fields. This is the default value. Select this option for odd-field dominance during import. The first line in the image belongs to the odd field. Select this option for even-field dominance during import. The first line in the image belongs to the even field. Select this option if the imported graphics file uses RGB graphics levels. Most computer-generated graphics use RGB graphics levels. The RGB color values are remapped to ITU-R 601 (formerly CCIR 601) video color values appropriate for the Avid system. Select this option if the imported graphics file uses complex color effects, such as a gradation, and you are importing at a high resolution (2:1). Do not use this option to reimport an image that has already been imported with dithering. Select this option if the imported graphics file uses video levels based on the ITU-R 601 (formerly CCIR 601) standard. These graphics include Avid color bars or images that include superblack (zero black) for keying purposes. Select this option to import the image, using the existing alpha channel information.

Odd

Even

Color Levels

RGB

RGB, dithered

601

Alpha

Use Existing

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Table 8-1
Option Suboption Invert Existing

Import Settings Options (Continued)

Description Select this option to reverse the black and white elements of the alpha channel if they differ from the matte key requirements of the system: a white background, a black foreground, and a gray transparency blend between the two. Select this option to import an image that contains alpha channel transparency information as one opaque graphic. The imported graphic appears as a single master clip in the bin.

Ignore

n If an image contains an embedded alpha channel but the system does not support alpha channel import for the file
type, select this option to import the image successfully. For information on alpha channel support, see Graphic File Import Specifications on page 802. Single Frame Import Duration n seconds Select this option to specify the duration of the single frame created from the import. The default is 10 seconds. This option does not apply to importing sequential image files because each file represents one frame of the clip; therefore, the total number of files determines the total duration. Importing an image with alpha channel creates a matte key effect as a single frame, with no associated media file. Importing as a single frame takes less time and requires less storage than importing as a media file. However, a single frame has limited real-time playback capabilities, particularly at high resolutions. This occurs because the system loads the frame into memory and handles it in real time, rather than playing it back from a disk.

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Table 8-1
Option Autodetect Sequential Files Suboption

Import Settings Options (Continued)

Description Select this option if you are importing sequential files and you want the system to recognize that a sequence of connected files is present and to automatically import the whole sequence. When this option is deselected, the system does not automatically import a whole sequence of files that have sequential extensions. You can then select any single file for import. You can import sequential files for any of the supported still-image formats. For information on preparing a sequence of image files, see Animation Files on page 808.

Importing Files
You can access files for import from any folder, disk, or drive source mounted on the desktop, such as a floppy disk, fixed drive, removable drive, or network server. You can import more than one file at a time, including files of multiple types. Consider copying all graphics files to a single folder on the internal hard drive before you import the files. Using this folder helps you manage graphics from multiple sources and streamlines the reimporting process because all graphics will point to the same original path.
For information on using the drag-and-drop method, see Using the Drag-and-Drop Method to Import Files on page 280.

To import files: 1. If you have created one or more Import settings, select the Import setting that you want to use from the Settings scroll list (see Creating a New Import Setting on page 268). 2. Open the bin in which you want to store the imported files. 3. Choose Import from the File menu.

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The Select Files to Import dialog box appears.

Windows Up One Level pop-up menu Details button

File browser

File to import

Files of Type pop-up Options button

Single/Dual Drives button

Video Resolution pop-up menu Video and Audio Drive pop-up menus

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Macintosh

Directory pop-up menu Source file list

Import file list

Single/Dual Drives button File Type pop-up menu

Video and Audio Drive pop-up menus

Resolution pop-up menu

4. Choose an import file type from the Files of Type pop-up menu (Windows) or the File Type pop-up menu (Macintosh) to display only files of the chosen file type in the source file list: Choose either Graphic or Audio (Windows) or Graphic/Audio (Macintosh) to import one of more than 30 supported graphics and audio file types. For more information on the various file types and their import specifications, see Appendix B. Choose AAF to import files that have been saved in the AAF file format.

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Choose OMFI to import files that have been saved in the OMFI file format, such as sequences transferred from an effects or digital audio workstation. (Windows only) Choose Sequential Files to import a sequence of files. The first file in the sequence appears. To automatically select the entire sequence of files, you must select Autodetect Sequential Files in the Import Settings dialog box. Choose Shot Log to import Avid Log Exchange (.ALE) files containing clip information to a bin. For more information about Avid log specifications, see Appendix C.

By default, the system displays only file types that belong to the chosen category in the file browser section of the dialog box. Choose Select All Files from the Files of Type pop-up menu (Windows) or the Show All Files check box (Macintosh) to display all files in a chosen folder, regardless of file type. Use this option if you want to batch import from multiple file types. 5. Click Options to adjust the Import settings. The Import Settings dialog box appears, in which you can edit various parameters. The contents of the Import Settings dialog box depend on the file type you selected.

For a complete description of all options in the Import Settings dialog box, see Table 8-1. 6. Select the options you want and click OK to save the settings. 7. Close the Import Settings dialog box and return to the Select Files to Import dialog box. 8. Use the Up One Level pop-up menu (Windows) or the Directory pop-up menu (Macintosh) to locate the folder containing the source files. 9. Choose a resolution for the imported media from the Video Resolution pop-up menu (Windows) or the Resolution pop-up menu (Macintosh). See Working with Mixed-Resolution Projects on page 267.
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10. Click the Single/Dual Drives button and select a destination drive for the imported file from the pop-up menu. 11. Select files or deselect files from the source file list by doing one of the following: t t t t t t t (Windows) To add a single file, Ctrl+click the file to import from the source file list. (Macintosh) To add a single file, select a file name in the source file list and click Add, or double-click the file name. (Windows) To add a group of files, click the first file in a group, and then Shift+click the last file in a group. (Macintosh) To add all files in the source file list, click Add All. (Windows) To deselect a single file from the file browser section or import section, Ctrl+click a highlighted file name. (Macintosh) To deslect a file, select a file name and click Remove. (Macintosh) To deselect all the files from the source file list, click Remove All.

If you are importing a sequential series of image files, you must select Autodetect Sequential Files in the Import Settings dialog box. Then add only the first file in the series to the File browser section. 12. Click Open (Windows) or Done (Macintosh). When the system finishes importing the files, the clips appear in the selected bin.

Using the Drag-and-Drop Method to Import Files

To import one or more files by using the drag-and-drop method: 1. Click the Settings button in the Project window. The Settings scroll list appears.
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2. Select the setting you want to use for import. Select either the default Import setting or one you have created. To view or modify the parameters, double-click the setting. For more information, see Creating a New Import Setting on page 268. 3. Open the bin in which you want to store the imported files. 4. From the desktop, open the folder that contains the files you want to import. You might have to resize the application to access the desktop. 5. Click the file you want to import and drag the file to the bin. To select multiple files, Ctrl+click (Windows) or Shift+click (Macintosh) the files and drag them to the bin.

Using Open Media Management (OMM)

Open Media Management (OMM) is an Avid initiative to create a standard programming interface for integrating asset management systems with Avid editing systems. Avid has partnered with leading asset management companies to implement the OMM standard. OMM allows you to exchange video and audio clips with an asset management application. An asset manager is a powerful tool that gives you the ability to share media and composition files between Avid applications. It also has a powerful search capability to locate specific clips, and it archives large numbers of clips to be used in the future. OMM uses the OMF (Open Media Framework) data model but does not express the data as a file. Instead, OMM simplifies workflow by using standard Internet protocols to create a rich, network-based collaboration facility. Your Avid system can exchange information with any asset manager that uses the OMM protocol.
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For more information about OMM, see the Avid Web site at http://www.avid.com/3rdparty/OMM.html.

Specifying OMM Settings

You must specify the location of your OMM asset manager to let your Avid system know where to look for it on the network. You specify the asset manager in the OMM Settings dialog box, which you open from the Settings scroll list of the Project window. If you have access to more than one OMM asset manager, you create and name a setting for each location in the same way that you create other duplicate settings. To specify the location of your asset manager: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click OMM. The OMM Settings dialog box appears.

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3. In the Preferred Asset Manager text box, type the Universal Resource Locator (URL) where the preferred asset manager is located: For networks: http://assetmanagerlocation/hostinfo.xml. For local workstations: file:///c:mydir/filename.xml. 4. Select Login to Asset Manager at Launch if you want to log in to your asset manager when you open your project. 5. Click OK. The asset manager location setting is created and marked as the default. To log in directly to the asset manager: t Click the OK and Login button.

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When you select an OMM setting, the Avid system uses this location for all OMM imports and exports. If you use the drag-and-drop method to move clips to a different OMM location, the exported clip will go to the location specified in the OMM setting.

Import and Export Settings

You create import and export settings for OMM in the same way that you create any import or export setting. See Creating and Using Import Settings on page 268 and Customizing Export Settings on page 698.
You can create multiple import and export settings and name them whatever you want, for example, OMM with media.

There are two options for OMM that you can select in the Import Settings or Export Settings dialog box: Use Video Media Use Audio Media

When you select either of these options, the video or audio media file (media data objects) and the media information (metadata) associated with the clip are both copied. If you do not select these options, only the media information is copied.

Using OMM to Import Clips

Importing clips by using OMM allows you to copy or check out a clip (with or without its associated media) from the asset manager application that you have chosen. You can import only a master clip. You cannot import an entire sequence.

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To import clips, you need to use the drag-and-drop method to copy files from the asset manager browser to a bin. To import a clip by using OMM: 1. In the Settings scroll list of the Project window, click to select an OMM setting and an Import setting (see Specifying OMM Settings on page 282). 2. Open the bin in which you want to store the imported clip. 3. Start your browser, and locate your asset manager. 4. In the asset manager window, click the clip you want to import and drag it to the bin. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple clips. The imported clip appears in the bin and you can edit it into your sequence. For instructions on using OMM to export clips, see About Avid Codecs on page 730.

Reimporting Files
If you are working with master clips or sequences that contain imported material, you can use the Batch Import command to reimport the imported files. For example, you might want to: Upgrade the video resolution of the imported files to an online resolution for distribution. Replace low-quality material with high-quality material finished with other applications, such as Avid Marquee and Avid Media Illusion. Create new media files when the media files are lost or accidentally deleted.

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Reimporting requires your original source file. Do not delete the media files for imported files if the source files are no longer available unless you will not need the material again. The Batch Import command allows you to reimport the imported files while automatically linking the new imported material with the original master clips and sequences. When you play your sequence after reimporting the files, the new imported material plays in your sequence. When you reimport a media file, the entire media file, including all tracks, is reimported. For example, if only the video track of an imported file that contains both video and audio was edited into the sequence, the reimport process will import both the video and audio from the source file.

OMFI files can contain only one master clip when you reimport them.

The Batch Import Dialog Box (Windows)

The Batch Import dialog box allows you to select a source file for each master clip that you selected in a bin. Your Avid system finds the source file automatically if the source file is located in the same folder as the last time you imported the file. The Batch Import dialog box appears when you select a master clip or sequence and choose Batch Import from the Bin menu.

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Look in pop-up menu

File browser

File to import Files of Type pop-up menu Status line

Current Clip Info section

Import Options section

Video Resolution pop-up menu Video and Audio Drive pop-up menu

Single/Dual Drives button

File Browser Section (Windows)

The file browser in the Batch Import dialog box allows you to search for the source file that you want to import for the current master clip shown in the Master Clip text box. You can click Open to open folders or to select the file for importing. Clicking Cancel allows you to cancel the entire import operation. If you click Cancel, none of the source files are imported.

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Status Line (Windows)

The Status line in the Batch Import dialog box indicates the status of the current importing process. Current Clip Info Section (Windows) The Current Clip Info section provides information about the imported master clips you selected in the bin. Master Clip: Shows the name of the current master clip for the source file you are importing. Original Path: Displays the item listed in the Original Path text box in the file browser. Clip n of n: Indicates the number of the master clip that you are currently processing in relation to the total number of selected master clips.

The buttons in the Clip Info section help you step through the list of master clips. They also start the reimport process.

Click Back Clip Skip Clip OK to Original Path OK to All

To Return to the previous master clip. Bypass the current master clip. Select the source file listed in the Original Path text box for import and start the reimport process. Start the import process by using the source files in the default folder that was chosen for the previous clip. If a default folder was not chosen, then the original folder of the first clips source file is used. If a source file is not found, the Status line displays a message that you need to select an import media file.

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Import Options (All Clips) Section (Windows)

The Import Options (All Clips) section of the Batch Import dialog box contains global settings that affect all the files you are importing. Use source compression for OMFI: When selected, the resolution for OMFI files compressed with native resolution types (4:1s, 3:1, 1:1) is used. This allows for fast import of these files. When deselected, the resolution in the Resolution pop-up menu is used as the resolution for import. This option always overrides the OMFI Resolution setting in the Import Settings dialog box. Override clip settings with current settings: Allows you to change the Import settings for all imported files. By default, each file will import using the Import settings for the last time it was imported.

If you change the Import settings by using the Import Options (All Clips) section, the new settings will apply to all the files you are importing.

Select (All Clips) Section (Windows)

The Select (All Clips) section of the Batch Import dialog box contains global settings that affect all the files you are importing. Single/Dual Drives button: Allows you to choose a single destination drive for both video and audio files or to choose different destination drives for video and audio files. Video Drive pop-up menu: Allows you to choose a destination drive for video files. Audio Drive pop-up menu: Allows you to choose a destination drive for audio files. Video Resolution pop-up menu: Allows you to choose a video resolution.

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The Batch Import Dialog Box (Macintosh)

The Batch Import dialog box allows you to select a source file for each master clip that you selected in a bin. Your Avid system finds the source file automatically if the source file is located in the same folder as the last time you imported the file. The Batch Import dialog box appears when you select a master clip or sequence and choose Batch Import from the Bin menu.

File section

Import Settings section

Import Settings option Single/Dual Drives button

Resolution and Drives section Video and Audio Drive pop-up menu Resolution pop-up menu

File Section (Macintosh)

The file section of the Batch Import dialog box includes a list of all the files available for batch import and the following six buttons you can use to select and define the files: Select All: Selects all the files in the Batch Import file list. If all files are selected, clicking Select All deselects all the files in the file list. Select Unknown: Selects only the files with unknown paths.
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Set Path: Opens the Macintosh Directory dialog box, from which you can navigate to the original path of the file. All other files in that folder are automatically linked for importing. Set File: Opens the Macintosh Directory dialog box, from which you can navigate to a specific file and link it to a specific clip. Revert: Returns any selected files to their original states (original path or unknown path). Remove: Removes any selected files from the Batch Import file list.

Import Settings Section (Macintosh)

The Import Settings section of the Batch Import dialog box allows you to choose a preset Import setting from the Import Settings pop-up menu or to create a new one by clicking Customize. Use Import Setting: Allows you to access the Import Settings pop-up menu and the Customize button. Import Settings pop-up menu: Allows you to choose a preset Import setting. The Import Settings pop-up menu appears only when Use Import Setting is selected. Customize: Opens the Import Settings dialog box. From this dialog box, you can create and name a new Import setting. This button appears only when Use Import Setting is selected.

The Import Settings section of the Batch Import dialog box contains global settings that affect all the files you are importing.

Resolution and Drives Section (Macintosh)

The Resolution and Drives section of the Batch Import dialog box allows you to select a resolution for reimported files and to choose a storage drive. These are global settings that affect all the files you are importing. For information about the Import settings, see Table 8-1.

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Resolution pop-up menu: Allows you to choose a video resolution. The Resolution pop-up menu appears only when Use Import Setting is deselected. Single/Dual Drives button: Allows you to choose a single destination drive for both video and audio files or to choose different destination drives for video and audio files. Video Drive pop-up menu: Allows you to choose a destination drive for the video files. This menu appears only when Use Import Setting is deselected. Audio Drive pop-up menu: Allows you to choose a destination drive for the audio files. This menu appears only when Use Import Setting is deselected. Use Source Resolution for OMFI: When selected, the resolution for OMFI files compressed with native resolution types (4:1s, 3:1) is used. This allows for fast import of these files. When deselected, the resolution selected in the Resolution pop-up menu is used as the resolution for import. This option always overrides the OMFI Resolution setting in the Import Settings dialog box.

When Use Import Setting is selected in the Import Settings section of the Batch Import dialog box, the Resolution and Drives section displays the drive and resolution saved in the current Import setting. When Use Import Setting is deselected, each file is imported using the Import settings from the last time it was imported. By default, each file is imported to the drive and at the resolution displayed in the Batch Import dialog box.

Starting the Reimport Process (Windows)

Before beginning the reimport process, consider mounting any removable media drives that held the original graphics. You can streamline the reimport process by copying all graphics files to a single folder on the internal hard drive before you import the files.

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Then import the files from this folder so that all graphics point to the same original path. To reimport imported files: 1. Open the bin and select the imported master clips and sequences that you want to reimport. 2. Choose Batch Import from the Bin menu. A dialog box appears.

3. Select one of the following: Offline only: Reimports only the selected imported master clips that are missing their media files. All clips: Reimports all the selected imported master clips; for example, if you need to change the video resolution of the imported master clips.

The Batch Import dialog box appears. 4. Choose a destination drive for all video files from the Video Drive pop-up menu. 5. Choose a destination drive for all audio files from the Audio Drive pop-up menu. 6. Choose a video resolution for all the reimported files from the Resolution pop-up menu. 7. (Option) By default, the file will be imported using the Import settings from the last time it was imported. You can change the Import settings for all clips being imported by doing the following: a. Select Override clip settings with current settings.
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b. c.

Click Current Settings to open the Import Settings dialog box. Select the appropriate options.

d. Click OK to close the Import Settings dialog box. 8. (Option) Select Use source compression for OMFI to import files with the resolution that was used to create the files. Do not select this option if you want to use the resolution set in the Video Resolution pop-up menu. 9. Begin the batch import process by doing one of the following: t t Click OK to Original Path if the source files for the master clips are located in the original folder. Click OK to All if the source files for the master clips are located in the current folder of their original folder.

10. If a source file is not found, a message that you need to select an import media file is displayed in the Status line. Do the following: a. Choose a source file for the current master clip, using the file browser. The Clip Info section of the Batch Import dialog box provides information about the current master clip you are processing. Click Open when the source file name is displayed in the File Name text box.

b.

If a source file is found in multiple locations, the Choose Batch Import File dialog box appears.

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11. Choose the file path you want by clicking one of the buttons:

Click Choose Default Choose Original Always Default Always Original

To Select the default path for the current file. Select the original path for the current file. Select the default path for all the files. Select the original path for all the files.

n n

To cancel the entire import operation, click Cancel. If you click Cancel, none of the source files are imported.

Starting the Reimport Process (Macintosh)

Before beginning the reimport process, consider mounting any removable media drives that held the original graphics. You can streamline the reimport process by copying all graphics files to a single folder on the internal hard drive before you import the files. Then, import the files from this folder so that all graphics point to the same original path. To reimport imported files: 1. Open the bin and select the imported master clips and sequences that you want to reimport. 2. Choose Batch Import from the Bin menu. A dialog box appears.

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3. Select one of the following: Offline only: Reimports only the selected imported master clips that are missing their media files. All clips: Reimports all the selected imported master clips; for example, if you need to change the video resolution of the imported master clips.

The Batch Import dialog box appears. 4. Choose a destination drive for all the media files from the Media Drive pop-up menu. 5. Choose a video resolution for all the reimported files from the Resolution pop-up menu. 6. (Option) By default, the file will be imported using the Import settings from the last time it was imported. You can change the Import settings for all clips being imported by doing one of the following: t t Select Use Import Setting, and select a preset Import setting from the Import Settings pop-up menu. Select Use Import Setting, and click Customize to open the Import Settings dialog box. Create, save, and name a new setting. For more information on using the Import Settings dialog box, see Table 8-1.

If you want to check the current Import setting without modifying it, click Customize, check the settings, and then click Cancel to exit the Import Settings dialog box without making any changes.

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Select Use Source Resolution for OMFI to compress OMFI files with the Source Resolution setting. Do not select this option if you want to use the resolution set by the Resolution pop-up menu.

7. Select the files for batch importing by doing one of the following: t t Click Select All if the source files for the master clips are located in the current or original folder. Click Select Unknown to select only the files that are missing file paths.

8. (Option) Choose a file path for the files by clicking Set Path. The Macintosh Directory dialog box appears. a. b. Navigate to the folder that contains the source file. Select any file in the target folder and click Open.

All other files in that folder are automatically linked for import.

If you change the name of an imported clip, the clip will appear as <Unkown Path> in the Batch Import dialog box. You can click Set Path to link a renamed clip to the original file. 9. (Option) Select a source file for any selected files by clicking Set File. The Macintosh Directory dialog box appears. a. b. Navigate to the folder that contains the source file. Select the source file and click Open when the source file name is displayed in the File Name text box.

10. Click OK in the Batch Import dialog box.

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CHAPTER 9
Organizing with Bins
The Avid Xpress system provides powerful database tools for organizing and managing your digitized material. You can work with bins using three different views. You can rename, sort, sift, duplicate, and delete clips and sequences. You can also print single-clip frames or whole bins. These topics are covered in the following sections: Before You Begin About Bin Views Basic Bin Procedures Using Text View Using Frame View Using Script View Printing Bins Gathering Format Elements

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Before You Begin

There are several procedures you might want to perform before organizing your project because they affect the display of information in bins or the way the clips play back during screening: If you want to center the pan between left and right speakers for some or all of the clips in a bin, see Adjusting Pan Defaults on page 299. If you want to customize the types of objects (clips, subclips, and so on) displayed in a bin, see Setting the Bin Display on page 300.

Adjusting Pan Defaults

The way your footage was recorded in the field and was digitized with Avid Xpress will affect the way sound pans between the speakers. By default, the system pans audio tracks 1 and 3 to the left speaker output and pans audio tracks 2 and 4 to the right speaker output. You can set global pan settings before or during editing by using the Audio Settings dialog box and by selecting All Tracks Centered. The Audio Settings dialog box also provides options for adjusting the default audio pan when editing with new clips, and for adjusting digital audio scrub parameters for monitoring and analyzing audio tracks and transitions. For information on using the Audio Mix tool to adjust pan for individual clips in a sequence, see Using the Audio Mix Tool on page 563. To open the Audio Settings dialog box: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Audio.
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The Audio Settings dialog box appears.

By default, the audio tracks for clips alternate with track 1 on the left speaker and track 2 on the right speaker for monitoring and output. The option All Tracks Centered instructs the system to center the pan of all tracks between the two speakers for monitoring and output.

Setting the Bin Display

You can use the Set Bin Display dialog box to display clips referenced by a sequence, even if the clips were not previously in the bin. Place a sequence in a new bin and follow this procedure. To set the bin display: 1. Choose Set Bin Display from the Bin menu. The Set Bin Display dialog box appears.

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Table 9-1 briefly describes the icons listed in the Set Bin Display dialog box.

Table 9-1
Object Icon

Object Icon Descriptions

Object Description A clip that references audio and video media files formed from digitized footage or imported files. A clip that references a selected portion of a master clip. A clip that represents an edited program, partial or complete, that you create from other clips. A clip that references the original videotape source footage for master clips.

Master Clips

Subclips

Sequences

Sources

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Table 9-1
Object Icon Effects

Object Icon Descriptions (Continued)

Object Description A clip that references an unrendered effect that you create. A file in the bin that references effect media files generated when you create motion effects. A clip that references an effect media file generated when you render an effect.

Motion Effects

Rendered Effects

2. Select the object types that you want to see: master clips, subclips, sequences, and so on. 3. The option Show clips created by user is selected by default. Deselect this option only if you want to hide all objects except those created by the system. 4. Select the option Show reference clips to automatically display objects that are referenced by sequences in the bin, whether those clips were previously in the bin or not. 5. Click OK. The bin displays objects according to your specifications.

About Bin Views

There are different display views for working with clips in a bin: Text view, Frame view, and Script view.

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Text View
In Text view, clips are displayed in a database text format, using columns and rows, with icons representing the various objects.

Column headings

Object icons

Fast Menu button Text View button For information on specific Text view features, see Using Text View on page 323.

To enter Text view: t Click the Text View button (labeled T) in the lower left corner of the bin.

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Frame View
In Frame view, each clip is represented by a single picture frame, with the name of the clip. You can play back the footage in each frame and change the size of frames. You can also rearrange the frames in any order within the bin.

Clip frame Clip name

Frame View button For information on specific Frame view features, see Using Frame View on page 339.

To enter Frame view: t Click the Frame View button (labeled F) in the lower left corner of the bin.

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Script View
In Script view, the system combines the features of Text view with Frame view, and adds space for typing notes or script. The frames are displayed vertically on the left side of your screen with a script text box to the right of each clip. Clip information is displayed above the text box.

Script View button

To enter Script view: t Click the Script View button (labeled S) in the lower left portion of the bin.

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Custom Bin Views

To the right of the Text View button is the Bin View pop-up menu (Text view only) for selecting different Bin views. Bins have three default views that are automatically loaded: Custom, Film, and Statistics.

Text View button

Bin View pop-up menu

Customizing Bin Views in Text View

You can create and save customized bin views that you can easily access from the Bin View pop-up menu. You can customize the bin view by adding, hiding, or rearranging Bin columns. The only required column heading is the clip name, which is displayed by default. There are several ways to customize views of the bin: Alter the arrangement of existing columns in the standard Statistics view or Film view to suit your needs, without adding or
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hiding columns. These arrangements are recalled each time you choose Statistics view or Film view. Add or hide columns of information to create customized Statistics or Film views. These are saved as additional view settings in numerical order, for example Statistics.1, Statistics.2, unless you choose another name.

To customize views of the bin, you can add, hide, copy, or rearrange standard or customized columns in any combination to create your own custom views. You can name and save them to suit your needs.

You can view bin columns that you have imported from other Avid products even if the bin columns are not available in Avid Xpress. When you create a new Bin view, the system saves the settings for this view so that you can later access and alter, copy, or delete these settings. New Bin View settings appear in the Settings scroll list of the Project window.

Saving a Custom Bin View

Any time you add, hide, or delete a column, the bin view name changes to italic with the file name extension .n to indicate that it no longer matches the original view. If you select a new Bin View setting while the current setting is untitled or italic, the system discards the current setting.

If you do not save the view after adding or deleting headings, it is discarded. To save a bin view: 1. Open a bin and click the Text View button (T). 2. Add or hide columns according to preference. The bin view name changes to italic. 3. Choose Save As from the Bin View pop-up menu.

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The View Name dialog box (Windows) or the Name of This View dialog box (Macintosh) appears.

4. Type a name for the custom view and click OK.

Bin Fast Menu

All Bin menu commands are also available in the Bin Fast menu, located in the lower left corner of every bin. The Fast menu is convenient when you are working with several open bins and need to access Bin menu commands quickly. To open the Bin Fast menu: t Click the Fast Menu button in the lower left corner of the bin.

Basic Bin Procedures

There are some basic procedures that you can use in any of the bin views for manipulating clips in the bin. They include selecting, deleting, duplicating, moving, copying, and sifting clips and sequences. When you are working with bins, an asterisk (*) appears before the bin name in the bins title bar. This asterisk indicates that the changes to

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the bin have not been saved. Once you save the bin, the asterisk is removed.

To view a complete list of the bins in your project, see Using the Bins Display on page 62.

Setting the Bin Font

To set the font displayed in bins: 1. Choose Set Font from the Edit menu. The Set Font dialog box appears.

2. Choose one of the available fonts from the Font pop-up menu.

Any font loaded in the Fonts folder appears in the list. For information on adding fonts to your system, see your Windows NT documentation or your Macintosh documentation. 3. Type another point size for the font in the Size text box. 4. Click OK. The new font appears in all bin views.

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Selecting Clips and Sequences

To select clips or sequences in a bin, do one of the following: t t t t Click the clip or sequence icon (Text view). Click the picture area of the clip or sequence (Frame view). (Windows) Ctrl+click to select multiple clips or sequences. (Macintosh) Shift+click to select multiple clips or sequences, or click and drag a lasso around several items.

To reverse your selection: t Choose Reverse Selection from the Bin menu. The items that you previously selected are deselected, and those that were previously deselected are selected.

Duplicating Clips and Sequences

When you duplicate a clip or sequence, the system creates a separate clip linked to the same media files. You can move, rename, and manipulate this clip without affecting the original clip. To duplicate a clip or sequence: 1. Select the clip or sequence that you want to duplicate, or Ctrl+click (Windows) or Shift+click (Macintosh) multiple clips. 2. Choose Duplicate from the Edit menu. A copy of the clip or sequence appears in the bin, with the original clip or sequence name followed by the file name extension .Copy.n, where n is the number of duplicates created from the original clip or sequence.

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Duplicated Clip

Clip

Moving Clips and Sequences

You can move clips and sequences to other bins in order to group and organize various types of material based on project needs. To move clips or sequences from one bin to another: 1. Create or open another bin. Give the bin a name that represents its purpose or contents. 2. Position or resize the original bin and the new bin so that you can see both of them at the same time. 3. Select the clip or sequence that you want to move, or Ctrl+click (Windows) or Shift+click (Macintosh) multiple clips or sequences. 4. Drag the clips or sequences to the new bin.

If the destination bins display has been set to show reference clips, the referenced object types do not appear until you save the bin.

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Copying Clips
When you copy clips, you essentially clone the same clip in another bin. Any change you make to the copy will affect the original as well. You cannot copy clips to the same bin, and you cannot return a clip copy to the same bin where the original resides. When you press the Alt key (Windows) or the Option key (Macintosh) and drag a clip to make a copy, the system does not add the file name extension .Copy.n to the clip or sequence as it does when duplicating. When you copy clips from one bin to another, the custom columns that you created in the first bin are also copied to the second bin. The custom columns appear in the order in which you created them. To copy clips from one bin to another bin: 1. Position the bins so that you can see both of them at the same time. You might need to resize the bins to do this. 2. In the original bin, click the clip or sequence that you want to copy, or Ctrl+click (Windows) or Shift+click (Macintosh) multiple clips or sequences. 3. Press and hold the Alt key (Windows) or the Option key (Macintosh), drag the clips or sequences to the destination bin, and release the mouse button.

Deleting Clips, Sequences, or Media

You can delete subclips and sequences from a bin. For information on deleting media files associated with subclips and sequences, see Finding a Related Media File on page 365. You can delete effect clips and their media files, motion effect clips and their media files, rendered effects clips and their media files, and master clips and their media files from a bin. To delete video and

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audio tracks, you must use the Media tool. For more information, see Deleting Media Files with the Media Tool on page 356.

If you delete media files, you no longer have access to visuals of the deleted material. If you load a clip for which a media file has been deleted, a black screen appears with the words "Media Offline." If you need to use those clips again, you must redigitize or reimport the material. To delete clips or sequences from a bin: 1. Select the clips and sequences that you want to delete. 2. Choose Delete (Windows) or Clear (Macintosh) from the Edit menu, or press the Delete key. The Delete dialog box appears, showing information about the selected items.

3. Click the check boxes for items you want to delete. Select both clips and media files for deletion.

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Select only the media files for deletion if you want to retain the clips for redigitizing later. Select only the clips for deletion if the media file is referenced by another clip.

4. Click OK. If you choose to delete media files, a dialog box appears.

5. Click Delete.

Assigning Colors to Bin Objects

You can assign colors to clips, subclips, sequences, and effect clips to help you manage and organize the bin objects. Colors assigned to bin objects are referred to as source colors.

Adding a Color Column to a Bin

To add a Color column to a bin: 1. With a bin in Text view, choose Headings from the Bin menu. The Bin Column Selection dialog box appears.

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2. Select Color from the scroll list. Ctrl+click (Windows) or click (Macintosh) Color in the scroll list. 3. Click OK. The Color column appears in the bin.

By default, a new column appears as the last column in the bin. To move the Color column, select the Color column heading and drag it to the left.

Assigning a Source Color

To assign a color to a clip, subclip, sequence, or effect clip in a bin: 1. With a bin in Text view, select the bin objects to which you want to assign a color. 2. Choose Set Clip Color from the Edit menu, and choose a color from the submenu.

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The color appears in the Color column and on the clip icon.

You can also assign a color by clicking in the Color column and choosing a color from the pop-up menu.

Assigning a Custom Source Color

To assign a custom color to a clip, subclip, sequence, or effect clip in a bin: 1. With a bin in Text view, select the bin objects to which you want to assign a color. 2. Choose Set Clip Color from the Edit menu, and choose Pick from the submenu. The Windows NT Color dialog box or the Macintosh Color Picker appears. 3. Select a color and click OK. The custom color appears in the Color column and on the clip icon.

After you assign a custom color, the color appears as Other in the Set Clip Color submenu.

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Limiting Color Choices

When assigning colors to bin objects, you can limit the color choices to only the colors currently used in the bin. To limit the colors available when assigning colors to bin objects: 1. With a bin in Text view, select the bin objects to which you want to assign a color. 2. Alt+click (Windows) or Option+click (Macintosh) in the Color column in the bin. A menu of all the colors you are using in the bin appears. Any custom colors you assigned are labeled Other. 3. Choose one of the colors. The color appears in the Color column and on the clip icon.

Sorting by Color
To sort bin objects by color: 1. Click the Color column heading in the bin. 2. Choose Sort from the Bin Fast menu. The objects in the bin are sorted by color.

n
Sifting by Color

Colors are sorted by hue, saturation, and value.

To sift bin objects by color: 1. Choose Custom Sift from the Bin Fast menu. 2. Type the name of the color in the text box. 3. Choose Color as your sift parameter. 4. Click OK.
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The objects in the bin are sifted by the color you specified.

Highlighting Offline Media Clips

You can choose to highlight the clips in the Timeline that have offline media. The clips appear red, indicating their media is offline. Choosing offline overrides any previous source or local color selections. To highlight the clips that have offline media: 1. Click in the Timeline to activate it. 2. Choose Clip Color from the Timeline Fast menu, then choose Offline from the submenu. Any offline media is displayed in red in the Timeline.

When you are working with nested layers, a clip that contains offline media appears red even if the missing media is nested many layers deep.

Sifting Clips and Sequences

When you sift clips, the bin displays only those clips that meet a specific set of criteria. For example, you can do a custom sift to display only those clips containing the word close-up in the heading column. The dialog box provides you with six different levels of criteria. To sift clips and sequences: 1. Choose Custom Sift from the Bin menu. The Custom Sift Parameters dialog box appears.

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Sift Criteria text box

Column pop-up menu

Operator pop-up menu

2. Click the Operator pop-up menu and choose one of the sifting options. 3. Click the first Sift Criteria text box, and type the text that you want to use as a sift criterion. When sifting by color, type the name of the color exactly by using uppercase and lowercase letters, in the text box. 4. Click the Column pop-up menu, and choose a column heading to which you want to apply the criterion. 5. Type additional sift criteria, and make additional column selections, as necessary. 6. Click OK. Only the clips that meet your criteria remain in the bin, with the word sifted added to the bin name. After you have sifted the clips in a bin, you can display the bin in a sifted or an unsifted state.
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To view the entire bin: t Choose Show Unsifted from the Bin menu.

To view the sifted bin: t Choose Show Sifted from the Bin menu.

The word sifted appears in parentheses after the bin name when you are viewing a sifted state.

Locking and Unlocking Items in the Bin

You can lock any item in the bin including source clips, master clips, subclips, and sequences to prevent deletion. When you lock clips in the bin, you lock their associated media files on your desktop as well. To lock items: 1. Click a clip, subclip, or sequence to select it. Ctrl+click additional clips if necessary. 2. Choose Lock Bin Selection from the Clip menu.

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A Lock icon appears for each locked clip in the Lock column of the bin in Text view.

If the Lock column is not displayed, see Showing and Hiding Columns on page 326. To unlock previously locked items: 1. Select the items in the bin. 2. Choose Unlock Bin Selection from the Clip menu.

You can use the clip-locking feature along with archiving software to automatically archive all locked media files. For more information on archiving locked files, see your archiving softwares documentation.

Selecting Offline Items in a Bin

Offline items are clips, subclips, or sequences that are missing some or all of their original media files or that have never been digitized. To identify offline items: t Choose Select Offline Items from the Bin menu or the Bin Fast menu. The bin highlights all items that are missing media files.

Selecting Media Relatives for an Object

When you identify the media relatives of a selected clip or sequence, the system highlights all other clips linked to the selected clip, such as subclips or other sequences.

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To identify media relatives: 1. Open the bin that contains the chosen clip or sequence. 2. Open any other bins that might contain the media relatives that you want to find. 3. Resize and position the bins so that you can see their contents. Text view is best for viewing as many objects as possible. 4. Select the chosen clip or sequence, and choose Select Media Relatives from the Bin menu or the Bin Fast menu. The system highlights all related objects in all open bins.

Highlighted item

Highlighted media relatives

You can also use the Media tool to look at the digitized video and audio data files stored on your media drives.

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Selecting Unreferenced Clips

When you select unreferenced clips, the system highlights all clips that are not currently referenced by clips or sequences present in the open bins. Any master clips, subclips, or effect clips you have edited into a sequence in the bin are not highlighted. To select unreferenced clips: 1. Open the bin containing the sequence or clip that is referenced. 2. Open all other bins containing clips that were used during editing. 3. Choose Select Unreferenced Clips from the Bin menu. A message box warns you that unreferenced clips will be highlighted in open bins only (items in closed bins are not shown). 4. Click OK. All unreferenced clips are highlighted in the open bins.

The Select Unreferenced Clips command is effectively the reverse of the Select Media Relatives command.

Using Text View

Text view provides the most complete view of clip information. It uses database columns that you can rearrange and customize to suit your needs. To enter Text view: t Click the Text View button (labeled T) in the lower left corner of the bin.

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Text View button

Arranging Bin Columns

This section provides procedures for adding, hiding, moving, duplicating, and deleting columns from a bin.

Moving and Rearranging Columns

To move a text column in a bin: 1. Click the heading of the column that you want to move. The entire column is highlighted.

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2. Drag the column to the position you want, and release the mouse button. The column appears in the new position, and columns to the right are moved to make room.

Aligning Bin Columns

When you align bin columns, the system maintains the same order of columns from left to right but spaces them according to the length of their contents. This is especially useful for removing spaces left after you move or rearrange columns.

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To align bin columns: t Choose Align to Grid from the Bin menu, or press Ctrl+T (Windows) or k+T (Macintosh).

Showing and Hiding Columns

You can select individual or multiple headings to be displayed or hidden in the bin. To choose column headings: 1. With a bin in Text view, choose Headings from the Bin menu. The Bin Column Selection dialog box appears.

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2. Select the headings you want to add to the bin: t t t t Click the name of a heading to select it. Click a highlighted heading to deselect it. Click Select All to highlight all the headings in the bin. Click Deselect All to deselect all the headings in the bin.

3. Click OK. Only the headings highlighted in the dialog box appear in the bin or bin view.

Deleting a Column
Deleting a statistical column is the same as hiding the column; you can restore the column at any time using the Bin Column Selection dialog box. When you delete a Custom column, however, you must re-create the column. To delete a column: 1. Click the column heading. 2. Choose Delete (Windows) or Clear (Macintosh) from the Edit menu, or press the Delete key. The column disappears from the view, and surrounding columns close to fill the space.

Duplicating a Column
You can duplicate existing columns containing timecode information in other compatible columns that you target in a dialog box. To duplicate a timecode column: 1. Select the column you want to duplicate by clicking its heading. 2. Choose Duplicate from the Edit menu. The Select dialog box appears.
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The dialog box contains column names compatible with the column you selected in step 1. The column must contain the same type of data for the copy to occur. For example, you can copy start timecodes to the Aux TC1 column, but you cannot copy start timecodes to the Pullin column.

3. Select a column name from the list and click OK. The column of information appears in the column you designated.

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Adding Customized Columns to a Bin

You can add your own column headings to describe information about clips and sequences. For example, you might want to add a column heading to describe what kind of shot (close-up, wide shot, master shot, extreme close-up, and so on) is used in a clip. To add a new custom column: 1. Click an empty area to the right of the current headings in the headings box. 2. Move any existing column to the right or left to create an empty area. 3. Type the column heading you want, and press Enter (Windows) or Return (Macintosh). Column headings must contain fewer than 30 characters, including spaces.

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Headings box

Custom heading

This places the pointer in the data box, beside the first clip in the bin. 4. Choose Align to Grid from the Bin menu after you have entered the new column heading. 5. Type the information, and press Enter (Windows) or Return (Macintosh) to move to the next line.

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Changing a Custom Column Heading

You can change the heading name of custom columns only. You cannot change any of the standard statistical or film column headings. To change the name of a custom column: 1. Press and hold the Alt key (Windows) or the Option key (Macintosh), and click the heading to highlight it. 2. Type the new text for the heading, and press Enter (Windows) or Return (Macintosh).

Managing Clip Information in Text View

There are several ways to manage clip information in Bin columns. These methods include moving information with columns, modifying clip data, moving information between whole columns, copying information between cells, and sorting clip information, as described in this section.

Moving Within Column Cells

To move within column cells: 1. Click in one of the columns The line is highlighted in yellow. 2. Use the keyboard shortcuts to move from cell to cell in bin columns, as shown in Table 9-2.

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Table 9-2
Press Tab To

Shortcuts for Moving in Text View

Move the pointer to the parallel cell in the next column. You can continue to press the Tab key to scroll through the cells to the right until the cell in the last column is highlighted. The next time you press the Tab key, the cell in the first column is highlighted. Move the pointer to the cell in the previous column. You can continue to press Shift+Tab to scroll through cells to the left until the cell in the first column is highlighted. The next time you press Shift+Tab, the cell in the last column is highlighted. Enter any new information typed in the cell and move the pointer down to the cell in the next row. You can continue to press the Enter key (Windows) or the Return key (Macintosh) to scroll down the column until the last cell in the column is highlighted. The next time you press the Enter key (Windows) or the Return key (Macintosh), the first cell in the column is highlighted. Move the pointer up to the cell in the previous row. You can continue to press Shift+Enter (Windows) or Shift+Return (Macintosh) until the cell in the top row is highlighted. The next time you press Shift+Enter (Windows) or Shift+Return (Macintosh), the cell in the last row is highlighted.

Shift+Tab

Enter (Windows) or Return (Macintosh)

Shift+Enter (Windows) or Shift+Return (Macintosh)

Modifying Clip Information

You can change or modify the information in certain columns for your master clips, subclips, tapes, and other objects stored in the bin. This is especially useful if some of the data is incorrect or if you need to conform information for organizational purposes. The following conditions apply to modifying clip information: When you modify a clips information, related objects are automatically updated to reflect the new data. For example, if you change the name of a clip, the updated name appears in the sequences that use the clip.

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Some data cannot be modified after digitizing because changes would prevent you from playing back and editing the material successfully. Sequence data cannot be changed, even though it appears in your bin. The only way to modify sequence data is to edit the sequence itself. You can, however, change the name and start time for the master timecode track, as described in Changing Clip Information on page 473.

There are two ways to modify data: You can modify some data directly for master clips, subclips, and other objects stored in a bin. You can select Modify from the Clip menu to change specific information for master clips only.

Modifying Data Directly

When you modify information in a bin directly, you click a cell and type the new information. For example, you can type a new name for a clip or correct the start and end timecodes. You can directly modify any data in the bin prior to digitizing. After the footage is digitized, however, you can directly modify only selected headings, with restrictions, as shown in Table 9-3.

Table 9-3
Heading (Clip) Name Mark IN Restrictions

Direct Modification Headings

No restrictions. Altering the mark IN also alters the IN-to-OUT duration. This replaces any previous mark. Altering the mark OUT will also alter the IN-to-OUT duration. This replaces any previous mark. 333

Mark OUT

Table 9-3
Heading Auxiliary timecodes, 15 KN (Key Number) Start Restrictions

Direct Modification Headings (Continued)

No restrictions. Only for film projects. Altering the KN Start also alters the KN End to maintain the duration. This can also cause discrepancies with any auxiliary timecode information that you entered manually. Only for film projects. Altering the KN end also alters the KN Start to maintain the duration. This can also cause discrepancies with any auxiliary timecode information that you entered manually. Pullin data imported from a telecine-generated list can be altered only by using the Modify command. See Modifying Data by Using the Modify Command on page 335. (NTSC only) Pullout data imported from a telecine-generated list can be altered only by using the Modify command. See Modifying Data by Using the Modify Command on page 335. (NTSC only)

KN (Key Number) End

Pullin

Pullout

To modify the clip data directly: 1. Click the Text View button (labeled T) in the lower left corner of the bin. 2. Click the cell that you want to modify. Select only one item at a time. 3. Click the cell again to enter text. If the pointer does not change to an I-beam, you might be attempting to modify a column that cannot be directly modified. 4. Type the new information, and press Enter (Windows) or Return (Macintosh).

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Modifying Data by Using the Modify Command

The Modify command gives you specialized control over information in specific headings. For example, you can use the Modify command to change the name of source tapes or to increment or decrement the start and end timecodes by a specified length of time for one or several master clips at once. You can apply changes with the Modify command to master clips only; subclips and sequences cannot be altered in this way. In addition, you can perform only modifications that alter the end timecodes or the tracks before digitizing, as described in Table 9-4.

Table 9-4
Option

Modify Command Options

Restrictions Setting must match the timecode format of the tape. Only start timecode can be altered after digitizing. Only start timecode can be incremented after digitizing. Only start timecode can be decremented after digitizing. Only for film projects.

Set Timecode Drop/ Nondrop Set Timecode By Field

Increment Timecode

Decrement Timecode

Set Key Number Generic (Prefix) Set Pullin Set Tracks Set Source

Only for film projects. Only for film projects. Should match the original source tape name.

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To modify selected data by using the Modify command: 1. Open the bin. 2. Click the small film clip icon to the left of the clip, sequence, or other object you want to modify. Ctrl+click (Windows) or Shift+click (Macintosh) each additional object you want to modify. 3. Choose Modify from the Bin menu. The Modify dialog box appears.

Modify Options pop-up menu

4. Choose an option, such as Set Timecode By Field, from the Modify options pop-up menu.

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5. Select an option or type information in the text boxes (timecode values, for example) when they appear. 6. Click OK. The modification takes effect.

Copying Information Between Columns

To copy information between columns: 1. Select the column that you want to copy. 2. Choose Duplicate from the Edit menu, or press Ctrl+D (Windows) or k+D (Macintosh). A dialog box prompts you to target a column for the data. 3. Select the target column for the data, and click OK.

Sorting Clips
Sorting clips arranges them in either numerical or alphabetical order, based on the data in the column you select as the sorting criteria. You can sort clips in several different ways, including an ascending sort, a descending sort, and a multilevel sort.

You can sort clips and sequences in Text view only. If you need to view sorted clips in Frame view or Script view, sort them in Text view first and then return to Frame view or Script view.

Sorting Clips in Ascending Order

To sort clips in ascending order: 1. Click the Text View button (labeled T) in the lower left corner of the bin. 2. Click the heading of the column that you want to use as the criterion. The column is highlighted.
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3. Choose Sort from the Bin menu, or press Ctrl+E (Windows) or k+E (Macintosh). The objects in the bin are sorted in ascending order. For information on sorting order, see Sorting Clips in Descending Order on page 338.

If the Sort command appears dimmed in the menu, you have not selected a column. To reapply the last sort: t Choose Sort Again from the Bin menu with no column selected. This step is especially useful after you have added new clips to a sorted bin.

Sorting Clips in Descending Order

To sort clips in descending order: 1. Click the Text View button (labeled T) in the lower left corner of the bin. 2. Click the heading of the column that you want to use as the criterion. The column is highlighted. 3. Press and hold the Alt key (Windows) or the Option key (Macintosh) while you choose Sort Reversed from the Bin menu or while you press Ctrl+E (Windows) or k+E (Macintosh). The Sort Reversed command displays the objects in descending order. For information on sorting order, see Sorting Clips in Ascending Order on page 337.

Performing Multilevel Sorting with Columns

You can select multiple columns in a bin and perform a multilevel sort using the information in the columns.

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To perform a multilevel sort: t Rearrange the columns in the bin to establish the primary column. The column that appears farthest to the left in Text view becomes the primary criterion for the sorting operation.

Using Frame View

In Frame view, each clip is represented by a single frame, with the name of the clip displayed below the frame. The system uses the head frame as the default, but you can play back the footage within any clip and select any frame to represent the footage. You can make the pictures larger to see more detail or smaller to see more clips in the window. You can also rearrange the frames in any order. Each frame appears on your screen with its assigned name directly beneath it.

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Clip frame Clip name

Frame View button

Changing the Bin Background Color

Bin color changes affect one bin at a time. Bin color changes can be applied to Frame view only. Text view remains black and white. To change the bin background color: 1. Activate the bin you want to change, and make sure you are in Frame view. 2. Choose Set Bin Background from the Edit menu, and select a color from the pop-up palette.

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The bin color changes, based on your selection.

Enlarging or Reducing Frame Size

You must enlarge or reduce all frames in the bin together. You cannot change the size of an individual frame. To enlarge the frame size: t Choose Enlarge Frame from the Edit menu. The display size increases each time you choose this option, up to five times. To reduce the frame size: t Choose Reduce Frame from the Edit menu. The display size decreases each time you choose this option, up to five times.
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Rearranging Frames
Frame view allows you to rearrange the display of the frames in the bin by moving them. To rearrange frames: 1. Click a single frame, and drag it to its new position. To rearrange more than one frame at a time, Ctrl+click (Windows) or Shift+click (Macintosh) or lasso multiple frames and drag them to a new position in the bin. 2. Click the background area of the bin to deselect the clips.

When you return to Text view, the order of the clips is changed there as well.

Changing the Frame Identifying the Clip

By default, Frame view displays the first frame of each clip in the bin. You can, however, change the displayed frame. To change the frame identifying the clip: 1. Select the clip that you want to change. 2. Press and hold the K key on the keyboard (Pause), and press the L key (Play) to roll the footage within the frame forward at slow speed. To move backward through the footage, press and hold the K key and press the J key (Reverse Play). 3. When you see the frame that you want use, release the keys. Avid Xpress saves the displayed frame as part of the bin configuration.

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Arranging Frames in a Bin

You can tidy up the frames in a bin after you have changed their display by choosing one of the following commands from the Bin menu:

Choose Align to Grid Fill Window

To Align all frames to an invisible grid. Spread out the frames evenly to fill available space in the bin window. Make frames appear in Frame view in the order in which they are sorted in Text view.

Fill Sorted

Using Script View

In Script view, the system combines the features of Text view with Frame view, and adds space for typing notes or script. The frames are displayed vertically on the left side of your screen with a script text box to the right of each clip. Clip information is displayed above the text box. You cannot change the size of the frames displayed in Script view.

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Script View button

Entering Script View

To enter Script view: t Click the Script View button (labeled S) in the lower left corner of the bin.

Adding Text in Script View

To type text in the script box: t Click the Script text box and begin typing. This text does not appear in sequences edited from the clips; text appears only in printouts of the bin in Script view.
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You can use basic word-processing procedures to highlight, delete, cut, copy, and paste text between script text boxes. If the notes or text you type extends beyond the size of the text box, you can use the Page Up or Page Down key on the keyboard to scroll through the text.

Rearranging Clips in Script View

To rearrange the order of clips in Script view, do one of the following: t t Drag each clip up or down to a new location in the bin. Sort and sift clips in Text view, and then return to Script view to display selected clips in the sort order you want.

Printing Bins
Avid Xpress allows you to print entire bins or individual frames in hardcopy form. To print entire bins in Text, Frame, or Script view: 1. Make sure your printer is correctly configured. See your printer or Windows NT or Macintosh documentation, or your system administrator.

To print a frame in Script or Frame view, you must use a printer capable of printing graphics. 2. Select Text view or Frame view. 3. Choose Page Setup from the File menu. The Page Setup dialog box appears, reflecting specific options for your printer.
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4. Select the appropriate options from the Page Setup dialog box, and then click OK. 5. Choose Print Bin from the File menu. The Print dialog box appears, reflecting specific options for your printer. 6. Select the print options in the Print dialog box, and then click OK. The system prints the active bin.

Gathering Format Elements

While organizing your project, you can gather various format elements into a single bin that you can open and use later during editing. Some useful format elements might be: Bars and tone Head and tail leader Repeated titles Countdowns Graphic elements (repeated animations, and so forth)

For information on importing graphic elements and titles, see Chapter 8.

Preparing Digital Bars and Tone

Your Avid Xpress system includes a set of test pattern PICT files. You can choose the type of test pattern you want to use and import it to the system at any time.

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When you are ready to output a digital cut, you can generate tone to go along with bars by using the Calibration tone features of the Audio tool. For more information, see Preparing for Output on page 652.

Importing Color Bars and Other Test Patterns

To import a test pattern from a PICT file: 1. Open an existing bin, or create a new one for the test pattern. 2. Select the destination bin. 3. Choose Import from the File menu. The Select Files to Import dialog box appears.

Windows

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Macintosh

4. Navigate to the Test_Patterns folder: in the following location: (Windows) drive:\Program Files\Avid\Avid Xpress\ SupportingFiles\ (Macintosh) Avid drive:Avid:Avid Xpress folder:SupportingFiles: 5. Import any test pattern file to the Test_Patterns folder by following the procedures in Chapter 8. When you import SMPTE_Bars.pct, it does not exactly match the SMPTE bars generated by the Video Output tool. The I and Q blocks in the bottom portion of the pattern cannot be exactly represented in the RGB color space used when importing files. If you must have I and Q blocks correct in a sequence, do one of the following: t t Digitize SMPTE bars from a signal generator. Use the Video Output tool to generate SMPTE bars and record them to tape using the controls on the deck. Then digitize them back into the system from the tape.

6. Create a clip of tone media by using the Audio tool. See Using the Audio Tool on page 205.
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Consider recording tone at both 44.1 kHz and 48 kHz for use in various projects. Match the resolution of the tone to the audio resolution of the sequence. 7. Create a new sequence with the SMPTE bars, and edit the tone media clip onto audio tracks 1 and 2. 8. Edit the end of this sequence to an appropriate length (1 minute is a standard length for sequences). 9. Rename the sequence to indicate its purpose.

Creating Leader
Film editors traditionally use standard head and tail leaders for cueing and syncing material. You can use digital leader in Avid Xpress to mark the beginning and ending of tracks, and to help you maintain sync. You can create your own leader for video or film, as described in this section. Whatever your choice for specification, be sure to make all your leader clips the same length, with common sync points.

Creating Video Leader

To create leader for picture tracks: 1. Create a black screen in the Title tool for tail leader or a white screen for head leader. For information on using the Title tool, see the Avid Xpress Effects Guide. Optionally, you can type a title on the screen that says Tail Leader or Head Leader. 2. Name this clip Head Leader or Tail Leader when you save the title. 3. Create a subclip from an appropriate length of the clip, according to your chosen specifications. 4. (Option) Mark a sync frame in the subclip as follows: a. Load the clip into the Source pop-up monitor.
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b. c.

Find an appropriate sync point and add a locator. (Option) Double-click the locator in the Source pop-up monitor to add a sync point notation that appears on the monitor.

For information on adding an edit, see Adding an Edit (Match Framing) on page 514. Once the leader is prepared, you can splice the leader during editing onto the tracks that you want to keep in sync. You can use the sync points for visually aligning tracks.

Creating Audio Leader

To create tail leader for audio tracks: 1. Load a clip that includes a section of digitized tone into the Source pop-up monitor. 2. Create a subclip from an appropriate section of the clip, according to your chosen specifications. 3. Name this new subclip Head Leader or Tail Leader. 4. Load this subclip into the Source pop-up monitor. 5. Prepare the sound levels for leader without a sync point (no audio pop) by opening the Audio Mix tool and bringing the audio level all the way down for the entire clip. 6. For leader that includes a sync point (audio pop), do the following: a. b. Find the appropriate sync point. Step one frame backward and place an add edit before the sync frame; then step two frames forward and place an add edit after the sync frame. Move the position indicator before the first add edit, and open the Audio Mix tool.

c.

d. Bring the audio level all the way down.

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e.

Move the position indicator after the second add edit, and use the Audio Mix tool to bring the level all the way down. For information on adding an edit, see Adding an Edit (Match Framing) on page 514.

Once the leader is prepared, you can splice the leader during editing onto the audio tracks that you want to keep in sync. You can use the sync points for visually aligning tracks.

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CHAPTER 10
Managing Media Files
When you digitize footage, the system creates digital media files for the video and audio tracks on the media drives attached to your system. In addition to the bin tools that allow you to organize the clips that reference these media files, your Avid Xpress system provides useful tools and features for directly managing media files for storage and playback efficiency, for backup, and for transfer between systems. The following sections describe these procedures: Using the Media Tool Consolidating Media Backing Up Media Files Finding a Related Media File Relinking Media Files Unlinking Media Files Archiving and Restoring Media Files Using Videotapes Workgroup Support

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Using the Media Tool

The Media tool is your window to the digitized video and audio data files stored on your media drives. As an important counterpart to the bins, the Media tool provides similar database tools for manipulating digital media files in tandem with your organization of clips and sequences.

Basic Media Tool Features

The Media tool provides many of the same controls for viewing and managing information that you use with bins: The two display views in the Media tool function like those in bins: Frame view and Text view. You can use the same Frame view options described in Using Frame View on page 339. You can use Text view headings and options for columns of clip and media file data. You can also use procedures such as customizing the display of columns, moving within columns, and sorting information, as described in Using Text View on page 323. The Media Tool Fast menu gives you quick access to the same commands available in the Bin Fast menu. You can highlight, move, copy, duplicate, delete, sort, and sift clips in the Media tool. You can also select media relatives, sources, and unreferenced clips, as described in Basic Bin Procedures on page 308. Media Tool database and display options are saved as User settings. When you close the Media tool, the view you are in (Frame or Text) is saved and any customizations of columns are saved. You can print Media Tool data by using the same procedures for printing bins, as described in Printing Bins on page 345.
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The Media tool also has a number of unique features: Unlike a bin, the Media tool can display all the tracks digitized for each clip as separate media files. Therefore, when you view, delete, and manipulate files, you have the added option of specifying individual video and audio tracks. Unlike a bin, the Media tool does not display sequences and subclips. Only master clips, precompute (rendered effect) clips, and associated media files are available for display. The following Bin menu commands do not apply to the Media tool: Batch Digitize, Batch Import, Relink, Modify, AutoSync, and AutoSequence. You must perform these functions from a bin.

Opening the Media Tool

To open the Media tool: 1. Choose Media Tool from the Tools menu. The Media Tool Display dialog box appears.

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2. Select the display options as follows: You can select individual media drives or all drives.

n n

The Media tool loads the media database only for the drives you select. The more drives you select, the more memory is required for the Media tool to open. You can display files for the current project, for selected projects, or for all projects.

Only projects with associated online media and the current project appear in the Project(s) list in the Media Tool Display dialog box. You can display digitized master clips, precompute (rendered effect) clips, or media files, or any combination of the three.

3. Click OK. The Media tool opens.

Precompute clip Media file

Master clip

Text View button

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Deleting Media Files with the Media Tool

You can use the Media tool to delete selected media files without harming the related master clips, subclips, and sequences.

If you use the Media tool to delete selected media files, you will no longer have access to visuals of the deleted material. If you load a clip for which a media file has been deleted, a blank screen appears with the message Media Offline. If you need to use those clips again, you must redigitize from tape. Depending on your needs, you can do one of the following: t t t Delete selected audio or video tracks and retain other tracks from a clip. Delete entire sets of media files and related clips from within the Media tool. Delete all unrelated media upon completion of a project, and retain only the media required for playback of a finished sequence as described in Consolidating Media on page 358.

To delete selected media files: 1. Choose Media tool from the Tools menu. 2. In the Media Tool Display dialog box, select the types of files (master clips, precompute clips, or media files) that you want to delete. 3. Click OK. The Media Tool window opens. 4. Select one or more media files (audio, video, or both) or master clips whose media files you want to delete. 5. Choose Delete from the Edit menu, or press the Delete key. The Delete Media dialog box appears.

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6. Select the media files that you want to delete: Video media file (V). The master clip linked to that file is black, and the message Media Offline is displayed in the Source pop-up or Composer monitor. Related subclips and sequences are affected in the same way. Audio media file (A1, A2, A3, A4, A5, A6, A7, A8). The master clip linked to that file is silent. Subclips and sequences created from the master clip are affected in the same way. Precompute media file (V, A). The section of the sequence with the effect is black, and the message Media Offline is displayed.

7. Click OK. A dialog box appears. 8. Click Delete. The selected media files are deleted.

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Consolidating Media
When you consolidate media files, the system finds the media files or portions of media files associated with selected clips, subclips, or sequences. It then makes copies of them and saves the copies on a target drive that you specify. Because the Media tool displays only master clips, you cannot consolidate subclips or sequences with the Media tool. You can consolidate master clips, subclips, and sequences in the bin.

About the Consolidate Feature

The Consolidate feature allows you to create and save copies of the sequences media files to a selected drive. This makes it relatively simple to move source files with you when you work on a different system. Using the Consolidate feature has the advantage of copying only the amount of media necessary; you save only the sequences and clips used in the project. For example, it will not copy an entire 1-hour audio file to consolidate a single 10-second clip. The Consolidate feature operates differently depending on whether you are consolidating master clips, subclips, or sequences. There are also different advantages in each case, as follows: Master clips: When you consolidate a master clip, the system creates exact copies of the media files. If you link the original master clip to the new files, the system creates a master clip with the file name extension .old that remains linked to the old files. If you maintain the link between the original master clip and the old media files, the system creates a new master clip with the file name extension .new that is linked to the new files. The new clips are also numbered incrementally beginning with .01. Consolidating master clips does not save storage space because the system copies the same amount of media for each clip.

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Consolidating a Master Clip

Link the master clip to new or old files. Original media files Copy of media files

Master Clip.old.01

Master Clip

Master Clip.new.01

Subclips: When you consolidate a subclip or group of subclips, the system copies only the portion of the media files represented in the subclip, and creates a new master clip that is the duration of the subclip and a new subclip. The file name extension .new is attached, along with incremental numbering beginning with .01.
Consolidating a Subclip

Original media files

Subclipped copy of media files

Master Clip

Subclip

Master Clip.new.01

Subclip.new.01

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Sequences: When you consolidate a sequence, the system copies only the portions of media files edited into the sequence, and creates new master clips for each clip in the sequence. The file name extension .new is attached to the master clips, along with incremental numbering beginning with .01. The sequence is not renamed but is automatically relinked to the new media files.
Consolidating a Sequence

Original media files

Edited copy of media files

Clip A

Clip B

Clip C

Clip A.new.01

Clip B.new.01

Clip C.new.01

New links are established. Original links are broken. Sequence

n n

Because the Media tool displays only master clips, you cannot consolidate subclips or sequences with the Media tool. You can consolidate master clips, subclips, and sequences in the bin. Because a consolidated sequence is linked to the new files by default, consider duplicating the sequence each time you consolidate if you need to maintain links to the original files.

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Using the Consolidate Command

Do not make copies of media files from the Windows NT or Macintosh desktop while the Avid Xpress application is running. Also, do not keep duplicate copies of media files online; either delete the originals, take the backups offline, or store the backups in a folder with a different name. To consolidate master clips, subclips, or sequences: 1. If you are consolidating a sequence, duplicate the sequence to maintain links to the original files, if necessary, and render any unrendered effects.

For more information on rendering effects, see the Avid Xpress Effects Guide. 2. With the bin open, select the clips or sequence to consolidate. 3. Choose Consolidate from the Bin menu. The Consolidate dialog box appears.

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4. (Option) Select one or more of the options in Table 10-1.

Table 10-1
Select Video and Audio on same Volume(s)

Consolidate Options
To Store the consolidated media files on the same target drive. Deselecting this option allows you to select separate drives for the audio and video media files. Delete original media files automatically. Bypass files if some related media files are already located on the target drive

Delete original media files when done Skip media files already on the target disk

Relink selected clips to target disk before Ensure that all selected clips are linked to media on the target skipping drive. This option appears when you select Skip media files already on the target disk. Consolidate all clips in a group edit Copy media for all clips in a group, for consolidating a group clip or a sequence that contains group clips. Converts multiple audio sample rates in a sequence or master clip to a single audio sample rate when performing a digital cut. If your sequence or master clip has multiple audio sample rates, you need to convert it to a single audio sample rate.

Do Audio Sample Rate Conversion

5. Select a target drive from the Target Drive(s) list. To select additional target drives, Ctrl+click (Windows) or Shift+click (Macintosh) the drive name. Make sure that you choose a target drive with enough storage space for all the consolidated media files and the ability to play back media. Drive filtering does not apply to the consolidate process. 6. If you are consolidating subclips or sequences, type a handle length for the new clips, or leave it at 60 frames (NTSC) or

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50 frames (PAL) to accept the default. The handle length is the number of safety frames before and after the chosen media. 7. If you are consolidating a group clip or a sequence that contains group clips, select the option Consolidate all clips in a group edit to copy media for all the clips in the group. 8. Select the Do Audio Sample Rate Conversion check box to convert any sample rates not set at the rate set in the Audio Project Settings dialog box. For information on setting the sample rate, see Adjusting Audio Project Settings on page 202. 9. Click OK. If you are consolidating master clips and did not choose to delete the original media files, a second dialog box appears and offers you a choice. 10. Link the original master clips to the new or old media files, according to preference. 11. Click OK. Another way to back up media files is to copy them directly onto another hard drive by using the Windows NT or Macintosh desktop. You cannot, however, take advantage of the storage-saving features of the Consolidate command, and it is more difficult to identify particular media files when searching directly through folders.

Loading the Media Database

The media database is a catalog of master clips and precomputes stored on the external media drives. One use of the media database is to display master clips and precomputes in the Media tool. Bins also contain references to some of the media files based on the contents of the bin. Avid Xpress does not maintain the entire database in memory at all times. Instead, it builds up a partial database for the

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bins that have been opened in the current session to preserve as much memory as possible for editing. If you store the master clips and the edited sequences for a project in separate bins, there are two scenarios in which sequences might appear to be offline. In this case, you need to load the entire database to relink clips to their media files. The scenarios are: Redigitizing: When you redigitize the master clips while the sequences bin is closed, quit Avid Xpress, restart the application, and open the sequences bin only. Consolidating: When you consolidate the master clips and relink them to the consolidated media while the sequences bin is closed, quit Avid Xpress, restart the application, and open the sequences bin only.

To update offline sequences with the new media files: t Choose Load Media Database from the File menu. The system loads all online master clips and precomputes.

n c

You need not load the media database more than once during a single editing session because the database remains in memory until you quit the application or restart the Avid Xpress system. If a bin continues to display the message Media Offline after loading the media database, either the media files are missing or the links have been broken. For more information, see Relinking Media Files on page 366.

Backing Up Media Files

The OMFI MediaFiles folders on your external media drives contain the individual media files created when you digitized source material. Unlike the smaller Avid Projects and Avid User folders, these folders are too large to back up to floppy disks.
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The options for backing up media files include: Consolidating or making copies of media files for transfer to another system Archiving larger media files and folders to a dedicated mass-storage system

Finding a Related Media File

The Reveal File command allows you to select a clip in a bin and automatically open its related media file. This is useful if you want to delete, move, or label the media file. To find a related media file: 1. Select the clip in a bin for which you want to find the media file. The clip is highlighted. 2. Choose Reveal File from the File menu. (Windows) The system searches all available drives, opens the Windows NT Explorer, and highlights a related media file. (Macintosh) The system searches all available drives and highlights a related media file.

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Related media file

If more than one file is related to the clip, a message asks if you want to see the next file. (Windows only) If you click OK, you need to bring the Explorer window forward by pressing and holding the Alt key and pressing the Tab key until you select the OMFI MediaFiles folder.

Relinking Media Files

Sometimes, after you consolidate or move material between systems, the clips or sequences lose their links to the original media files. When a clip becomes unlinked, it displays the message Media Offline. If
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appropriate media exists online, you can use the Relink command to reestablish the link. When you select subclips or sequences and choose the Relink command, the system searches for master clips that contain the same material included in the selection. You can also relink master clips to appropriate media files. The system compares information such as source tape name, timecode information, and channels digitized. If the search is successful, the system establishes new links to the available media files. You can instruct the system to search specific drives or all available drives. To relink clips, subclips, or sequences: 1. Select the unlinked object or objects in the bin. 2. Choose Relink from the Bin menu. The Relink dialog box appears.

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3. Select an option from the Relink operation on selected clips section, as shown in Table 10-2, depending on the type of object you are relinking, either non-master clips or master clips.

Table 10-2
Select

Relinking Options
To

Relink offline non-master clips Relink clips and sequences to the master clips to any online items that contain the same material. Relink all non-master clips to selected online items Relink offline master clips to online media files Relink related subclips or sequences to the highlighted clip in the bin. Relink master clips to media files that share similar database information.

4. Choose an option from the Relink to Media on Volume pop-up menu as shown in Table 10-3.

Table 10-3
Choose

Relinking Location Options

To Search across all media drives that are online.

All Available Drives

A specific drive volume Relink to media on a specific media drive.

5. (Option) Select Relink only to media from the current project. 6. (Option) Select Match case when comparing tape names. 7. Click OK. The system searches the selected media drives, and relinks clips and sequences if possible.

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The system disregards capture rate, video resolution, and audio resolution when matching media files.

To maintain the original digitize settings for a subclip or sequence, use the Batch Digitize command; do not use the Relink command.

Relinking to Selected Clips

You can also use the Relink command for connecting subclips or sequences to selected master clips and subclips. To relink to selected master clips and subclips: 1. Move the subclips or sequences that you want to relink into the bin containing the clips. 2. Select the clips targeted for relinking. 3. Choose Relink from the Bin menu. The Relink dialog box appears. 4. Select Relink all non-master clips to selected online items to relink related subclips or sequences to the highlighted clip in the bin. 5. Choose an option from the Relink to Media on Volume pop-up menu: t t Choose All Available Drives to search across all media drives that are online. Choose a specific drive volume if you know the location of the media or if you want to relink to media on a specific media drive.

6. (Option) Select Relink only to media from the current project. 7. (Option) Select Match case when comparing tape names. 8. Click OK.

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The subclips or sequences are linked to the selected clips or subclips.

Relinking Consolidated Clips

If the appropriate media exists online, you can reconnect consolidated clips, subclips, or sequences to the new or old media files. For example, if you consolidated a sequence and forgot to create a duplicate, and later decide to use the original media files instead of the consolidated media files, you can break the new link and reestablish the old link to the original files.

Because subclips and sequences do not point directly to the media files, you can perform this procedure only by using the source master clips. To relink consolidated subclips or sequences: 1. Select the new master clips for a consolidated subclip or sequence (the clips will have the file name extension .new), and unlink them. For information on unlinking, see Unlinking Media Files on page 371. 2. Choose Relink from the Bin menu. The Relink dialog box appears. 3. Select "Relink offline master clips to online media files" to relink master clips to media files that share similar database information. 4. Choose a specific drive volume that contains the original media files from the Relink to Media on Volume pop-up menu. 5. (Option) Select Relink only to media from the current project. 6. (Option) Select Match case when comparing tape names. 7. Click OK. The clips are relinked to the original media files.

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Relinking Moved Projects

If you move projects between systems with similar media existing at each site but that were digitized separately, your clips and sequences will display the message Media Offline. You can use the Unlink and Relink commands to reconnect the files at either site. For example, if you have a project that requires sharing work between two different sites, you can digitize the source material once at each site and exchange only the project folder at each stage, rather than move large media drives back and forth. The project folder can be exchanged on floppy disks or instantly across a network. Because the media files maintain slightly different parameters at each site, you must relink the material each time.

Unlinking Media Files

You can use the Ctrl and Shift keys to modify the Relink command for unlinking clips from their media files. To unlink master clips from their current links: 1. Select the master clips to unlink. 2. Press Ctrl+Shift, and choose Unlink from the Bin menu. The clips are unlinked and display the message Media Offline.

Because subclips and sequences do not point directly to the media files, you can perform this procedure only by using the source master clips. If you have similar material from different sources, you can duplicate a set of clips, unlink the duplicates, and then modify the sources of the duplicates before digitizing the new source material.

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Archiving and Restoring Media Files Using Videotapes

You can archive to videotape the source media associated with sequences, master clips, subclips, and group clips. Archiving the source media to videotape is similar to recording a digital cut, except you can reedit the sequence after you restore it. You can use the archiving process to: Archive completed projects that you can restore at a later date, if you need to reedit the project. Provide more space on the media drives for a new project. Create backups of your project files. Move a project to another workstation.

When you archive a project, the source media files are archived to videotape and you save the project files. For information about saving the project files, see Backing Up Your Project Information on page 52. You can reconstruct everything in your project with the archived files and your source tapes.

You will experience generation loss when the media is archived and restored one or more times. The target videotape format might include some compression. The archiving process divides the archive into multiple archive sequences based on the length of the videotapes that are available. The archiving to videotape process adds handles to the new clips that allow you to reedit the sequence after you restore the media files from the videotape. During the archiving process, the original media is archived to videotape. Media with effects is not recorded to tape because you can easily re-create the effects after the project is redigitized. However, the

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handles for transition effects are included in the archive file. The final sequence can be linked to the redigitized media to re-create the project. Each archived master clip is stamped with the archive tape name and archive timecodes during the restoration process. The original source information on the master clips will remain unchanged.

Archiving Media Files

Before you can archive your media files to videotape, you must stripe the record tapes (record black and timecode for the entire duration of the tape). For information about preparing record tapes, see Preparing Record Tapes on page 665. To archive a video projects media files: 1. Set the Digital Cut Tool as follows: a. Choose Digital Cut from the Clip menu.

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The Digital Cut tool opens.

Deck Selection pop-up menu

b.

Choose a deck from the Deck Selection pop-up menu. The Select Tape dialog box appears.

c.

Click Cancel to leave Tape Name unspecified.

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d. (Option) Select the Custom Preroll option and choose the number of seconds from the pop-up menu to indicate how many seconds the tape rolls before the archiving process starts. This option overrides the Preroll setting in the Deck Settings dialog box. 2. Create a new bin for the archive and name the bin. For example, you can name the bin Archive. 3. Duplicate the sequences and clips you want to archive. 4. Drag the new duplicate sequences and clips to the new Archive bin. 5. Select the clips and sequences to archive from the Archive bin by doing one of the following: t t Choose Select All from the Edit menu to select all the clips and sequences in the bin. Ctrl+click (Windows) or k+click (Macintosh) to select specific clips or sequences.

6. Choose Archive to Videotape from the Clip menu. The Archive to Videotape dialog box appears.

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7. Select the appropriate options in the Archive to Videotape dialog box. Table 10-4 describes the options listed in the Archive to Videotape dialog box.

If the clips or sequences that you want to archive are not highlighted in the active bin, Archive to Videotape appears dimmed in the Clip menu. 8. Click OK. The Tape Lengths dialog box appears.

Archive Length displays the calculated length of time required for archiving the media files. The archive might require more time than indicated because individual clips are not divided between tapes. 9. In the "Enter the quantity of tapes available for the archive" area, do one of the following: t Type the number of blank videotapes needed for the archive, next to the length of time of your blank tapes.

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For example, if the archive length is 2 hours and 15 minutes, and you have 30 minute videotapes, you would type 5 in the 30 Minutes text box. t Type a custom tape length in the Custom text box and type the number of available blank videotapes.

10. Click OK. The Digital Cut Tool opens and becomes the active window. 11. Follow the instructions displayed in the message boxes to complete the archiving process. A set of archive sequences are created in the Archive bin and the source media is output to the videotape. One archive sequence is created for each tape. When needed, the system prompts you for another blank tape. When the system finishes creating the archive, a message box notifies you that the process is complete. 12. Copy the project files (bins, project, and settings) to a Zip disk or equivalent storage device. For more information, see Backing Up Your Project Information on page 52. After you archive your project, you can delete the media files from your Avid system to provide more space on your media drives.

Archive to Videotape Options

The Archive to Videotape dialog box allows you to optimize the archive of the media files for the selected sequences and clips. To access the Archive to Videotape dialog box: t Choose Archive to Videotape from the Clip menu.

Table 10-4 describes the Archive to Videotape options.

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Table 10-4
Option Archive Name

Archive to Videotape Options

Description Type a name for the archive. ProjectArchive is the default name. The archive name is numbered incrementally beginning with 001 to indicate the order of the tapes. Enter a value in the Start Timecode text box to set the starting timecode of the archive on the videotape. By default, the start Timecode is set to 01:00:00:00.

Start Timecode

For Subclips and Sequences: Use handles Select this option and type the number of additional frames you want to archive at the heads and tails of the new master clips. This provides enough overlap for trimming and adding transition effects. Enter the number of frames you want for handles. Select this option is you want to archive the entire master clip.

Handle Length __ frames

Archive entire master clips

For Sequences: Archiving all clips in a group edit Select this option if you selected a sequence that contains group clips, and you want to archive the media for all the clips in the group.

Restoring an Archive from Videotape

Restoring an archive from videotape is similar to batch digitizing. The archiving process creates new master clips for sequences. During the restoration, each archived master clip is stamped with the archive tape
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name and archive timecodes. The original source information on the master clips remains unchanged. After you restore an archive, any links to the original source clips are broken, and only the sequence and its new master clips are linked to the newly digitized media files. To restore an archive from videotape: 1. Copy the project files to the Avid Project folder. 2. Open the project in Avid Xpress. 3. Open the archived bin. 4. Choose Digitize from the Tools menu and set the following options: a. Choose a deck from the Deck Selection pop-up menu. If the Select Tape dialog box appears, click Cancel to leave Tape Name unspecified. Choose a resolution from the Res (Resolution) pop-up menu. Choose a drive volume from the Target Drive pop-up menu.

b. c.

d. Make sure the audio sample rate is set correctly. See Adjusting Audio Project Settings on page 202.

n n

For more information about setting up the Digitize tool, see Chapter 6. 5. Select the archived sequences, original sequences, and original clips. If you select only the archived sequences, the media is restored; any new media is not relinked to your original clips. To relink the new media to the original clips, select the original clips and repeat the restoration. Repeating the restoration only relinks the selected items to the new media files. 6. Choose Restore from Videotape from the Clip menu. The Restore from Videotape dialog box appears.

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7. (Option) Select Restore only those items for which media is currently unavailable, if you are repeating the restoration. Otherwise, deselect this option. 8. Click OK. The Digitize tool opens and becomes the active window. 9. Follow the instructions in the message boxes to complete the restoration. The Avid system redigitizes the archived sequences and clips. 10. Batch import any graphics and render all non-realtime effects. For information about batch import, see Reimporting Files on page 285.

Workgroup Support
Avid Xpress includes support for Avids workgroup products, including MediaManager and TransferManager.

About MediaManager
If you are using your Avid editing system in an Avid Unity workgroup environment, you can use the Avid MediaManager to manage your media. Avid MediaManager is an Open Media Management (OMM) compliant media database that allows you to search the large number of media objects (master clips, sequences,
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effects, and any other type of object that references digital media) in the Avid Unity MediaNet shared storage environment. For information on using the Avid MediaManager application, see the Avid MediaManager Users Guide.

About TransferManager
When editing in a workgroup environment, you can share media by using the Avid MediaManager application. If you want to transfer media from one workgroup to another, you can use the Avid TransferManager application. TransferManager receives and queues transfer requests from one or more clients. Transfers are then initiated by the TransferManager server to offload the client. For information on transferring files between workgroups, see the Avid TransferManager Users Guide.

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CHAPTER 11
Using Script Integration
The lined script is traditionally used as a tool for managing scene and take information during postproduction on a feature film or television production. With the Avid Xpress system, script integration allows you to adapt the lined script to the digital realm for use in any type of production, from drama to documentary to spot advertising. The following sections describe these methods: Line Script Basics Script Window Basics Manipulating Script Text Searching Through Script Linking Clips to the Script Interpolating Position Manipulating Slates Manipulating Takes Using Script Marks Finding Clips and Script Editing with the Script Window

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Line Script Basics

The conventional lined script which evolved during decades of trial and error in Hollywood provides assistant editors and chief editors with a road map that helps them find the coverage they need to edit scenes in a film or television show. Traditionally, the continuity person creates the lined script on the set at the time of shooting. All notes are handwritten. The following is an example of a scene from a lined script. 88/1 88A/1 88A/2

88C/1 88C/2 88B/1 88B/2 88B/3

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Explanation of Symbols
Each vertical line drawn through the scene represents a single take from the moment the director says Action to the moment the director says Cut. Each scene might require several camera angles and positions, with one or more takes, all of which are lined and identified alphanumerically. The following is a brief summary of the lining techniques and numbering system shown in the example in Line Script Basics on page 383: Master shot: The line labeled 88/1 is the master shot that usually covers all the action in a wide shot. The first number in the label indicates the scene number as written on the script (scene 88). The number following the slash indicates that this is the first take captured on film for the master shot. A second take of the master shot, for example, would be labeled 88/2. Additional setups: The lines for each subsequent camera setup within the scene are labeled with the scene number (88 in our example) followed by a letter for each setup (A, B, C, and so forth), followed by a slash and the number of the take within that setup. These lines can be any length, depending upon what portion of the script is covered by the particular shot. Off-screen dialog: The jagged lines in the script represent the parts of dialog where the actor is off screen. For example, the character Amanda is off camera during the action described in the second paragraph (when the character Laurel enters), so a jagged line is drawn through the shots that cover Amanda (88A/1 and 2).

When the scene is recorded to videotape in a sitcom shoot, for example the lined script can also include timecode notes written next to specific lines of dialog that represent a sync point between the dialog on the page and the recorded dialog on tape. These sync points provide assistant editors or chief editors with a quick path to specific points in the source material.

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Lining in the Digital Realm

Script integration in the Avid Xpress application provides a number of enhancements to this traditional system. These enhancements allow you to shorten dramatically the distance between the concepts captured on the page and the source materials used to assemble a finished program. Unlike the traditional lining of a script, digital script integration is usually performed after the shoot by the assistant editor, for example using the notes of the continuity person. The following is an example of the script shown in the previous section, prepared and lined using script integration.
Windows

Toolbar Slates

Takes

Off-screen indicator Color indicator

Script mark

Takes tabs

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Macintosh

Toolbar Slates

Takes

Off-screen indicator

Color indicator

Script mark

Takes tabs

In addition to the standard lining conventions, script integration includes the following enhancements: Slates: Takes are organized into slates that display a representative frame and clip name for the take that is currently selected. Takes: The takes tabs and lines extending from the bottom of each slate indicate the number of takes for that scene. Click a takes tab to select the take. Indicators: You can apply off-screen dialog indicators or colors to indicate such things as preferred takes, takes used in the current active sequence, or line changes in dialog.

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Script marks: The double arrows marking the takes at various points represent marked lines of dialog in the script that have been synchronized to matching dialog in the source clip. Script marks are especially effective during editing, allowing the editor to quickly locate dialog and piece together parts of a scene.

The Script window provides additional controls for matching back to clips in the source bins, for loading and playing back takes, and for searching for takes and script text.

Script Integration Workflow

The basic workflow for script integration is as follows: 1. The continuity person or an assistant creates the lined script in hardcopy form on the set during shooting. 2. Source footage from the shoot is prepared and digitized by using methods described in Chapter 6 and Chapter 7. 3. The assistant editor uses the lined script from the shoot, a text file of the script itself, and methods described throughout this chapter to import and line the script, to link clips to the script, to place script marks, and to customize the display of takes prior to editing. 4. The editor uses the fully prepared Script window to edit the program.

Using Script Integration in Video Projects

Script integration can be an effective tool for editing any type of production, not just feature films and television drama. For example: You can adapt many of the procedures described in this chapter for use in audiovisual scripts for documentaries, corporate spots, news magazine segments, and spot advertisements.

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You can turn script integration into a quick storyboarding tool by positioning selected slates in the Script window and by printing out storyboard bins that include your script.

The following is an example of an audiovisual script for a news magazine piece, imported into the Script window, with most of the basic features of script integration applied.

Narration track is synced to the script. All possible B-roll shots are ready to be loaded and cued. Color indicates preferred shots.

Music cuts are linked to appropriate sections of the script.

Script Window Basics

This section describes basic procedures for creating and manipulating Script windows, including importing script text; navigating through

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the script; displaying clip information; opening, closing, and saving windows; and adjusting margins. Before you begin creating Script windows, make sure you have established the proper defaults in the Script Settings dialog box for font, margin, and display of frames and takes. For information on Script settings, see Modifying Script Settings on page 389. These parameters can also be changed manually, as described throughout this chapter.

Modifying Script Settings

To modify script settings in the Script Settings dialog box: t Double-click Script in the Settings scroll list of the Project window. The Script Settings dialog box appears.

Table 11-1 describes the Script Settings options.

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Table 11-1
Option Font Size

Script Settings Options

Description This option selects the font for imported scripts. This option selects the font size. The default is 12 points. This option specifies the left margin size. The default is 40 pixels. This option specifies the color that the Avid Xpress system will apply to takes. When this option is selected, the system shows frames in take slates. When this option is selected, the system shows all takes in each slate. If you deselect this option, the Avid Xpress system will display only one take per slate. When this option is selected, you can click in a take line within a script, and the image in a Source pop-up monitor updates to the approximate position in the take where you have clicked. If you deselect this option, the Source pop-up monitor does not respond when you click in a take line.

Left Margin (pixels)

Take Coloring

Show Frames

Show All Takes

Interpolate Position

Importing a Script

The imported script must be in ASCII text format. However, to maintain the original formatting, export the script from your word processor by using the option Text Only with Line Breaks. If you export the script as text only, the formatting will be lost.

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To import a new script: 1. Place the file in a directory that is available to your system in one of the following ways: t t Transport the file on a floppy disk, and copy it to your hard drive. Place the file in a network location that you can access from your system.

2. From within the Avid Xpress application, click in the Project window to select it, then click the Bins button. 3. Choose New Script from the File menu. The Open dialog box appears.

4. Locate the file and double-click it, or select the file and click Open. The system creates a new bin named after the project by default. The script, with its original layout, appears in the bin. 5. Change the name of the script bin by clicking the title in the Bins list in the Project window and by typing a new name.

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Opening, Closing, and Saving the Script Window

To open or close the Script window: t Choose the Open and Close commands from the File menu.

To save changes in the Script window: t Choose Save Script from the File menu.

The Script window behaves in many respects like a bin: When you make changes in the Script window, a diamond appears in the title bar to indicate that the changes have not yet been saved. Auto-save functionality also applies to the Script window, based on parameters established in the Bin settings. Script window files are saved in the folder for the project along with bins, and backup copies are automatically stored in the Attic folder. See Retrieving Bin Files from the Attic Folder (Windows) on page 77 or Retrieving Bin Files from the Attic Folder (Macintosh) on page 78.

Displaying Clip Information in a Script Window

After you have linked clips to text, you can use the Clip Information window to display statistical information about the clip. To open the Clip Information window from a Script window: 1. Press the Alt key (Windows) or the Option key (Macintosh), and click the take tab. 2. Drag the window to a new location to leave the window open. The window updates the information automatically. For information on linking clips, see Linking Clips to the Script on page 402.
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Navigating in the Script Window

To navigate to any point in the text: t Use basic techniques available in most word processors:
You can also use several search features, as described in Searching Through Script on page 398.

Use the scroll bar on the right to scroll up or down. Resize the window by dragging the lower right corner of the window. Press the Page Down or the Page Up key to move one screen at a time. Press the Home or the End key to move to the beginning or end of the script. Press the Up Arrow or the Down Arrow key to move your line selection up or down by one line.

Adjusting the Script Margins

To resize a Script window at any time to show more script or to enlarge the right margin: t Drag the lower right corner.

The default size of the left margin is established on import, based on the current Script settings. You can also override the margin setting and adjust the left margin after importing the script. To adjust the left margin of an imported script: 1. Choose Left Margin from the Script menu. The Left Margin dialog box appears.

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2. Type a new margin size, in pixels, in the text box, and click OK. The Script window reflects the new setting.

Manipulating Script Text

After importing a script, you can customize its appearance by changing the font and font size. You can also cut, copy, paste, or remove lines of script to reflect changes that might occur during the course of a project.

Changing the Font of the Script

The default font and font size used in the script are established on import, based on the current Script settings. You can also override the settings and change the font and size after importing the script. To change the font and size of an imported script: 1. Choose Set Font from the Edit menu. The Set Font dialog box appears.

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2. Choose a new font from the pop-up menu. The menu includes all fonts currently installed in the system. 3. Type a new font size in the text box, and click OK. The Script window reflects the new settings.

As you enlarge font size, the available sizes for the slate frames also increase. This can be useful for presentation or screening purposes, when you need to display extra-large text and slate frames for a large audience or across a room. For information on enlarging slate frames, see Resizing a Slate on page 405.

Selecting Text
Selecting text in the Script window is similar to making selections in a word processor, except that the smallest unit you can select is an entire line of text. To select a single line of script: t Click anywhere in the line to highlight it.

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Selected lines are highlighted.

To select several lines of script, use one of the following methods: t Lasso the first line of the selection and drag through the text. As you drag, a box appears to outline your selection. Release the mouse button when you finish lassoing the chosen lines. The text is highlighted.

Lasso a portion of script to select it.

Click the first line of the selection, and then press the Shift key and click the last line.
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The entire block of text is highlighted.

You can also extend a selection by pressing the Shift key and clicking a line of text preceding or following the current selection.

Cutting, Copying, and Pasting Script

You can cut, copy, and paste text in the script just as you would in a word processor.

You cannot undo cut, copy, or paste procedures in the Script window. To cut or copy and paste lines of script: 1. Select the lines. 2. Choose Cut or Copy from the Edit menu. 3. Select the line below the location where you want to insert the text. 4. Choose Paste from the Edit menu. If only one line is selected at the insertion point, a message box asks if you want to replace the selected line. 5. Make a choice based on your needs: t t Click Yes if you selected lines at the insertion point that you want to overwrite. Click No if you want to insert the text above the selected line.

The text is pasted into the script.

To rearrange or rewrite individual words or characters in the script, you should make the changes in a word processor before importing them into a separate Script window. You can then use the procedures in this section to copy and paste the new lines into the existing Script window, overwriting the incorrect lines.

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Because you cannot select individual words or characters, you can move only lines or paragraphs.

Removing Script Text

You cannot delete lines of text from the Script window by using the Delete key as you would in a word processor. Use the Cut command to remove the text instead. To remove lines of script: 1. Select the lines of script you want to delete. 2. Choose Cut from the Edit menu. Unlike a typical deletion, the text remains in the Windows NT or Macintosh Clipboard until the next time you copy or cut a selection.

Searching Through Script

Script integration provides a number of search tools you can use during the preparation phase, during editing, or during screenings. You can apply and search for page or scene numbers, or you can conduct a full-text search. You can use the Find Bin and Find Script buttons to match back and forth between script and clips. For more information, see Finding Script on page 420.

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Using Page and Scene Numbers

When you add page and scene numbers to the Script window, you gain the ability to search for them during preparation of the script and during editing. You can customize page and scene numbering by adding, changing, and moving the numbers as necessary.

Adding a Page or Scene Number

To add a page or scene number: 1. Select the line of the script at the beginning of the scene or page. 2. Click the Add Scene (AS) button or the Add Page (AP) button in the Script window toolbar, or choose Add Scene or Add Page from the Script menu. The Add Scene or Add Page dialog box appears.

3. Type the number for the scene or page, and click OK. For a scene, the number appears in the left margin next to the first line of the selected region.

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New scene number

Scene/page status bar

Scene and page numbers both appear in the status bar at the bottom of the Script window and reflect your current position within the script. Each scene or page number will continue throughout the script until you mark another line as the beginning of a new scene or page.

Changing a Page or Scene Number

You can change a scene or page number both to correct any errors that occur when adding numbers and to reposition scene and page numbering to match script changes during postproduction. To change a page or scene number: 1. Select the beginning line of the previous scene or page. 2. Click the Add Scene button or the Add Page button in the Script window toolbar, or choose Add Scene or Add Page from the Script menu. The Add Scene or Add Page dialog box appears.

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3. Type a new number for the scene or page, and click OK. 4. If the renumbering affects page or scene numbers that precede or follow the current change, then repeat these steps as necessary.

Deleting a Page or Scene Number

To delete a page or scene number: 1. Select the first line of the scene or page.

You can also delete all page or scene numbering throughout a range of the script by selecting the range of lines, or the entire script. 2. Press the Backspace key (Windows) or the Delete key (Macintosh). The Delete dialog box appears. 3. Select the options for Delete scene or Delete page break(s), as appropriate, and then click OK. The numbering is deleted from the Script window.

Searching for a Page or Scene Number

To search for a page or scene number: 1. Choose Go to Page or Go to Scene from the Script menu.

You can also click on the page or scene display in the status bar at the bottom of the Script window. The Go To Scene or Go To Page dialog box appears.
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2. Type the number of the scene or page, and click OK. The Script window scrolls to the page or scene, and the first line of script is highlighted.

Conducting a Text Search

To search for text in the script: 1. With the Script window active, choose Find from the Edit menu. The Find dialog box appears. 2. Type the text for which you are looking. 3. Select one of the optional search parameters, when appropriate: t t Select Ignore case if you do not want the search to be case sensitive. Select Whole word if you do not want the search to highlight instances where your text is one part of another word.

4. Click OK. The first occurrence of the text is highlighted in the Script window. 5. Choose Find Again from the Edit menu to search for the next occurrence of the text.

Linking Clips to the Script

To link clips to the script: 1. Open the script bin. 2. Open the source bin for the clips that you want to link to the script.

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3. (Option) Sort the source clips to make the job easier: You can sort the Scene/Take column for an alphanumeric list of clips that matches their relative order in the script. If you are not working with scene and take information (for example, in a video documentary project), you can provide your own numbering for the clips in a custom column, or you can sort the clips manually in Frame view according to their order in the script. For more information on adding a custom column, see Adding Customized Columns to a Bin on page 329.

4. Select the portion of the script that is covered by the first clip or clips. 5. Select the clip or clips in the source bin, and drag them to the highlighted text.

Make sure the pointer is over the highlighted text before you release the mouse button.

Drag a clip or several clips to the highlighted text.

A slate frame appears above the text, with one or more of the takes covering the scene as lines.
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The slate appears.

6. Continue to apply clips to additional portions of the script until you have finished creating all your slates. Alternatively, you can create slates one at a time, place script marks, and fine-tune the lining of each scene before proceeding to the next portion of the script.

Interpolating Position
Interpolate Position matches a clip to a take and allows you to see where a particular line in the script would appear in the clip footage. When you turn on Interpolate Position, the length of the take in the script is matched to the length of the clip in the Source pop-up monitor. The position indicator in the Source pop-up monitor corresponds to wherever you click in the take. If you set a script mark in the take, the portions of the take on either side of the script mark are matched to the portions of the clip on either side of the IN point in the Source pop-up monitor.

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To turn on Interpolate Position, do one of the following: t t Choose Script from the Settings scroll list in the Project window, click Interpolate Position, and then click OK. Choose Interpolate Position from the Script menu.

Manipulating Slates
Once you create a slate by dragging a clip into the Script window, you can manipulate the slates appearance and position.

Selecting Slates
To select slates, do one of the following: t t t Click a slate to select it. Ctr+click (Windows) or Shift+click (Macintosh) additional slates to select all the active takes. Drag a lasso through a region of the script containing slates. All slates and takes within the lasso are selected.

Selecting multiple slates is especially useful when you are adding or deleting color or off-screen dialog indicators across takes, as described in Manipulating Takes on page 409.

Resizing a Slate
You can resize a slate the same way you resize frames in the bin in Frame view. To enlarge a slate: t Select it and choose Enlarge Frame from the Edit menu.
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To reduce a slate: t Select it and choose Reduce Frame from the Edit menu.

You can enlarge the font size of the script to increase the size of the slate frames. This can be useful for presentation or screening purposes when you need a large display for an audience. For information on resizing the font, see Changing the Font of the Script on page 394.

Hiding Slate Frames

By default, the system displays a representative frame for each take in the slates. You can hide this frame display and show only the clip name to simplify the interface or to speed up scrolling and movement in a complex Script window. To hide the slate frames: t Choose Show Frames from the Script menu. The Script window shows only the clip names for the takes.

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To restore the frames: t Choose Show Frames again.

Showing One Take per Slate

You can display only one representative take per slate to minimize clutter on the screen. To show one take per slate: t Choose Show All Takes from the Script menu. The Script window shows only the first take in each slate.

A single take is shown.

To display all the takes: t Choose Show All Takes again.

Moving a Slate
You can adjust the position of slates to make room for more slates, to avoid blocking words, or to display takes over specific lines.
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To move a slate horizontally: t Click the slate and drag it to the left or the right. (If necessary, resize the Script window by dragging the window corner.)

To move a slate vertically without moving the position of the take lines in the script: t Click the slate and drag it up or down. The take lines remain fixed over the text to which they have been previously linked. To move the slate and all its take lines vertically to a new location in the script: t Press the Ctrl key (Windows) or the k key (Macintosh), and then drag the slate to the new location.

As you move the slate, the takes continue to cover the same number of lines in the script. To lengthen or shorten the number of lines covered in the takes at the new location, see Adjusting Take Lines on page 412.

Deleting a Slate
Occasionally, you might need to delete a slate for example, when you find that the takes in the slate are no longer needed.

n c

When you delete slates and takes from the Script window, the digitized source clips remain in the source bins. You cannot undo deletion of slates. To restore a slate after deletion, you need to re-create the slate. For more information, see Manipulating Script Text on page 394. To delete a slate: 1. Select all the takes in the slate by pressing and holding the Shift key and clicking the tab for each take.
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2. Press the Backspace key (Windows) or the Delete key (Macintosh). The Delete dialog box appears, indicating the number of takes to be deleted. 3. Click OK to delete the takes. The slate and all its takes are deleted from the script.

Manipulating Takes
Script integration provides a number of tools and techniques for manipulating the relationship between lined takes in the Script window and their source clips.

Selecting Takes
To select takes, use one of the following methods: t Click any take tab to select it. The outline of the take becomes bold to indicate that the take is active. t t Ctrl+click (Windows) or Shift+click (Macintosh) additional takes in the same slate or across slates to select them. Drag a lasso through an entire region of the script. All takes within the lasso are selected.

Selecting multiple takes is especially useful when adding or deleting color or off-screen dialog indicators, as described in Indicating Off-Screen Dialog on page 413 and Using Color Indicators on page 414.

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Adding Takes
To add another take to an existing slate: 1. Select the region of the script that the take covers. 2. Open the bin where the clip for the take is located. 3. Drag the clip to the slate. The new take appears in the slate and is applied to the selected region of the script.

n
Deleting Takes

You need to manually adjust the take lines, if the new take covers a different region than the existing slate. See Adjusting Take Lines on page 412.

As you screen clips, you might find that a take has been applied to the wrong scene and should be deleted from the slate. Or, you might decide to delete a bad take to simplify the script interface for the editor.

You cannot undo deletion of takes. To restore a take after deletion, see Adding Takes on page 410. To delete one or more takes: 1. Select the takes. 2. Press the Backspace key (Windows) or the Delete key (Macintosh). The Delete dialog box appears. 3. Click the Delete Takes check box, and click OK. The takes are deleted.

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Displaying Take Numbers

To display take numbers within the tab of each take: t Type the numbers in the Take column of the source bin for the clips.

Numbers in the Take column appear in the tabs for each take.

Changing the Representative Frame for a Take

To change the representative frame that appears in the slate for a take: 1. Select the take. 2. Press the appropriate arrow keys on the keyboard to advance the footage displayed in the slate forward or backward to the frame you want. You can also select multiple takes and advance them all at once.

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Loading Takes
To load individual or multiple takes into the Source pop-up monitor, do one of the following: t t Double-click any take tab. Select multiple takes, and then double-click any take in the selection.

Playing Takes
To play back a take, do one of the following: t Double-click a take to load it into the Source pop-up monitor, and then click the Play button or press the Play key. The clip plays back and stops when it reaches the end. t Select a take in the script, and then click the Play button at the top of the Script window. The clip loads and plays back in a continuous loop until you press the space bar. If you selected more than one take, each take will play in sequence.

Adjusting Take Lines

As you screen clips in the script, you might find that a take or group of take lines should begin earlier or end later in the script. You can adjust the take lines by moving the beginning mark, the end mark, or both. To change the length of a take line: 1. Press and hold the Ctrl key (Windows) or the k key (Macintosh). Notice the movement icon that appears when you point the cursor at either end of the take.

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2. Click the end mark or beginning mark of a take, and drag it until you reach the correct line in the script. 3. Press and hold the Ctrl key (Windows) or the k key (Macintosh), and drag the opposite end of the take to a new location if necessary. 4. Repeat the procedure for other takes in the slate as necessary.

Indicating Off-Screen Dialog

In a traditional lined script, you indicate off-screen dialog by drawing a jagged line next to the dialog. You can apply a similar effect to lines in the Script window. To indicate off-screen dialog: 1. Select the range of script containing the off-screen dialog. 2. Select one or more takes that you want to mark with the off-screen indicators. 3. Click the Off-Screen button in the Script window toolbar. The indicators appear, superimposed on the selected takes. You can switch the indicators on or off by clicking the button repeatedly. To remove one or more off-screen indicators: 1. Select the range of script containing the off-screen indicators. 2. Select only those takes that display the indicators. 3. Click the Off-Screen button. The off-screen indicators are removed.

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Using Color Indicators

You can use color to indicate several pieces of information, including: Preferred takes or takes used in the current active sequence Picture versus audio track used in the current active sequence Line changes in dialog

To apply color to takes: 1. Choose a color from the Color submenu of the Script menu. 2. Select the region of the script that covers the range within the take or takes that you want to highlight with color. 3. Select one or more takes. 4. Click the Color button in the Script window toolbar. The color appears only in the highlighted script region of the selected takes. You can switch the indicators on or off by clicking the button repeatedly. To remove one or more color indicators: 1. Select the range of script containing the color indicators. The first take in the selected region determines the color indicator status displayed in the Color button. 2. Select only those takes that display the indicators. 3. Click the Color button.

Using Script Marks

Script marks allow you to synchronize individual lines of script with matching points in digitized clips. When you place a mark in the script, an IN mark also appears in the clip when you load it into a

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monitor for editing. This provides line-by-line control over alternative takes that the editor can instantly load and edit into the sequence. You can place script marks one take at a time, or you can automate the process of screening and marking selected takes in a playback loop.

Placing Script Marks Manually

To place script marks manually: 1. Double-click in the Script window at the intersection of a take and the line of dialog that you want to mark. The take is selected in the slate, the chosen line of the dialog is highlighted, and the clip loads into the Source pop-up monitor.
Play button

Intersection of take and line of dialog

2. Click the Play button. The take plays in the monitor.

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Alternatively, you can step (jog) or shuttle through the footage, move the position indicator to the exact frame, or scrub the audio to find the exact line of dialog. The clip does not have to be playing. 3. When the playback reaches the chosen line of dialog, press and hold the Shift key, and click the Mark IN button (Shift + E key). The line is marked in the Script window with a small horizontal bar, and play stops.

The script mark

4. Repeat these steps to add more script marks.

Automating Screening and Marking

The Script window provides controls for automating the process of screening and placing script marks for a single take or across multiple takes.
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To use automated screening and marking: 1. Select one or more takes. 2. Click the Record Marks button in the Script window toolbar. The first selected take changes to green in the Script window, the system automatically loads the clip into the Source pop-up monitor, and the clip begins to play.

Several takes are selected for automated playback.

Current playback is highlighted in green.

3. As you hear a line of dialog (or see a particular shot) that you want to mark, click the matching line in the Script window. A script mark appears at that location in the take, and the clip continues to play. 4. Continue to mark additional sync points by using one of the following methods: t t Click a line that already contains a mark to replace the previous mark and update the sync point in the clip. Click a line in the script before or after the range of the existing take line, and the mark will be added while the take line is extended to include the new line. Use variable-speed play controls (J-K-L keys on the keyboard) to shuttle, step, or pause during playback.

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Press the Tab key or Shift+Tab to begin playback of the next or the previous take.

As each take reaches its end, the system automatically loads and plays the next take. 5. Continue to place marks until all takes have been screened. 6. To stop the playback loop, press the space bar.

You can scroll through the Script window without affecting playback.

Loading and Playing Marked Segments

Once you have placed marks syncing lines in your script to points in the source clips, you can quickly load and cue takes for selected lines of dialog. You can load a single take, or you can load all the coverage for any given range of lines. To load the marked segment of a take: t Click the script mark at the line of dialog that you want to cue.

The take is loaded into the Source pop-up monitor and is cued to the synced line of dialog. An IN point is placed at the sync location. To load all the coverage for a range of lines: 1. Select the lines in the Script window, dragging through all intersecting takes. The script lines and takes are highlighted. 2. Click the Play button in the Script window if you want to screen the takes for those lines, or click the Record Marks button if you want to add script marks. The takes load and play back one after another. You can use the Tab key or J-K-L keys to jump between takes and control playback.

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Moving a Script Mark

When you move a script mark up or down, the mark in the source clip remains at the same frame but is resynced to a new line in the script. To move a script mark: 1. Press and hold the Ctrl key (Windows) or the k key (Macintosh). Notice the movement indicator that appears when you move the pointer to a mark in the script. 2. Click the mark, and drag it to the new position.

Deleting a Script Mark

When you remove a script mark, you do not delete the marked portion of the take, only the sync point between the script and the source clip.

You cannot undo deletion of script marks. To restore a script mark after deletion, see Placing Script Marks Manually on page 415. To delete a script mark: 1. Click once on the mark. (If you double-click, you will load the clip and make the Source pop-up monitor active.) 2. Press the Backspace key (Windows) or the Delete key (Macintosh). The Delete dialog box appears. 3. Click OK. The mark is deleted.

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Finding Clips and Script

After you have placed script marks, synchronizing lines in the Script window to frames in the source clips, you can use the Find Bin or Find Script buttons to search back and forth between the two.

Finding Script
The Find Script button allows you to quickly match back from currently loaded clips to portions of script in the Script window to which the clip has been linked. To find the script linked to a loaded clip: 1. Move the position indicator in the clip to the line of dialog (or within a range of dialog) that you want to find. 2. Choose Command Palette from the Tools menu. 3. Click the Other tab. 4. Click the Find Script button. The Script window instantly scrolls to and highlights the portion of script that most closely matches the clip location.

Finding Clips and Bins from the Script Window

Script integration allows you to search instantly through bins and find the source clips for takes that have been linked to the script. You can search on a single take or on multiple takes across several slates. To find source clips and bins: 1. Select the takes that you want to find. 2. Click the Find Bin button in the Script window toolbar.

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The system searches through bins linked to the project, opens the bin containing the linked clips, and highlights them in the bin.

Editing with the Script Window

Using the Script window, an editor can conduct a highly streamlined form of editing. To use the Script window most effectively during a session, make sure that the Script window is fully prepared, including preferred takes, alternative takes (indicated with colors), and script marks for matching lines of text to sync points in the clips.

Script Editing Workflow

To quickly assemble a rough cut from the Script window: 1. Open the Script window for the current cut. 2. Double-click the first preferred take and load it into the Source pop-up monitor. The IN point is already marked and cued. 3. Play the take until the appropriate OUT point is reached, and press the space bar to stop playback.

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Splice-in button

Overwrite button

4. Click the Splice-in button or the Overwrite button to make the first edit. 5. Prepare the sequence for the next edit: a. b. c. Create new tracks if necessary. Enable the appropriate source and record tracks. Patch the tracks if necessary.

d. Mark an IN point in the sequence for the next edit. 6. Double-click the next preferred take to load it. 7. Play the clip until you reach the appropriate OUT point, and press the space bar to stop playback. 8. Perform the edit on-the-fly. 9. Repeat steps 4 through 6 until you have moved through the entire scene or segment. 10. Fine-tune the edits by using normal trimming and editing procedures. 11. Continue to use the Script window to quickly load and cue alternative takes as necessary.

Splicing a Script Range

During editing, you can use Ctrl+Alt (Windows) or the Ctrl key (Macintosh) to instantly splice clips linked to ranges of script directly from the Script window into the sequence. To use this feature with accuracy, you should carefully mark the ranges of script during the screening and marking phase. To splice a range: 1. Mark an IN point or move the position indicator to the location in the sequence where you want to splice in the segment. 2. Press Ctrl+Alt (Windows) or the Ctrl key (Macintosh). Notice that the Splice-insert arrow appears when you point to a take.
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3. Double-click the preferred take within the range of dialog that has been marked. The marked section of the clip is spliced into the sequence.

Revising the Script

During or after each session, or when a scene or segment is completed, the editor or assistant editor can update the Script window to reflect the final edit decisions made during the day. In this way, you can maintain a complete record of the elements used to construct the scene or segment, as well as all existing alternatives. When further changes or repackaging is required, you can quickly retrieve all the source material in one window.

Interactive Screenings
The Script window can be invaluable during screenings of work in progress, allowing you to: Quickly search for scenes and pages with clips attached for instant retrieval. Match back and cue source material to compare alternative takes. Quickly find and open bins for retrieval of additional material not included in the Script window. Enlarge script font and slate frames for better viewing by your audience.

The Script window provides a visual, interactive look at the content of the original script versus the elements in the final piece.

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All alternative takes are available for viewing and comparing.

Matching colors indicate takes used in the preferred cut as well as alternative cuts.

You can mix down alternative cuts to form master clips and place them alongside the script.

Sequences cannot be loaded into the Script window. You can perform a video mixdown and load the resulting master clips instead. For more information, see Mixing Down Video Tracks on page 684.

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CHAPTER 12
Viewing and Marking Footage
Before making your first edit, you can review your footage, add locators to clips, mark IN and OUT points, or create subclips. By viewing and marking your material in advance, you can concentrate on editing and refining your sequence at a later time without having to pause and set marks each time you load a new clip. Techniques for playback, viewing, and subcataloging clips are described in the following sections: Customizing the Composer Monitor Viewing Methods Loading and Clearing Footage Resizing Monitors Controlling Playback Marking and Subcataloging Footage Finding Frames and Clips

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Customizing the Composer Monitor

The Composer monitor can be customized by displaying or hiding labels on buttons and by changing the background color. You can also customize the appearance of the Timeline by displaying a variety of information about your sequence. You can customize Trim mode by changing the Transition Play Loop settings for Preroll, Postroll, and Intermission.

Changing the Composer Monitor Background Color

To change the background color of the Composer monitor: 1. Click in the Composer monitor to make it active. 2. Choose Set Composer Background from the Edit menu. 3. Choose a shade of gray for the background from the pop-up palette.

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Using the 16:9 Display Format

The Avid system supports the 16:9 aspect ratio for the display of wide-screen images used in the high-definition television (HDTV) standard as well as some feature film formats. The 16:9 option allows you to offline edit wide-screen footage that you first transfer anamorphically to NTSC or PAL tapes. Once you are finished with the offline phase, you can generate an edit decision list (EDL) (or cut list, using matchback) for conforming the final master or cut, using the original high-definition footage. To enable the 16:9 display: t Choose 16:9 Monitors from the Clip menu.

Displaying Tracking Information

Tracking information consists of any type of format used to identify clips, audio and video tracks, individual frames, or footage durations while you work. The Avid Xpress interface displays this information in the Tracking Information menu, located above the Composer monitor. This information is updated continuously to reflect your current position in the footage. You can choose various alternative tracking formats from submenus. By default, the tracking information area displays no information until you select a tracking format. In addition, tracking data is not displayed when you dont have material loaded in the monitor. If you load a clip and no information is currently displayed, you can still open the submenu by clicking in the area above a monitor. To choose a tracking information format: 1. Load a clip or sequence into the Composer monitor.

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2. Click in the gray information display area above the Composer monitor (to the left of the sequence name), and choose a format from the Tracking Information menu.

Tracking Information menu

Tracking Format Options

The Tracking Information menu contains a number of options for information to display above the monitors.

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The following is a summary of the contents of the menu: The upper portion of the menu lists options for summary information, such as master timecode (Mas), duration of the entire clip (Dur), IN to OUT duration (I/O), absolute timecode (Abs), and time remaining (Rem). The second portion of the menu lists options for displaying the timecode for a specific track (V2, V1, A1, A2, and so forth). This list contains options only for the tracks existing in the currently loaded clip or sequence. For example, a clip with only one audio track does not show an option for A2. See Displaying the Timecode Window on page 432. The third portion displays the Clip Name for the track that you choose from a submenu. The name displayed is continuously updated based on the location of the position indicator. The bottom portion allows you to select None to turn off the display.

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Displaying the Clip Information Window

The Clip Information window displays statistical information about the clip. You can open the Clip Information window from a bin, the Source pop-up monitor, or the Composer monitor. This window also updates information automatically. To open the Clip Information window from a Source pop-up or from the Composer monitor: 1. With the monitor active, click and hold in the gray area just below the title. If the Clip Information window doesnt appear, keep holding. The Clip Information window appears.

Click and hold here.

2. Drag the window to a new location to leave the window open.

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If no clip is loaded in a monitor, the Clip Information window does not open. To open the Information window from a bin: 1. Press Ctrl+Alt (Windows) or k+Shift (Macintosh) and click the clip for which you want to display information. The Info window opens. 2. Drag the window to a new location to leave the window open.

Moving the Clip Info Window

To move the Info window: 1. While clicking and holding the mouse button to display the Info window, move the pointer over the window and drag it to a new location or another monitor. An outline of the window appears. 2. Release the mouse button. The Info window is redisplayed.

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Displaying the Timecode Window

Each Source pop-up monitor displays one line of timecode. The Timeline also displays one line of timecode. The Timecode window allows you to display one line of timecode in a separate window. To set a timecode display: 1. Choose Timecode Window from the Tools menu. The Timecode window opens.

2. Click anywhere in the Timecode window. 3. Choose an option from the Timecode pop-up menu. For a description of the Timecode options, see Table 12-1 on page 433.
Close button

Timecode pop-up menu

The window displays the timecode you have chosen.

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4. Click the Close button (Windows) or the close box (Macintosh) to close the Timecode window. Table 12-1 presents the timecode display options.

Table 12-1
Option Mas Dur I/O Abs Rem V2 V1 A1 A2 A3 A4 Clip Name None

Timecode Display Options

Description Displays master timecode at the present location Displays total duration of the sequence Displays duration between IN and OUT points Displays absolute time duration at the present position Displays time remaining at the present position Displays the source timecode of the video on track 2 Displays the source timecode of the video on track 1 Displays the source timecode of the audio on track 1 Displays the source timecode of the audio on track 2 Displays the source timecode of the audio on track 3 Displays the source timecode of the audio on track 4 Displays the name of the clip Hides the display

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Setting the Font and Point Size for Monitor Displays

You can apply a font and point size to a sequence or clip name. To set the font and point size: 1. With the Composer monitor active, choose Set Font from the Edit menu. The Set Font dialog box appears.

2. Choose a font from the Font pop-up menu, and type a point size in the Size text box. 3. Click OK. The new font and point size are applied to the sequence name or clip name.

Viewing Methods
You can work with clips and sequences in several different ways, depending on your needs and preferences. Each method has its own uses and advantages, as follows: Viewing in bins: You see pictorial images of the clips in your bins by using Frame view. You can also list the clips by name by using Text view. See Using Text View on page 323. Viewing in the Source pop-up monitors: You can load clips and sequences into the Source pop-up monitors to view and mark or
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subcatalog clips for use in a sequence that you build in the Composer monitor. Viewing in the Composer monitor: You can load a sequence into the Composer monitor to view, mark, or modify an existing sequence. You cannot load clips directly into the Composer monitor. Viewing in the Timeline: Use the Timeline to view individual tracks for either a sequence or a source clip.

Loading and Clearing Footage

You load individual or multiple clips into the Source pop-up monitor, and you load sequences into the Composer monitor by using different methods. You can also use the Clip Name menu to display clips and sequences.

Loading into the Source Pop-up and Composer Monitors

To load a clip or sequence into the Source pop-up monitor: 1. Open a bin and locate the clip or sequence. 2. Double-click the clip or sequence. Ctrl+click (Windows) or Shift+click (Macintosh) to load multiple clips or sequences. For each clip or sequence that you selected, a Source pop-up monitor opens.

You can also load sequences by clicking the sequences and dragging them from the bin to the monitor. To load a sequence into the Composer monitor: 1. Open a bin and locate the sequence. 2. Drag the sequence into the Composer monitor or the Timeline.
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Ctrl+click (Windows) or Shift+click (Macintosh) to load multiple sequences.

When you start a new sequence, you must drag the first clip into the Timeline; you cannot drag it into the Composer monitor.

Using the Clip Name Menu

When you have clips loaded in a monitor, you use the Clip Name menu located above each monitor to switch between various loaded clips or to clear clips from monitors.

Switching Between Loaded Sequences

If you loaded multiple sequences into the Composer monitor, you see only one sequence displayed at a time. To view an alphabetical list of the loaded sequences and choose an alternate sequence for viewing: 1. Click the name of the current sequence displayed above the monitor to reveal the Clip Name menu.

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Clip Name menu

2. Choose a different sequence name from the menu. The selected sequence replaces the current sequence in the monitor.

To see the list of sequences sorted in the order in which they were loaded into the monitor, press the Alt key (Windows) or the Option key (Macintosh) while opening the Clip Name menu.

Clearing Sequences from Monitors

To clear the monitor or the sequence names from the menu: 1. Click the name of the sequence currently displayed above the Composer monitor to display the Clip Name menu.

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Clip Name menu

2. Choose one of the following commands: Clear Monitor removes the displayed sequence from the screen, leaving black. The sequences are still loaded. Clear Menu deletes the list of all loaded sequence names and leaves only the sequence currently displayed.

Resizing Monitors
You can resize the Composer monitor and any Source pop-up monitor to provide more area for displaying the Timeline or other windows. You can either hide the video completely or resize the monitor.

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Hiding the Video in the Composer Monitor

You can resize the Composer monitor, displaying only the position bars, the editing buttons, and the information portion above the monitors. No video is displayed. To hide the video in a monitor: t Click the bottom right corner and drag up until the video disappears (Windows) or click the zoom box on the top right corner of the monitor (Macintosh).

Drag from here.

The video disappears. Only the position bars, the editing buttons, and the information portion above the monitors are displayed.

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To redisplay the video in the monitor: t Click the bottom right corner and drag down until the video reappears (Windows) or click the zoom box on the top right corner of the monitor (Macintosh).

Resizing the Composer Monitor

You can resize the Composer monitor to a variety of sizes. To resize the monitor: 1. Click in the Composer monitor to make it active. 2. Click the lower right corner of the window, and drag to the new size you want the monitor to be. The monitor is displayed with the new size.

If you choose 16:9 Monitors from the Clip menu, the Composer monitor maintains the 16:9 dimensions. See Using the 16:9 Display Format on page 427.

Controlling Playback
There are several ways to play, view, and cue clips: Instantly access frames or move through footage by using the position indicator within the position bar under the monitors. Play, step (jog), or shuttle through the footage by using user-selectable buttons or the mouse.
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Play, step, or shuttle by using keyboard equivalents.

If you try to play a sequence and the outline of the Composer monitor flashes, another window is covering the Composer monitor. Click the Composer monitor to bring it forward or move the window that is covering it.

Using Position Bars and Position Indicators

To quickly access frames within a clip loaded into a monitor or to move through the footage, do one of the following: t Use the position indicators that appear in the position bars under the Source pop-up and Composer monitors. The position indicator also appears in the Timeline when you are viewing a sequence. Move the position indicator within the position bar under the monitor by clicking anywhere in the position bar or by dragging the position indicator to the left or right. The speed with which you drag the position indicator determines the speed at which you move through the footage.
Position bar

Position indicator

Click anywhere in the Timeline to relocate the position indicator, or drag the position indicator through footage at varying speeds. In the Timeline, the position indicator shows your position within the sequence. It is always in the same position as the position indicator in the Composer monitors position bar. Click at the far left or far right of the position bar or the Timeline to go directly to the beginning or end of a clip or sequence.

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Position indicator in Timeline

Using Buttons
You can use the buttons that appear under the Composer monitor and in the Source pop-up monitors to play and step (jog) through your footage. You can also use the keyboard to manipulate footage. To play the clip backward or forward in one-frame increments: t Click the Step (or Jog) buttons under the monitors.

To play forward or backward in 10-frame increments: t t Press the 1 key (backward) or the 2 key (forward) on the keyboard. Press and hold the Alt key (Windows) or the Option key (Macintosh) while clicking the Step (or Jog) buttons under the monitors.

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Step Backward Step Forward

To step (or jog) through footage: 1. Load a clip into a Source pop-up monitor or a sequence into the Composer monitor. 2. Click the appropriate button to: Step one frame forward. Step one frame backward

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Stepping Forward and Backward by Field

Your Avid system enables you to locate defects on individual fields of a frame with the single-field step feature. By default, the first field of every frame is displayed when you step through material frame by frame. With single-field step, you can view both fields of each two-field frame sequentially to locate a dropout from the source videotape, or dust and scratches from the original film footage.

You can map the Step Forward One Field and Step Backward One Field buttons to any button in the Tool palette or to any key in the Keyboard palette. For information on mapping buttons, see Using the Command Palette on page 111. To use single-field step: 1. Choose Command Palette from the Tools menu. 2. Click the Move tab. 3. Select Active Palette.

Step Forward One Field Step Backward One Field

4. Click the Step Forward One Field or the Step Backward One Field button, which can be mapped to any button in the Tool palette or any key in the Keyboard palette. A number 2 appears in the upper right corner of the monitor to indicate you are parked on field 2 of a frame. (The absence of the number 2 indicates you are parked on field 1 of the frame.) Subsequent single-frame steps are based on this field. 5. Continue to click the Step Forward One Field or the Step Backward One Field button to view each field of a frame.

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About the Keyboard

The Keyboard palette varies, depending on the type of keyboard attached to your Avid Xpress system. If an Avid-supported international keyboard is attached to your Avid Xpress system, then the Keyboard palette matches that keyboard.
Step buttons Workspace buttons Delete key

Play button

Home key End key

Stop

Play buttons

Arrow keys

The J-K-L keys on the keyboard allow you to play, step (jog), and shuttle through footage at varying speeds. This feature, also referred to as three-button or variable-speed play, allows you to use three fingers to manipulate the speed of playback for greater control. To view your Keyboard settings: t Double-click Keyboard in the Settings scroll list of the Project window. The Keyboard palette appears.

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Some international keyboards might differ from this picture.

Shuttling with J-K-L Keys

To shuttle through the footage by using the J-K-L keys on the keyboard: 1. Load a clip into the Source pop-up monitor or a sequence into the Composer monitor. 2. Use the J-K-L keys to shuttle at varying speeds: t Press the L key to move forward through the footage at normal speed. You can increase the speed according to the following table:

Press the L Key 2 times 3 times 4 times 5 times

To Play Footage at 2x normal speed 3x normal speed 5x normal speed 8x normal speed

NTSC Rate 60 fps 90 fps 150 fps 240 fps

PAL Rate 50 fps 75 fps 125 fps 200 fps

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t t t t

Press the J key to move backward at the same shuttle speed increments. Press the K and L keys together for slow forward (8 fps for NTSC, 6 fps for PAL). Press the K and J keys together for slow backward. Press the K key and tap the L key or the J key to step through footage one frame at a time.

To pause the shuttling: t Press the K key.

To stop shuttling: t Press the space bar.

Navigating with Home, End, and Arrow Keys

In addition to using the buttons in the application, you can use the following keys on your keyboard to navigate through clips and sequences:

Press Home key End key Left Arrow key

To Move to the beginning of a clip or sequence. Move to the end of a clip or sequence. Move the footage one frame backward. Pressing and holding the Alt key (Windows) or the Option key (Macintosh) while pressing the Left Arrow key moves 10 frames backward. Move the footage one frame forward. Pressing and holding the Alt key (Windows) or the Option key (Macintosh) while pressing the Right Arrow key moves 10 frames forward.

Right Arrow key

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Jogging with the Mouse

To jog by using the mouse: 1. Load a clip or sequence into the Source pop-up monitor. 2. Choose Command Palette from the Tools menu. 3. Click the Play tab. 4. Select Active Palette. 5. Click the Mouse Jog button. The Play button in the monitor toolbar becomes the Mouse Jog button and the mouse pointer disappears. The mouse now controls jogging.

You can map the Mouse Jog button to any button in the Tool palette or to any key in the Keyboard palette. For information on mapping buttons, see Using the Command Palette on page 111. 6. Move the mouse to the right to jog forward or to the left to jog backward. To pause jogging with the mouse: t Click the mouse button.

To quit jogging with the mouse: t Press the space bar. The Play button and mouse pointer reappear.

Shuttling with the Mouse

To shuttle by using the mouse: 1. Load a clip or sequence into the Source pop-up or Composer monitor.

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2. Choose Command Palette from the Tools menu. 3. Click the Play tab. 4. Select Active Palette. 5. Click the Mouse Shuttle button. The Play button on the monitor toolbar displays the shuttle speed; a bar to either side of the speed display becomes green to indicate in which direction the blue position indicator is moving.

You can map the Mouse Shuttle button to any button in the Tool palette or any key in the Keyboard palette. For information on mapping buttons, see Using the Command Palette on page 111. 6. Move the mouse to the right to increase the shuttle speed or to the left to decrease the shuttle speed. To pause shuttling with the mouse: t Click the mouse button.

To quit shuttling with the mouse: t Press the space bar. The Play button and mouse pointer reappear. You can also use the keyboard in conjunction with the mouse to control shuttling. For example, if you are shuttling with the mouse and you press the L key, the playback speeds up to the next normal play rate (30, 60, 120, 240 fps for NTSC; 25, 50, 100, 200 fps for PAL). You can continue to change the shuttle speed and direction with the mouse.

Play Length In Use Indicator

After you click the Play Length Toggle button, which appears in the Play tab of the Command palette, the Play button highlights in white. This reminds you to turn off the Play Length function before an
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important play and review session. When the Play Length function is active, the sequence stops playing after 1 minute.

Marking and Subcataloging Footage

You can speed the editing process by marking clips with IN and OUT points in advance, by using locators to subcatalog footage, and by creating subclips.

Marking IN and OUT Points

You can mark IN and OUT points for your clips in advance, which provides several advantages: You can quickly build a sequence by splicing the marked clips into place one after another. You can use the process of rough cut or storyboard editing, which allows you to instantly splice several prepared clips into a sequence. See Creating an Instant Rough Cut on page 479. You can play back and mark clips in the bin before loading a single clip, saving several steps.

Even if your marks are not accurate now, Avid Xpress allows you to trim the edit points and fine-tune the sequence later without reediting the material.

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To mark IN and OUT points before adding them to a sequence: 1. Load a sequence into the Composer monitor, or load a clip into a Source pop-up monitor. 2. Play or step through the material. Use the J-K-L keys when playing a clip in a bin. 3. Click the Mark IN button under the monitor to mark an IN point and stop playback. Use the Mark IN key on the keyboard when marking a clip in a bin. (Mark IN on the keyboard does not stop playback.) The sawtooth icon appears on the left side of the monitor to indicate the mark IN frame.

Sawtooth icon

Mark IN button

Mark Clip button Clear OUT button Clear IN button Mark OUT button

4. Continue playing or stepping (jogging) through the material. 5. Click the Mark OUT button under the monitor to mark an OUT point and stop playback. Use the Mark OUT key on the keyboard when marking a clip in a bin.
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The sawtooth icon appears on the right side of the monitor to indicate the mark OUT frame.

Clearing a Mark and Setting a New One

You can clear marks and set new ones. To clear the IN point: t Click the Clear IN button (or press the D key).

To clear the OUT point: t Click the Clear OUT button (or press the F key).

To clear both the IN and OUT points: t Press the Clear Both Marks key (the G key).

To set a new IN point: t Click the Mark IN button when you reach a different frame.

To set a new OUT point: t Click the Mark OUT button when you reach a different frame.

Dragging IN and OUT Points

To more easily position IN and OUT points based on visual feedback: t Press the Alt key (Windows) or the Option key (Macintosh) and drag marked IN and OUT points to visible locations.

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Marking an Entire Clip or Segment

To mark an entire clip or segment:

A segment in a sequence consists of the material between any two edit points. 1. Load a sequence into the Composer monitor, or load a clip into a Source pop-up monitor. 2. In the case of a sequence, move the position indicator to the segment that you want to mark. 3. In the Track Selector panel in the Timeline, select the tracks corresponding to the cuts you want to mark.

Track Selector panel

4. Click the Mark Clip button under the monitor.

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Mark Clip button

To ignore the current track selection and to mark the smallest clip at the current position in the sequence, press and hold the Alt key (Windows) or the Option key (Macintosh) while you click the Mark Clip button.

Marking Audio Clips

You can mark audio and video separately for an edit by using the Audio Mark buttons. This feature is useful for creating an overlap edit (split edit or L-cut). To mark IN and OUT points on audio tracks: 1. Load a clip or sequence into a monitor. 2. Select the tracks corresponding to the cuts you want to mark. 3. Place the position indicator where you want to mark the audio clip. 4. Choose Command Palette from the Tools menu. The Command Palette window opens. 5. Click the Edit tab.
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6. Select Active Palette.

Audio Mark IN button Audio Mark OUT button

7. Do one or both of the following: t t Click the Audio Mark IN button to mark an IN point. Click the Audio Mark OUT button to mark an OUT point.

You can also create an overlap edit for an audio track by using the Audio Mark buttons. See Marking Audio Clips on page 454.

Using the Tool Palette

The Tool palette provides additional buttons for editing and navigating. You can have the Tool palette buttons appear with or without labels. You can tear off the Tool palette to have it displayed in another screen location. You can also map other tools or functions to the Tool palette. See Using the Command Palette on page 111. To open the Tool Palette window: t Click the Fast Menu button under the Source pop-up or Composer monitor. The Tool Palette window opens.

If a subset of the buttons appears in the Tool palette, click the lower right corner and drag it to the right and down to reveal the full Tool palette and blank, mappable buttons. To see the names of the buttons in the Tool palette: t Hold the mouse pointer over a button. The name of the button appears in a yellow ToolTip box.
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To have labels appear on the Tool Palette buttons: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click the Interface setting. The Interface dialog box appears. 3. Select Show Labels in Tool palette. 4. Click OK. The names of the buttons appear on the buttons under the icons.

To tear off the Tool palette and move it to another location: 1. Click the Fast Menu button under the Source pop-up or the Composer monitor. 2. Click the Tool palette and drag it to another location in the application.

Creating Subclips
When you mark footage with IN and OUT points, you can either save the entire clip along with the new marks, or you can create subclips based on the marks you set to break up longer master clips into smaller segments of selected footage.

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This is similar to creating circle takes of all of your best footage before editing. Subclips do not directly reference the original media. Subclips remain linked to the master clips from which they are created, and the master clips, in turn, reference the digitized media files located on your storage drives. As a result, none of the original footage is lost. You can create subclips directly from the marked section of material in the monitors by using one of the following methods. To use the Alt key (Windows) or the Option key (Macintosh) to create a subclip: 1. Press and hold the Alt key (Windows) or the Option key (Macintosh). 2. Drag the picture from the monitor to the bin in which you want to store the subclip. To use the Make Subclip button to create a subclip: 1. Click the Fast Menu button under the monitor. The Tool palette appears. 2. Click the Make Subclip button to create the subclip 3. Place it into the active bin by default. If you press the Alt key (Windows) or the Option key (Macintosh) while you click the Make Subclip button, a dialog box allows you to select the destination bin for the subclip. The new subclip is listed in the bin, preceded by a subclip icon and identified with a numbered .Sub.n file name extension, as shown in the following illustration.

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A new subclip as referenced in Text view

Subclips do not limit your access to the original, digitized master clip material when trimming. Therefore, if you must trim beyond the marked IN to OUT points of the subclip to make it longer or shorter, your system accommodates the adjustments during the trim. For more information on trimming, see Chapter 15.

Using Locators
Locators are a type of electronic bookmark. They allow you to find and identify specific frames during editing. Key words that you enter into the comments attached to a locator allow you to use standard Find procedures to call up the clips quickly. You can display information about the locators by using the Locators window. There are eight Add Locator buttons in the More tab of the Command palette. Each Add Locator button is a different color, which allows you to group locators by color. For example, you can use the red Add Locator button to identify color correction frames and use the blue Add Locator button to identify cutaway shots.

Ways to Use Locators

There are many possible uses for locators. A few examples are: Visual track alignments: Use locators at matching points in synchronized audio and video tracks so that if the tracks lose sync,
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you can visually realign the locators in the Timeline to restore sync. Music cues: Use locators to mark the IN and OUT points for music. Trim markers: Use locators in the Timeline to return directly to an edit you have designated for further trimming at a later time. Cutaway markers: Use locators to identify cutaway shots with comments so that when you return to cover jump-frame edits with cutaway footage, you can quickly call up the shots using basic Find procedures. Replace markers: Use locators to mark filler segments with comments to identify the items that should replace the filler. Semipermanent IN or OUT points: Use locators with the Mark Locators button to put multiple sets of locators on a long clip, and so on. Add comments for EDLs: Use locators to add comments to sequence clips to appear in lists that you create, such as an EDL or cut list.

When you insert a locator, it appears as an oval in the Timeline, in the position bar, and at the bottom of the frame in the monitor. The color of the oval corresponds to the color of the locator button you used.

Locator displayed in the monitor, the position bar, and the Timeline

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You can add locators to your source material while you are in an editing session, as described in Adding Locators While Editing on page 460.

Adding Locators While Editing

To add locators and comments while in an editing session: 1. Load a sequence or clip. 2. (Option) Select a specific track by using the Track Selector panel. See Using the Track Selector Panel on page 505. 3. Cue to the frame and click an Add Locator button. The Add Locator buttons are found in the More tab of the Command palette. The locator oval appears in the Timeline, in the position bar, and at the bottom of the frame in the monitor. 4. Double-click the locator in the position bar under the monitor or click the large oval on the frame in the monitor. The Locators window opens. See Using the Locators Window on page 462.

Locator information area

Comment entry area

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5. Click the locators information line displayed in the top section of the Locators window. The locators information line is highlighted, and the user name appears in the bottom section of the Locators window. 6. Type your comments in the comment entry area of the Locators window. 7. Press the Tab key or close the Locators window to save your comments. You can also press the Enter key on the numeric keypad to save your comments. The information is stored with the marked frame. The user name and the first line of the information appears at the bottom of the frame in the monitor. To go quickly to a frame with a locator while editing: t Use the Find command in the Edit menu to search for a particular comment.

Moving to the Previous or Next Locator

To move to the previous or next locator: 1. Choose Command Palette from the Tools menu. The Command Palette window opens. 2. Click the Move tab. 3. Select Active Palette.
Go to Previous Locator button Go to Next Locator button

4. Click the Go to Previous Locator button or the Go to Next Locator button. The position indicator moves in the direction you have indicated and the monitor displays the frame containing the locator. You can map this button to your Tool palette or Keyboard palette. See Mapping User-Selectable Buttons on page 114.
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Marking an Area Using Locators

You can mark the area between two locators by using the Mark Locator button. To mark the area between two locators: 1. Move the position indicator between two locators. 2. Click the Mark Locators button located in the Edit tab of the Command palette. The area between the two locators is selected.

Deleting Locators
To delete a single locator: 1. Select a locator in the Timeline or in the position bar. 2. Press the Delete key. The selected locator is removed. For more information on using the Locators window to delete locators, see Deleting Locators by Using the Locators Window on page 466.

Using the Locators Window

The Locators window allows you to quickly add comments, go to locator marks, delete locators, and print a list of locators in the currently loaded clip or sequence. Many features of the Locators window are similar to those of the Bin window. You can use the Locators window to: Find information about each locator.

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Access the Locators Fast menu, which allows you to: Modify and sort the display. Display frames for easy visual reference. Change the color of the locator icons.

Print the Locators window. This is especially useful for identifying and listing specific frames to be used in an effect, for example. You can also make a list of IN and OUT points for adding music.

Go to the locator in the sequence or clip. Delete a single locator or multiple locators.

The Locators window is divided into two sections: The top section displays information in text columns about the locators. The bottom section allows you to type comments about the frame marked by the selected locator.

The following illustration shows a Locators window with three locators.

Locator information area

Comment entry area

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Viewing and Navigating in the Locators Window

To view locators in the Locators window: 1. Load the sequence containing the locators into the Composer monitor. 2. Choose Locators from the Tools menu. To navigate in the Locators window: t t Press the Tab key to switch between the locator information area and the comment entry area. Press the Up Arrow and Down Arrow keys to select locators in the locator information area.

Sorting Information in the Locators Window

You can sort or reverse-sort the locators by using the locator information area in the Locators window. To sort the locators in ascending order: 1. Select the column that you want to sort. The column is highlighted. 2. Choose Sort from the Locators Fast menu. The locators are sorted. To sort the locators in descending order: 1. Select the column that you want to sort. The column is highlighted. 2. Press and hold the Alt key (Windows) or the Option key (Macintosh) while you choose Sort Reversed from the Locators Fast menu.

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Displaying Frames in the Locators Window

You can display the frame associated with each locator in the Locators window. To display the frame associated with a locator: t Choose Images from the Locators Fast menu. The Locators window displays the frame associated with each locator.

Changing the Color of the Locator Icon

You can change the color of the locator icon from the Locators window. The Avid system uses the same color in the Timeline, position bar, and monitor. To change the color of the locator icon: 1. Select a locator in the locator information area of the Locators window. 2. Choose a color from the Locators Fast menu. The icon color of the selected locator changes to the new color.

Accessing a Locator in a Sequence or Clip

From the Locators window, you can go to the frame in the sequence or clip that is marked by the locator. To go to a locator in a sequence or clip: t Double-click a locator in the locator information area of the Locators window. The appropriate frame is displayed.

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Printing the Locators Window

To print the Locators window: 1. Make sure your printer is set up correctly. 2. Choose Page Setup from the File menu. A Page Setup dialog box appears, reflecting specific options for your printer. 3. Select the appropriate options. 4. Click OK. 5. Choose Print from the File menu. The Print dialog box appears, reflecting specific options for your printer. 6. Select the print options. 7. Click OK. The system prints the Locators window.

Deleting Locators by Using the Locators Window

You can use the Locators window to delete a single locator or multiple locators. To delete locators by using the Locators window: 1. Select the locators in the locator information area of the Locators by doing one of the following: t t Click a single locator. Ctrl+click (Windows) or Shift+click (Macintosh) multiple locators.

2. Press the Delete key. The selected locators are removed.

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Finding Frames and Clips

Once you have digitized, viewed, marked, and subcataloged numerous clips for a project, you might have difficulty relocating specific clips or frames among several bins. Avid Xpress allows you to quickly locate and cue footage.

Using Frame Offset Timecode to Cue a Frame

To cue a frame by using frame offset timecode: 1. Using the numeric keypad, type a plus (+) sign to move forward or a minus sign () to move backward from the current position. 2. Type a number for the frame offset, and press Enter on the numeric keypad. Use the following formats: One or two digits: Type 1 through 99 to specify a number of frames forward or backward. For instance, type 42 to move backward 42 frames. Three digits: Type 100 or a greater number to move forward or backward a specified number of seconds and frames. For instance, if you type +100 and the master track timecode is selected on the Tracking Information menu, you move forward 1 second and 0 frames.

Using Timecode to Find a Frame

At any time during editing, you can type timecode values by using the numeric keypad on the right side of the keyboard to cue a loaded clip or sequence to a specific frame. In addition, you can cue backward or forward from the current location in the clip or sequence by a specified number of minutes and seconds plus frames by using positive or negative frame-offset values.

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The system interprets the numbers you type with the numeric keypad according to the type of tracking format you have chosen in the row of information displayed above the monitor. To cue to a frame based on a known timecode: 1. Type the timecode for the frame by using the numeric keypad on the right side of the keyboard. 2. Use one of these formats: SMPTE timecode: Use two digits each for the hours, minutes, seconds, and frames with no leading zeros. For example, type 1230200 to enter 01;23;02;00. Current timecode: If you are finding a timecode that starts at the same time as the current timecode, just type the last digits. For example, if the current timecode is 1;05;12;13 and you type 4;25, the system finds the frame at 1;05;04;25.

3. Press Enter on the numeric keypad.

Using Match Frame

The Match Frame feature locates the source footage for the frame currently displayed in either the Source pop-up or the Composer monitor, loads it into the Source pop-up or the Composer monitor, cues to the matching frame, and marks an IN point. It removes the source clips original IN and OUT points. In addition to helping you relocate and reedit master clips during a session, the Match Frame feature can be used to locate clips quickly, based on media relatives when you have forgotten their location. Track selection determines the match frame. If you select a video track, the system matches a frame from the video. If you enable several tracks, the system matches the frame from the highest selected track level, in descending order: V1, A1, A2, and so on.

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To use the Match Frame feature: 1. Load a sequence into the Source pop-up or the Composer monitor. 2. Move to the frame that you want to match. 3. Make sure you select the correct track for the frame that you want to match in the Track Selector panel. 4. Click the Fast Menu button, and drag to tear off the Tool palette. 5. Click the Match Frame button in the Tool palette. This loads and marks the source clip in a Source pop-up monitor.

Match Frame button

If you do not want to mark the source clip and remove the original marks, press the Alt key (Windows) or the Option key (Macintosh) as you click the Match Frame button.
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CHAPTER 13
First Edits
After you have viewed and marked your clips or have created subclips, you are ready to create a sequence. This chapter introduces you to procedures that you use to build a basic sequence, as described in the following sections: Setting Up a New Sequence Making the First Edit Editing Additional Clips into the Sequence Lifting, Extracting, and Copying Material Playing the New Sequence Proceeding with Editing

Setting Up a New Sequence

For information about setting up a new sequence, see the following sections: Starting a New Sequence Changing Clip Information Changing the Start Timecode for Sequences

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Setting Up Tracks for the New Sequence Adding Filler

Starting a New Sequence

To start a new sequence: 1. Choose New Sequence from the Clip menu. One of the following actions occurs: If just one bin is open, or if several bins are open and you clicked a specific bin to activate it, the new sequence appears in the bin. It also appears in the Composer monitor and in the Timeline, with the generic title Untitled Sequence n. Each new sequence is numbered incrementally until you rename it. If several bins are open but none is activated, the Select dialog box appears.

2. Select the bin in which to store the new sequence, or click the New Bin button to create and open a new bin. 3. Click OK.

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An untitled sequence appears in the bin, in the Composer monitor, and in the Timeline.

To rename the new sequence: t Immediately type a new name while the name is highlighted in the bin.

If you click anywhere in the interface after creating the new sequence, you deactivate the sequence name field. You must click the sequence name again to rename the sequence.

Changing Clip Information

The following optional procedure allows you to rename the new sequence and to set a customized start timecode by using the Get Clip Info command. To rename a sequence and to set a customized timecode: 1. With your sequence loaded and the Composer monitor active, choose Get Clip Info from the File menu. The Clip Info dialog box appears.

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2. Type a new name in the Name text box. 3. Drag the pointer across the Start timecode, and then type a new timecode. 4. Click OK.

Changing the Start Timecode for Sequences

To change the start time of a sequence that has already been created: 1. Click the sequence start time in the bin. 2. Type a new timecode.

Setting Up Tracks for the New Sequence

When you create a new sequence by using the New Sequence command, and no material is loaded into the Source pop-up monitor, the Timeline is empty.

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To add a new track to a sequence loaded in the Composer monitor: t Choose New Audio Track or New Video Track from the Clip menu. The new track appears in the Timeline. When you add a new track to a sequence, the Avid Xpress system assigns a consecutive number to it. You can change the numbering scheme of tracks rather than use the consecutive numbering default. To add a new track and to change the numbering system: 1. Press and hold the Alt key (Windows) or the Option key (Macintosh), and choose New Audio Track or New Video Track from the Clip menu. The Add Track dialog box appears.
Track Type pop-up menu Track Number pop-up menu

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2. If you want to switch from the type of new track you chose (for example, from a new video to a new audio track), click the Track Type pop-up menu and choose the other option. 3. If you want to select a track number other than the default consecutive numbering offered by the dialog box, click the Track Number pop-up menu and choose another number. You cannot choose the number of an existing track. 4. Click OK. The new track appears in the Timeline and in the Track Selector panel.

Adding Filler
You can add a small amount of black filler at the start of your sequence. A brief moment of black before the start of your sequence is sometimes useful during playback or when recording a digital cut. You can also add filler at any time during editing to another part of the sequence.

You cannot add filler to the end of a sequence. To add filler: 1. Choose Load Filler from the Clip menu. The system loads a 2-minute clip of filler into a Source pop-up monitor. 2. Select the length of filler, as needed, using the Mark IN and Mark OUT buttons.

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Mark IN

Mark OUT

Splice-in button

Overwrite button

3. Click the Splice-in or the Overwrite button to edit the black into the sequence.

Making the First Edit

Making the first edit involves the following procedures: Beginning to Edit Creating an Instant Rough Cut Undoing or Redoing Edits

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Beginning to Edit
To begin editing: 1. Load the first clip into a Source pop-up monitor. If you have not already marked IN and OUT points for the clip in advance or created a subclip, view and mark the clip as necessary.
Source Track buttons Source Track Monitor buttons

2. Click buttons in the Track Selector panel to select the tracks you want to include in the edit. Only the tracks that have been digitized for the clip appear as source tracks in the Timeline. For more information on using the Track Selector panel, see Using the Track Selector Panel on page 505. For example, with a talking head, you might select tracks V1 (picture) and A2 (sound), if the voice was recorded on that track. You would deselect track A1, which might have unwanted wild sound picked up from a second microphone or no sound at all. As another example, if you are laying down a music track first, you would select track A1 or A2, depending upon where the music was digitized, and deselect V1.
Splice-in button

3. Click the Splice-in button to add the edit to the sequence in the Composer monitor. The Composer monitor displays the end of the last frame of the new edit. (You can drag the position indicator in the Timeline or the position bar under the Composer monitor to review the clip.)
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The edit also generates a graphical display of the cut in the Timeline.

Screen display of the first edit in a sequence

The end of the last frame of the new edit

Source clip

Timeline generated by the edit

Creating an Instant Rough Cut

As an alternative to creating a new sequence by editing clips one at a time, you can quickly create a rough cut by selecting and loading multiple clips directly from the bin in Text view and by dragging them into the Timeline.
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To create a rough cut from a bin:

To create a more accurate rough cut, view and mark clips in the bin in advance. See Marking IN and OUT Points on page 450. 1. Click the Frame View button (F) to enter Frame view. 2. In the bin, sort the clips in the order in which you want them to appear in the sequence. 3. Select the tracks for the edit.

If no sequences are loaded in the Composer monitor, the Timeline has no features. 4. Shift+click (Windows) or Ctrl+click (Macintosh) or lasso the clips. Choose Select All from the Edit menu if there are no other clips in the bin. 5. Drag the highlighted clips to the Timeline to splice the clips into place. The clips are spliced together to form a new sequence based on the order in which they were listed in the bin.

Undoing or Redoing Edits

You can undo or redo up to 32 previous actions listed in the Edit menu. To undo only the previous edit or function: t Choose Undo from the Edit menu.

To redo only the previous edit or function: t Choose Redo from the Edit menu.

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Editing Additional Clips into the Sequence

The primary edit functions are splice-in and overwrite. In most cases, you perform three-point edits in which you set three marks two in the source material and one in the sequence, or the reverse. The fourth mark is determined automatically. The way you set marks depends upon the type of edit you perform.

Performing a Splice-in Edit

A splice-in edit inserts material from the Source pop-up monitor into the sequence without replacing material already in the sequence. Existing material in the sequence is moved beyond the new material, lengthening the overall duration of the sequence.

New Clip Insertion point Before Splice-in After Splice-in Clip X Clip Y Clip Z Existing clips are moved down. Clip X Clip Y New Clip Clip Z

To perform a splice-in edit: 1. Double-click a clip to open a Source pop-up monitor. 2. Mark an IN point. 3. Mark an OUT point. 4. Mark an IN point in the sequence as follows: a. Move the position indicator in either the Timeline or the position bar of the Composer monitor to the point where you want to splice the clip into the sequence.

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b.

Click the Mark IN button, or press the Mark IN key on the keyboard.

n
Splice-in button

If you dont mark an IN point, the system splices the new clip into the sequence at the current location of the position indicator. 5. Click the yellow Splice-in button to complete the edit.

Performing an Overwrite Edit

An overwrite edit replaces a section of the sequence with the material you select from a Source pop-up monitor. Unlike a splice-in edit, an overwrite edit replaces existing material and therefore does not lengthen the overall duration of the sequence.
New Clip Material to be overwritten Before Overwrite After Overwrite Clip X Clip Y Clip Z

Clip X

Clip Y

New Clip

Clip Z

To perform an overwrite edit: 1. In the Source pop-up monitor, mark an IN point or an OUT point, but not both, to show the start or end of the clip you want to use. 2. In the Composer monitor, mark both an IN point and an OUT point to select the material in the sequence you want to overwrite. You can also mark an OUT point and move the position indicator in the Timeline or position bar to the IN point.
Overwrite but-

3. Click the red Overwrite button to complete the edit.

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Performing a Replace Edit

To perform a replace edit: 1. Choose a sync frame in the source clip by moving the position indicator to display that frame in the Source pop-up monitor. The sync frame can be an IN point, an OUT point, or any frame in-between that you want to sync to a frame in the existing shot in the sequence. 2. Choose the sync frame in the sequence for the edited shot that you want to replace by moving the position indicator in either the Composer monitor position bar or in the Timeline to that frame. 3. Choose Command Palette from the Tools menu. 4. Click the Edit tab. 5. Select Active Palette. 6. Click the Replace Edit button (blue). The system replaces the clip.

If you are replacing a clip in an overlap edit, and the position indicator falls within the overlap, you might end up replacing the wrong material unless you select the entire segment you want to replace.

Lifting, Extracting, and Copying Material

Extract/Splice-in and Lift/Overwrite are Segment mode functions you can also use to remove and reposition segments. For more information, see Performing Segment Mode Edits on page 523.

Lifting, extracting, and copying allow you to remove or reposition material quickly in your sequence. For example, you can move a clip from the end of your sequence to the beginning; or you can remove the material from the sequence altogether. Lifting, extracting, and copying place the removed material into the Clipboard. You can then paste the material elsewhere in the sequence or in another sequence altogether.

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Lifting Material
The Lift function removes selected material from a track in the sequence and leaves black filler or silence to fill the gap. You can later move or fill this gap with other footage. When you lift material, the overall duration of the track (or sequence) remains the same.
Lifted Clip X Material is placed in the Clipboard.

Clip W

Black Filler

Clip Y

Clip Z

To lift material: 1. Mark IN and OUT points in the sequence at the start and end of the material that you want to lift. 2. Select the tracks containing the material. The system performs the function on selected tracks only. See Using the Track Selector Panel on page 505. 3. Choose Command Palette from the Tools menu. 4. Click the Edit tab.
Lift button

5. Click the Lift button to complete the edit.

Extracting Material
The Extract function removes selected material from a track in the sequence and closes the gap left by its removal. As a result, when you extract material, you shrink the duration of the track or sequence.

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Extracted Clip Y

Material is placed in the Clipboard. Clip Z

Before Extract After Extract

Clip X

Clip Y

Track is shortened. Clip X Clip Z

To extract material: 1. Mark IN and OUT points in the sequence at the start and end of the material that you want to extract. Select the tracks containing the material. The system performs the function on selected tracks only. See Using the Track Selector Panel on page 505.
Extract button

2. Choose Command Palette from the Tools menu. 3. Click the Edit tab. 4. Click the Extract button to complete the edit.

Copying Material
The Copy to Clipboard function makes a duplicate of selected material in the sequence and leaves the material intact. When you copy material, the sequence remains unaffected. The material can then be inserted into the sequence elsewhere or into another sequence. To copy material to the Clipboard: 1. Mark IN and OUT points in the sequence at the start and end of the material that you want to copy. 2. Select the tracks containing the material. The system performs the function on selected tracks only. See Using the Track Selector Panel on page 505.
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Copy to Clipboard button

3. Click the Copy to Clipboard button, which is located in the Edit tab of the Command palette. The system copies the selected material to the Clipboard and leaves the sequence untouched.

Using the Clipboard

The Avid Xpress Clipboard is a cut, copy, and paste tool adapted to the special needs of the editing environment.

Placing a Sequence into the Clipboard

To place a marked section of the sequence into the Clipboard at any time: t Click the Lift, the Extract, or the Copy to Clipboard button.

These buttons are also in the Edit tab of the Command palette; you can map them to buttons in the Tool palette or keys in the Keyboard palette. See Mapping User-Selectable Buttons on page 114. The Copy to Clipboard function is useful for moving or repeating material in a sequence without moving multiple segments in Segment mode or for rebuilding the section at another location. For example, you can: Copy a portion of a sequence for pasting into another sequence. Isolate and copy a portion of an audio track for looping music or repeating a sound effect. Copy graphic elements for repeating at other locations in a format cut.

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Recovering Material from the Clipboard

The Clipboard allows you to restore lifted or extracted segments quickly. This is especially useful if you have performed one or more edits since removing the material. In contrast, if you restore the material by using the Undo function, the system also undoes all edits performed in the meantime. The Clipboard provides the benefit of restoring the material while maintaining subsequent edits. To restore material from the Clipboard: 1. Open the Clipboard as a Source pop-up monitor by choosing Clipboard Monitor from the Tools menu. 2. Click the Mark Clip button to mark the entire segment.

Mark Clip button

3. Locate the IN point in the sequence from which the segment was removed. Move the position indicator here, or mark an IN point. 4. Splice or overwrite the material into the sequence.
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Playing the New Sequence

You can play a sequence at any time and view it in the Composer monitor.

Playing a Sequence
To play a sequence: 1. Make sure that the Video Track Monitor icon is located on the topmost video track to display all video tracks and effects during playback.

Video Track Monitor icon

Audio Track Monitor button

2. Make sure the Audio Track Monitor button for the audio track is selected to ensure proper playback of all audio tracks. 3. Go to the start of the sequence in the Composer monitor or Timeline by clicking the left side of the position bar to reposition the position indicator at the beginning or by pressing the Home key on the keyboard. 4. Use the position indicator, buttons, or keyboard to play or step (jog) through footage, viewing it in the Composer monitor.

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Starting a Playback Loop

You can play back your sequence in a continuous loop by augmenting the Play IN to OUT command with the Alt key (Windows) or the Ctrl key (Macintosh). You must mark IN and OUT points in the sequence to determine the range of the playback loop.

You can also use this technique to isolate and continuously play back a small portion of the sequence during a difficult edit. To start a playback loop: 1. Mark IN and OUT points in the sequence. To play back the entire sequence, mark the IN point at the beginning and the OUT point at the end. 2. Press the Alt key (Windows) or the Ctrl key (Macintosh) and the Play IN to OUT key (6 on the keyboard). The playback loop begins and continues until you press the space bar or click anywhere with the mouse.

Playback Performance Tips

As you continue to edit, you might find the playback performance of the system diminishing as the sequence grows in length and layers. This can happen when you are using a great deal of RAM for playback of large and complex sequences. The following are a few tips for improving playback performance: Check the number of media objects in use for your project in the Memory window, as described in Viewing Memory on page 100. If this number is large (for example, more than 50,000 objects on a system with 32 MB of RAM), reduce the number of media objects by doing one of the following: t t Close bins that are not in use. Reduce the number of clips in the open bins.
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Unmount drives that are currently not in use. See Mounting and Ejecting Drives on page 56. You can remount the drives at any time by choosing Mount All from the File menu.

Restart the computer once a day to refresh the system memory. Split the sequence into two or more segments, if possible.

Proceeding with Editing

When you have finished a rough cut, you are ready to fine-tune the sequence.

To Learn about the Timeline and Segment mode editing techniques Make frame-accurate adjustments to your edits, using Trim mode Edit with audio or to mix audio tracks in preparation for playback or output Add effects to your sequence

See Chapter 14.

Chapter 15.

Chapter 16.

The Avid Xpress Effects Guide. Chapter 17. Chapter 18.

Edit with synced tracks Output the finished sequence

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CHAPTER 14
Using the Timeline
The Avid Xpress system represents each edit and effect in a graphical Timeline structure to help you track and manipulate the elements of your sequence. In addition, the Timeline has its own set of editing tools that you can use to create and revise edits and transitions across multiple tracks. The audio and video tracks in the Timeline play in the Composer monitor. You can continually edit your sequence and review your changes in the Composer monitor until you are pleased with the result. These features are described in the following sections: Customizing Timeline Views Navigating in the Timeline Editing in the Timeline Printing the Timeline

Customizing Timeline Views

You can customize your Timeline to display a variety of information about your sequence as well as the clips and transitions it contains. You use the Timeline Fast menu and the Timeline settings to change the display.
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Examples of customizing your Timeline include: Visual detail: If you want to display more detailed information about clips with which you are working, you can enlarge the video tracks to display clip names and durations, and source and media names. Audio detail: If you are doing advanced audio work with multiple tracks or are fine-tuning difficult audio edits, you can enlarge audio tracks to display waveform plots and audio levels.

Accessing the Timeline Settings

The Timeline Settings options allow you to customize the Timeline. To access the Timeline Settings: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Timeline. The Timeline Settings dialog box appears.

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Table 14-1 and Table 14-2 describe the Timeline Settings options.

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Table 14-1
Option Show Marked Region Description

Timeline Settings Options (Display Tab)

When this option is selected, the system highlights the region from the IN point to the OUT point. When this option is selected, the system shows waveforms drawn between an IN point and an OUT point instead of over the entire composition. When this option is selected, the Timeline scrolls over the position indicator while you play a sequence.

Show Marked Waveforms Scroll While Playing

Table 14-2
Option Start Filler Duration Description

Timeline Settings Options (Edit Tab)

Type the amount of filler you want to appear by default when you choose Add Filler at Start from the Clip menu. Type the maximum number of flash frames you want the system to detect. The default is 10, which tells the system to detect clips with 9 frames or fewer. See Finding Flash Frames on page 519. When this option is selected, the system automatically patches the enabled source tracks to the tracks enabled in the Timeline. When this option is selected and you delete a video track with the video monitor activated, the system automatically activates the video monitor for the next available track. It also monitors any track to patch to. This setting is selected by default. When this option is selected, you can move segments in the Timeline and maintain sync between audio and video. After moving a segment in the Timeline, this option maintains sync by adding filler to the location from which the segment was moved, and to the location on all other sync-locked tracks that corresponds to the new location of the segment you moved. You can move either an audio clip or a video clip.

Find Flash Frames Shorter Than

Auto-Patching

Auto-Monitoring

Segment Drag Sync Locks

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Table 14-2
Option Dupe Detection Handles Description

Timeline Settings Options (Edit Tab) (Continued)

Choose the size of the handles, in frames, to use for dupe checking. The chosen number of frames is added at the beginning and the end of each clip before checking for overlap. The handles are used only for internal calculations.

Using the Timeline Fast Menu

You can also customize the appearance of the Timeline by using various options from the Timeline Fast menu.

To choose an item from the Timeline Fast menu: t Click the Fast Menu button and scroll through the menu to select or deselect an option. Selected options have check marks next to them.

Table 14-3 lists the Timeline Fast menu options.

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Table 14-3
Option Default Setup Clip Frames Suboption

Timeline Fast Menu Options

Description Sets the Timeline display back to the default. Displays the first frame within a clip in the Timeline. Switches on and off the display of clip names in the Timeline. Switches on and off the display of clip durations in the Timeline. Switches on and off the display of source material names in the Timeline. Switches on and off the display of original media names in the Timeline. Enhances color-coded dupe display for V1 track (available only with Matchback option). Indicates unrendered or partially rendered effects; see "Customizing Render Ranges Display" in the Avid Xpress Effects Guide.

Clip Names

Clip Durations

Source Names

Media Names

Dupe Detection

Render Ranges

None Partial

Turns off the display of render ranges. Displays a red line on the portion of any partially rendered effect that is currently unrendered (but does not mark completely unrendered effects). Displays a red line on the portion of any partially rendered effect that is currently unrendered and on all completely unrendered effects. Displays audio clip gain information. See Automation Gain Values and System Clip Gain Values on page 576.

All

Audio Clip Gain

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Table 14-3
Option Audio Auto Gain Suboption

Timeline Fast Menu Options (Continued)

Description Displays audio automation clip gain information. See Automation Gain Values and System Clip Gain Values on page 576. Switches on and off the display of sample plots for each audio track in the Timeline. It is easier to see this display if you expand the audio track in the Timeline. Displays local, source, and offline colors assigned to clips.

Sample Plot

Clip Color

Offline

When this option is selected, any clips in the Timeline with media offline are highlighted in red. Displays a Color palette from which you can choose a color for the tracks displayed in the Timeline.

Track Color

Additional Procedures for Customizing the Timeline

The Avid Xpress system allows you to enlarge and reduce the sizes of the Timeline tracks, and to change the colors of the tracks and background. These procedures include: Enlarging and Reducing Tracks Changing the Timeline Track Color

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Enlarging and Reducing Tracks

You can enlarge or reduce the height of one or more tracks to improve visibility and to display more information within the tracks. Use this feature to: Reduce and view all the tracks in a multilayer sequence, and enlarge them when finished. Enlarge all tracks to view waveform plots or other displays in multiple tracks.

To enlarge or reduce the height of selected tracks: 1. Select the tracks in the Timeline that you want to resize. See Selecting Tracks on page 506. 2. Do one of the following: t t Choose Enlarge Track or Reduce Track from the Edit menu. Press Ctrl+L (Windows) or k+L (Macintosh) to enlarge the track, or press Ctrl+K (Windows) or k+K (Macintosh) to reduce the track. Move the pointer over the Track Selector panel until it changes to a bar intersected by a double-headed arrow. Drag the edge up or down to make the track narrower or wider. This method applies to only one track selection at a time.

Changing the Timeline Track Color

To change the color of selected tracks in the Timeline: 1. Click the Timeline to make it active. 2. Click the Timeline Fast Menu button and choose Track Color from the Timeline Fast menu. 3. Choose a color for the tracks from the Color palette. If you want to choose a custom color for the tracks, press the Alt key (Windows) or the Option key (Macintosh) while performing this
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procedure. When you release the mouse button in the Color palette, the Windows Color dialog box or the Macintosh Color Picker appears.

Saving a Custom Timeline View

After you customize the Timeline, you can save it and access the view as you switch between projects and workspaces. To save a custom Timeline view: 1. Click the View Menu button at the bottom of the Timeline. If you have not yet saved a view, the button is labeled Untitled. 2. Choose Save As from the pop-up menu. The View Name dialog box appears. 3. Type a name for your Timeline view. 4. Click OK.

Replacing a Timeline View

If your saved views become extensive and there are views you no longer use, you can replace them. To replace saved views: 1. Press and hold the Alt key (Windows) or the Option key (Macintosh) while you click the View Menu button to display the list of saved view names, each appended with the Replace command. 2. Select a saved view name that you want to replace from the list. The current Timeline view is applied to the selected name, and that name is displayed in the Settings scroll list in the Project window. You can change the View Name in the Settings scroll list if you want.
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Setting the Scroll Option for the Timeline

When you choose the Scroll While Playing option, the Timeline scrolls over the position indicator while you play a sequence. This is useful if you are viewing the Timeline in more detail and the end of the Timeline is not visible on the monitor. If you select Scroll While Playing, the Timeline scrolls until the end of the Timeline is visible in the monitor. To set the scroll option: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Timeline. The Timeline Settings dialog box appears.

3. Select Scroll While Playing.

To turn off Scroll While Playing, deselect this option in the dialog box. 4. Click OK.
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When you play a sequence in the Timeline, the sequence scrolls over the position indicator. When the Timeline has passed the play head and the end of the Timeline is revealed, the Timeline stops moving and the position indicator travels the remaining distance.

Scale box

For the Timeline to scroll, you might need to display more detail in the Timeline to expand the sequence. Click the scale box, and drag it to the right to expand the Timeline. All effect icons are hidden as you scroll.

Restoring the Default Timeline View

To restore the default view in the Timeline: t Click the Timeline Fast Menu button and choose Default Setup from the Timeline Fast menu.

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Navigating in the Timeline

The Timeline provides various controls for quickly moving through a sequence and adjusting your view of details displayed in the tracks while editing. You can use the position indicator, the Timeline scale bar, or the Timeline scroll bar to navigate within the Timeline. In addition, marked sections of the sequence are highlighted in the Timeline for visual reference.

Toolbar

Position indicator

Scale bar

Scale box

Scroll box

Scroll bar

Using the Position Indicator

The position indicator in the Timeline marks your place in the sequence. It also determines how some of your commands are interpreted. When you drag the position indicator in the Timeline, the smaller position indicator within the Composer monitors position bar also moves.

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Using the Timeline Scroll Bar

The Timeline scroll bar appears along the bottom of the Timeline on the right side of the Timeline toolbar. The Timeline scroll bar functions like any standard scroll bar. You can drag the scroll box to reposition yourself within the Timeline, or click the arrows to scroll left or right.

Displaying Detail in the Timeline

The scale bar stretches and contracts the Timeline area centered around the position indicator. This allows you either to zoom in to focus on a specific area of your sequence or to zoom out to display your whole sequence. This feature is especially useful when you have a lengthy sequence with many edits.

Toolbar

Position indicator

Scale bar

Scale box

Scroll box

Scroll bar

To zoom in on a section of the Timeline at the position indicator and then zoom back to your original display: 1. Click the scale box and drag it to the right.
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The following happens: The Timeline expands horizontally. The Timeline track shows more detail. The position indicator splits into a solid blue line and a dotted blue line (or shadow), marking the beginning and end of the current frame. You can click either the line or the shadow to move exactly one frame forward or backward.

2. Click the scale box, and drag it back to the left. The Timeline shrinks to its original size.

Controlling Movement in the Timeline

While working in the Timeline, you can use the Ctrl and Alt keys (Windows) or the k and Option keys (Macintosh) to control the movement of the position indicator. To snap to the head of transitions as you move through the Timeline sequence: t Press and hold the Ctrl key (Windows) or the k key (Macintosh) as you drag the position indicator.

To snap to the tail of transitions: t Press Ctrl+Alt (Windows) or k+Option (Macintosh) as you drag the position indicator.

To move frame by frame: t Press the Alt key (Windows) or the Option key (Macintosh) as you drag the position indicator.

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Using the Track Selector Panel

As your project progresses, you might need to add and edit with additional audio or video tracks. You use multiple tracks of video primarily for effects. The Avid Xpress system allows you to edit up to eight tracks of video and eight tracks of audio. While working with multiple tracks, you can use the Track Selector panel to select, manipulate, delete, lock, patch, and monitor your tracks. You can use multiple tracks to layer audio effects and sound or to add video titles and other effects.

Multiple video tracks do not immediately play back at the same time until you apply an appropriate effect that composites the layers. Multiple audio layers, however, do play back immediately if correctly monitored.
Source Track Monitor buttons Source Track buttons Sync Lock and Lock buttons Record Track buttons Record Track Monitor buttons Video Track Monitor button with Monitor icon Audio Track Monitor button with gold Speaker icon Audio Track Monitor button with black Speaker icon

Sync Lock All button

Timecode button

The source side of the panel displays only those tracks available for the clip currently loaded. For instance, a clip that has audio digitized only for track A1 does not display an A2 track in the Track Selector panel. The record side of the panel displays only those tracks currently in use for the sequence. However, if you edit source material with a track
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selected that does not yet exist on the record side, by default the track appears on the record side after the edit takes place.

Selecting Tracks
Consider the following when you select tracks on either the record side or the source side of the Track Selector panel: You can edit selected tracks on the source side directly into the sequence, assuming you have selected parallel tracks on the record side. You cannot edit deselected tracks on the source side into the sequence, regardless of record track selections. You cannot edit deselected tracks on the record side into the sequence, regardless of source track selections.

There are five methods for selecting tracks: Click the Track button of any inactive track to select the track. (To deselect the track, click the Track button of any active track.) Drag a lasso around multiple tracks to select all of them at the same time. With the Timeline window active, choose Select All Tracks from the Edit menu to select all tracks on the record and source sides. Click the Cycle Picture/Sound button, located on the Edit tab of the Command palette, to cycle among selected video tracks, audio tracks, and all tracks. Click the V and A buttons in the Edit tab of the Command palette.

For example, you might select the source and record tracks for V1, A1, and A2 to edit the picture and audio from the source clip into the sequence. Select only V1 source and record tracks to edit the picture without the sound, or select only A1 and A2 source and record tracks to edit the sound without the picture.

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Monitoring Tracks
To determine the monitoring of tracks: t Click the monitor column of either the source-side or record-side tracks to activate or deactivate the monitor buttons. Video and Audio Track Monitor buttons behave differently in some circumstances.

Monitoring Video
The Video Track Monitor button determines whether you see video during playback. You can turn it off at any time to monitor only audio during editing. When there are multiple video tracks, all tracks below the monitored track are active during playback. When you edit with multiple tracks, you can activate the monitor on a lower track to monitor only the video on that track. This feature is especially useful when you have multiple layers of video effects and need to see one track without additional layers. You can also monitor a solo track, as described in Monitoring a Solo Track on page 509.

If you reposition the Video Track Monitor icon, be sure to return it to the topmost track to view, render, or output all the tracks together. Unmonitored tracks are not included in playback. To monitor video tracks: t Click the Video Track Monitor button for the track you want to monitor.

Monitoring Audio
There are two types of monitor icons that appear in the monitor column for audio tracks: a black Speaker icon and gold Speaker icon. Your Avid system allows you to monitor up to eight audio tracks at a time, depending on your configuration.

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Consider the following: The system pans odd-numbered tracks to the left speaker and even-numbered tracks to the right speaker by default. If your sequence includes more than eight audio tracks, you can select any eight tracks to monitor at one time by clicking the Audio Track Monitor button for each audio track you want to monitor. The Audio Track Monitor button changes to purple with either a black or gold Speaker icon when the audio track is selected for monitoring playback and output. To hear more than eight tracks at once, you must mix down some of them to a maximum of eight. For more information, see Mixing Down Audio Tracks on page 639. By default, all monitored audio tracks are selected for scrubbing. To isolate specific audio tracks for scrubbing, see Soloing Audio Tracks in the Timeline on page 554. A gold Speaker icon on the Audio Track Monitor button indicates that the track will not be dropped when the play speed increases during scrubbing. By default, the two topmost Audio Track Monitor buttons display the gold Speaker icon. For more information about setting an audio track to ensure it is not dropped during scrubbing, see Selecting Tracks for Scrubbing on page 556. The Audio Track Monitor button changes to green with a black Speaker icon when selected for soloing. For more information, see Monitoring a Solo Track on page 509. When you choose Direct Out in the Audio Mix tool, tracks 5 to 8 play back on channels 1 to 4. You can also customize the output of the tracks, as described in Using the Audio Mix Tool on page 563.

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Monitoring a Solo Track

You can isolate an individual video or audio track for monitoring when editing without having to deselect monitoring of all other tracks. Solo monitoring has several advantages: You can monitor the upper layers of a composited effect apart from the lower layers. You can isolate an individual audio track for monitoring without having to click several audio tracks to deselect monitoring of all other audio tracks. You can overcome slow cueing and playback when working with a complex sequence by isolating tracks for monitoring.

To select a track for solo monitoring: t Ctrl+click (Windows) or k+click (Macintosh) the Track Monitor button for the chosen track. The Track Monitor button changes to green with a black Monitor icon (video track) or black Speaker icon (audio track) to indicate solo monitoring. To deselect solo monitoring: t Press and hold the Ctrl key (Windows) or the k key (Macintosh), and click again in the monitor column in the Track Selector panel. The Monitor icon returns to normal functionality.

Cycling Through a Selection of Tracks

To cycle through the selection of tracks in the Track Selector panel: 1. Choose Command Palette from the Tools menu. 2. Click the Edit tab. 3. Select Active Palette.

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4. Click the Cycle Picture/Sound button. Each time you click the Cycle Picture/Sound button, the system cycles through the selection as follows: a. b. c. Video tracks All tracks Audio tracks

d. No tracks 5. Continue to click the button to repeat the cycle.

n
Locking Tracks

You can map the Cycle Picture/Sound button to any button in the Tool palette or any key in the Keyboard palette. For information on mapping buttons, see Using the Command Palette on page 111.

You can lock selected tracks to prevent further editing from being performed on them. The middle row of the Track Selector panel displays the Sync Lock icon (slash mark) for sync-locked tracks, and the lock icon (padlock) for locked tracks. Locking tracks to prevent further editing is especially useful in the following circumstances: For video editing, you can lock tracks when you have completed a set of complex, multilayer edits and want to avoid making accidental changes while you work on other adjacent tracks. For audio editing, you can lock audio tracks containing sync dialog that should be maintained while you edit adjacent video tracks or audio tracks. For projects involving multiple editors, you can lock tracks to prevent unnecessary or accidental changes.
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To lock tracks: 1. Select the tracks you want to lock (source, record, or both) by clicking to select each in turn. 2. Do one of the following: t t Right-click in the Timeline and choose Lock Tracks from the pop-up menu. Choose Lock Tracks from the Clip menu.

The Lock icon indicates that the selected tracks are locked; no further editing can occur on locked tracks. To unlock tracks: 1. Select the tracks you want to unlock. 2. Do one of the following: t t Right-click in the Timeline and choose Unlock Tracks from the pop-up menu. Choose Unlock Tracks from the Clip menu.

The Lock icon disappears and the tracks are unlocked.

Patching Tracks
When working with multiple tracks, you occasionally encounter a circumstance where you must edit source audio or video onto a track other than the parallel track displayed in the Track Selector panel. To edit the source material onto another record track above or below it, you must patch the source track to the targeted record track. You can perform only one patch per edit, but there is no limit on the number of times you can patch from the same source track. Audio can patch only to audio, and video only to video.

You can also patch tracks by using the Auto-Patching option in the Edit tab of the Timeline Settings dialog box. For more information, see Table 14-2.
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To perform a patch: t Drag from a source track (audio or video) to the targeted record track (a white arrow appears during the patch).

An audio patch from a source track to a record track

New source track order identifies the patch.

During patch

After patch

To undo a patch: t Manually repatch to the previous track.

The selected source track moves beside the record track to which it is patched as soon as you draw the arrow and release the mouse. The patched track remains highlighted in preparation for your edit. You can proceed to select any other tracks required for the edit.

When you are patching from one video track to another, the Video Track Monitor icon moves to where you patch the track unless Auto-monitoring is deselected in the Timeline settings (see Table 14-2). Be sure to return the icon to the topmost track, when necessary, to play back and output all video tracks.

Sync Locking Tracks

The Sync Lock feature allows you to maintain synchronization among several tracks while adding or removing frames in Trim mode. For example, if you insert an edit into one track that is sync locked to a second track, the system automatically inserts filler in the second track to maintain sync between them.
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There are several unique aspects to sync locking: Sync locking applies to single-roller trims only; dual-roller trims do not break sync. You can sync lock any number of tracks in any combination. The tracks do not require matching timecode or common sources and can include multiple video tracks as well as audio tracks. Sync locking affects entire tracks. This means that parallel segments in other sync-locked tracks are affected when you trim anywhere in the sequence.

Sync locking affects Trim mode. This feature is especially useful when you are working with multiple tracks and want to maintain sync between two or more tracks while trimming. To sync lock the tracks: t Click in the center column between track selectors to activate the Sync Lock icon for each synchronized track.

To resume editing on individual tracks: t Click again to remove the Sync Lock icon.

Deleting Tracks
To delete one or more tracks from the sequence: 1. Click the Record Track buttons for the tracks, and press the Delete key. The Delete Track(s) dialog box appears.

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2. Click OK. The tracks are deleted. To restore a deleted track: t Choose Undo from the Edit menu.

Adding an Edit (Match Framing)

The Add Edit function places an artificial edit point between the frames of a clip. The edit appears in the Timeline as a transition between two clips, but when you play the clip, the footage appears unchanged because the frames are continuous.
Add edit placed between frames

Footage plays back continuously.

This form of edit is also known as a match frame. In traditional analog editing, match framing is used to accomplish specific tasks, such as creating a dissolve between two clips. In Avid Xpress, however, add edits (or match frames) function differently. Use match frames primarily to divide and isolate portions of a clip or sequence in order to modify that portion without affecting the rest of the footage. Once
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you make the adjustment (for example, adding an effect), playback of the clip is no longer seamless because the two portions of the clip are different. You can add an edit to a single audio or video track, or you can place the add edit across several tracks at once. To add a match-frame edit: 1. Move the position indicator to the chosen frame. 2. Select the tracks where you want to add the edit. 3. Click the Add Edit button under the Composer monitor. The edit appears in the sequence with an equal sign to indicate a match-frame edit.

Removing Match-Frame Edits

To remove match-frame edits, do one of the following: t Choose Undo from the Edit menu. If you made other edits since you performed the Add Edit function, when you use the Undo command, you will lose those additional edits. t Enter Trim mode at the match-frame edit point, and then press the Delete key. For more information about Trim mode, see Chapter 15. Do the following: a. Select a portion of the sequence by marking an IN point and an OUT point surrounding the match-frame edits (add edits) you want to remove, or select the entire sequence by removing any IN and OUT points. Select the tracks from which you want to remove the edits. Choose Remove Match Frame Edits from the Clip menu.
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b. c.

The Avid system removes the edits.

c n

You cannot remove match-frame edits between segments in which audio pan levels have been adjusted. The third method is the only way to remove match-frame edits after you have used the 32 levels of Undo, or if you want to remove match-frame edits on a subsequent day.

Backtiming Edits
Backtiming an edit is effectively the reverse of the process you normally use for marking footage. Instead of marking from the IN points forward, you mark according to the OUT points. For example, you might have a track of audio (music or voice) that ends at a specific point, and you want to synchronize a video clip to end on a particular clip. You can backtime the edit to match the end points of the tracks. Consider the following: Avid Xpress needs only three marks to perform a backtimed edit when four edits of unequal duration exist in the sequence. The IN and OUT points set in the Timeline always take precedence. If you do not mark an IN point in the sequence, the system uses the position indicator as the IN point. If you do not mark an OUT point in the clip and no OUT point is set in the sequence, the system uses the end of the clip as the OUT point. If you mark OUT points in both the Source pop-up monitor and in the Timeline, the system uses the OUT point in the Timeline.

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To backtime an edit: 1. Mark an OUT point in the Timeline where you want the edit to end. Also, mark an IN point where the edit is to start. 2. Select the appropriate tracks. 3. Open a clip in the Source pop-up monitor. 4. Mark an OUT point in the Source pop-up monitor to synchronize to the OUT point in the sequence. 5. Click the Overwrite button, or press the Alt key (Windows) or the Option key (Macintosh) and drag the clip from the Source pop-up monitor to the Timeline. The source material is added to the sequence, with the synchronized ending.

Detecting Duplicate Frames

When editing with plans to generate an EDL, the Dupe Detection feature allows you to visually track duplicate frames of footage as you edit so that you can eliminate or manage the requirements of an online dupe reel.

This procedure only works for the V1 track. To activate Dupe Detection: t Click the Timeline Fast Menu button and choose Dupe Detection from the Timeline Fast menu.

When you activate Dupe Detection, each set of duplicate frames is tagged with a different color. (Up to 10 color sets can be distinguished during a single detection process.) Matching frames have matching colors. If the duplicate frames are unnecessary, you can use any of the Trim mode options to remove the superfluous frames prior to generating an EDL.

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The colored bars that distinguish duplicate frames in the sequence are automatically drawn above the frames in the Timeline, as shown.
Two duplicate frames marked above the clip

Red bars mark the first set of duplicate frames, green bars mark the second set, and so on. You can use Dupe Detection while you are editing to locate duplicate frames and remove them as the sequence evolves. Dupe Detection is instantaneous and retroactive; if duplicate frames already exist in your sequence, the colored bars appear immediately. As you edit, the system shows duplicate frames as they occur.

The handle size used by Dupe Detection can be changed in the Timeline Settings dialog box.

Finding Black Holes and Flash Frames

The following two commands help you quickly find parts of your sequence that you might want to delete from the final sequence: Find Black Hole Find Flash Frames

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Black holes are segments of the sequence that consist of one or more frames of filler. Flash frames are clips that have an extremely short duration, for example, less than 30 frames.

Finding Black Holes

To find a black hole: 1. Click the Timeline window to activate it. 2. Select the tracks you want to search. 3. Park the position indicator at the beginning of the sequence or before the part of the sequence you want to search. 4. Choose Find Black Hole from the Clip menu. The position indicator moves to the first segment that contains filler. You can then edit or delete the filler if necessary. To find the next segment that contains filler: t Choose Find Black Hole again.

Finding Flash Frames

To find flash frames: 1. Check or set the maximum frame length that you want the system to detect by doing the following: a. b. Click the Settings button in the Project window. In the Settings scroll list, double-click Timeline. The Timeline Settings dialog box appears. c. Click the Edit tab.

d. In the option Find Flash Frames Shorter Than, indicate the maximum number of frames you want the system to detect. The default is 10, which tells the system to detect clips with 9 frames or fewer. e. Click OK.
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2. Click the Timeline window to activate it. 3. Select the tracks you want to search. 4. Park the position indicator at the beginning of the sequence or before the part of the sequence you want to search. 5. Choose Find Flash Frames from the Clip menu. The position indicator moves to the first flash frame. To find the next flash frame: t Choose Find Flash Frames again.

Editing in the Timeline

In the Timeline you can: Perform segment mode edits. Bin edit into the Timeline or into a sequence. Use the Top and Tail commands. Set duration for filler at the start of a sequence. Perform cut, copy, and paste operations. Edit and nest effects.

Selecting and Deselecting Segments

Segment editing is a unique feature of digital, nonlinear editing. Unlike traditional tape editing, segment editing allows you to instantly reposition entire segments as though you were physically dragging portions of your sequence across a tape. You can move audio and video tracks separately or together, and individual or multiple segments can be repositioned at the same time.

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To perform segment editing: 1. Select the segments either by clicking a Segment Mode pointer and making selections or by lassoing segments with the mouse. You can select one or several segments or tracks, as described in Selecting Segments with the Segment Mode Pointer on page 521 and Lassoing One or More Segments on page 522. 2. Move the segments by dragging with the mouse. Use either the Extract/Splice-in button or the Lift/Overwrite button to move the segment to a new position. 3. Use additional segment editing techniques, if you want, to edit clips directly from a bin, to quickly delete segments, or to mark material in the Timeline.

Selecting Segments with the Segment Mode Pointer

When you enter Segment mode, the pointer becomes enlarged and changes to yellow to indicate Extract/Splice-in mode or red to indicate Lift/Overwrite mode. Outside the Timeline, the pointer changes back to the standard arrow or I-beam, allowing you to perform other functions while in Segment mode. To select segments with the pointer: 1. Click one of the Segment Mode buttons located in the Timeline toolbar next to the scroll bar. The arrow changes to an enlarged pointer (Windows) or a pointing hand (Macintosh). 2. Click a segment in any track to select it. Ctrl+click (Windows) or Shift+click (Macintosh) additional segments to select a group.

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Lassoing One or More Segments

The system automatically enters Segment mode when you lasso segments from left to right. To lasso segments: t Draw a lasso beginning in the area above the tracks in the Timeline. Drag left to right and down to select more than one segment.
Lasso box

Begin

Segment End

The last mode you used is enabled by default when you draw a lasso. To switch to Lift/Overwrite mode: t Click the Lift/Overwrite button after drawing the lasso.

Observe the following guidelines when lassoing segments: Position the pointer above the tracks before dragging. If you click within the tracks, you simply relocate the position indicator to that position. To lasso segments in the middle of the Timeline between multiple tracks, press and hold the Alt key (Windows) or the Ctrl key (Macintosh) while you click and drag the lasso. Lasso at least two transitions or all transitions included in multiple segments. If your lasso surrounds only one transition, you enter Trim mode. Drag from left to right.

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Deselecting Segments
You can deselect one or more selected segments. To deselect an entire track: t Click the Track button in the Track Selector panel. For example, if you lasso segments on V1, V2, and A1, you can click the V2 and A1 track buttons to leave only the segment on the middle track, V1, selected. To deselect one or more segments: t Use the Segment Mode pointer to Ctrl+click (Windows) or Shift+click (Macintosh) specific segments on any track, leaving the remaining tracks selected.

Performing Segment Mode Edits

There are two methods for editing segments or adding clips: Extract/Splice-in, indicated by a yellow arrow Lift/Overwrite, indicated by a red arrow

Consider the following when editing segments: Transition effects on either side of a moved selection are deleted. Transition effects inside the selection are preserved. When you are finished making an edit, Segment mode continues to affect edits you make in Trim mode, unless you click the active Segment Mode button to deactivate it.

Observe the following guidelines when selecting tracks: You cannot simultaneously move segments that are separated along the same track. You can, however, move segments separated on different tracks.

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You cannot overlap the source and destination tracks. For example, you can move audio segments from A3 and A4 to A1 and A2, but you cannot move them from A3 and A4 to A2 and A3 (A3 overlaps). With a group, you can click any one of the selected segments to drag the entire group to a new position. You can select black filler as a segment.

Extracting/Splicing-in Segments
Use Extract/Splice-in to move the selected segments in the Timeline without affecting the adjacent material. The total duration of the sequence is unaffected. Like the standard Splice-in function, the Extract/Splice-in edit inserts the segment into the new position. However, as an additional function, it also extracts (removes) the segment from its previous position and closes the gap. For example, if you lasso segments on V1, V2, and A1, you can click the V2 and A1 track buttons to leave only the segment on the middle track (V1) selected.
Before Splice-in Clip W (selected clip) After Splice-in Clip W Clip Y

Clip Y

Clip Z

Surrounding clips are unchanged. (selected clip) Clip Z

To perform an Extract/Splice-in edit: 1. Click the Extract/Splice-in button (yellow arrow) in the Timeline toolbar. 2. Select the segment you want to move. 3. Click the segment, and drag it to its new position. 4. Release the mouse button.
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The system extracts the selected segment from its old position, closes the gap left by its removal, and then splices the material back into the sequence at the newly selected location. 5. Click the Extract/Splice-in button again if you want to leave Segment mode.

To cancel a segment edit in progress, drag the edit out of the Timeline and release the mouse button. Alternatively, choose Undo from the Edit menu.

Lifting/Overwriting Segments
Use Lift/Overwrite to replace existing material at the new position, while leaving blank space in the previous position. The total duration of the sequence is unaffected. Like the standard Overwrite function, the Lift/Overwrite edit deletes and replaces underlying material at the new position, effectively creating new edits. It also lifts the segments from the previous position, leaving black or silence of the same duration on the middle track (V1) selected.

Before Overwrite Clip W (selected clip) After Overwrite Clip W

Clip Y Clip Y

Clip Z Clip Z

(selected clip)

Blank filler

Underlying materials are overwritten.

To perform a Lift/Overwrite edit: 1. Click the Lift/Overwrite button (red arrow) in the Timeline toolbar. 2. Select the segment you want to move. 3. Click the segment, and drag it to its new position. 4. Release the mouse button.
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The system lifts the selected segment from its old position, leaving black filler, and then overwrites the material onto the sequence at the newly selected location. 5. Click the Lift/Overwrite button again if you want to leave Segment mode, or continue to lift and overwrite segments.

To undo a segment move, choose Undo from the Edit menu or press Ctrl+Z (Windows) or k+Z (Macintosh).

Deleting Segments with Segment Mode

Segment mode allows you to quickly delete whole segments in the Timeline without having to first mark IN and OUT points. In addition, you can select multiple segments in separate tracks anywhere along the Timeline to delete them all at once. To delete segments quickly: 1. Click one of the Segment Mode buttons: Extract/Splice-in (yellow) deletes the segments and closes the remaining gaps. The total duration of the sequence is shortened, and any synchronized tracks lose sync. Lift/Overwrite (red) deletes the segments but leaves blank space or silence in their place. The total duration of the sequence remains the same, and sync is maintained.

2. Select one or multiple segments. 3. Press the Delete key. The segments are deleted.

If the segment has an effect, the system deletes the effect first.

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Bin Editing into the Timeline

Bin editing allows you to bypass the process of loading clips into a Source pop-up monitor, setting marks, and clicking the Splice-in or the Overwrite button. You can use Segment mode to edit clips directly from a bin into the sequence in the Timeline. To perform a drag edit from a bin into your Timeline: 1. For a more accurate edit, mark IN and OUT points for each clip or create subclips, as described in Marking and Subcataloging Footage on page 450. Otherwise, the entire clip is edited into the sequence. 2. Click one of the Segment Mode buttons: Lift/Overwrite (red arrow) acts as an overwrite edit, causing the clip to overwrite material of the same length in the sequence, while maintaining the same duration of the sequence. Extract/Splice-in (yellow arrow) acts as a splice edit, inserting the clip into the sequence, moving existing material down, and lengthening the total duration.

3. Drag a clip from the bin into the Timeline. You can edit only one clip at a time. 4. When you find the right location for the clip, release the mouse button. The Timeline reflects the new edit.

Once you have completed the edit, you remain in Segment mode until you click the active Segment Mode button again to deactivate it.

Bin Editing Directly into a Sequence

Bin editing allows you to bypass the process of loading clips into the Source pop-up monitor, setting marks, and clicking the Splice-in
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button or the Overwrite button. You can use keyboard shortcut keys to edit clips directly from a bin into the sequence in the Timeline. To perform a direct edit from a bin into a sequence: 1. Activate bin editing: a. b. c. Click the Settings button in the Project window. In the Settings scroll list, double-click Bin. Select the option Enable edit from bin (Splice, Overwrite).

d. Click OK. 2. Mark an IN or OUT point in the Timeline, or park the position indicator at the place where you want the clip to appear. 3. Select a clip in the bin. The entire clip will be edited into the sequence, unless you have marked IN and OUT points. 4. Press the V key to perform a splice edit, which inserts the clip into the sequence and moves existing material down, thereby lengthening the total duration. Press the B key to perform an overwrite edit, which causes the clip to overwrite material of the same length in the sequence, while maintaining the same duration of the sequence. The Timeline reflects the new edit.

Using the Top and Tail Commands

The Top and Tail commands allow you to perform quick edits to segments in the Timeline.
Top button Tail button

Use the Top button to extract footage from the start of the clip or segment up to the position indicator. This action is the equivalent of the T-R-X keyboard command sequence: Mark Clip, Mark OUT, Extract. The Top button appears in the Edit tab of the Command palette.
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Use the Tail button to extract footage from the position indicator to the end of the clip or segment. This action is the equivalent of the T-E-X keyboard command sequence: Mark Clip, Mark IN, Extract. The Tail button appears in the Edit tab of the Command palette. For information about how Mark Clip works, see Marking an Entire Clip or Segment on page 453. To edit using Top and Tail commands: 1. Load the sequence you want to edit into the Timeline. 2. Select the track or tracks you want to edit and deselect all other tracks. 3. Park the position indicator where you want to perform an edit. 4. Choose Command Palette from the Tools menu. 5. Click the Edit tab. 6. Do one of the following: t t Click the Top button to extract the footage from the start of the segment to the position indicator. Click the Tail button to extract the footage from the position indicator to the end of the segment.

Setting the Duration for Filler at the Start of a Sequence

To set the duration of filler used at the start of a sequence: 1. Click the Settings button in the Project window. 2. In the Settings scroll list, double-click Timeline. The Timeline Settings dialog box appears. 3. Click the Edit tab. 4. In the option Start Filler Duration, type the amount of filler you want to appear by default when you choose Add Filler at Start from the Clip menu.
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5. Click OK. For instructions on how to use filler, see Adding Filler on page 476.

Cutting, Copying, and Pasting in the Timeline

You can use the traditional shortcut keys for cutting, copying, and pasting segments selected in the Timeline. To cut or copy and paste: 1. Select the segment by using one of the Segment Mode buttons. 2. Choose Copy from the Edit menu (Ctrl+C for Windows, or k+C for Macintosh) to copy or choose Cut from the Edit menu (Ctrl+X for Windows, or k+X for Macintosh) to cut. 3. Move the position indicator to the new IN point, and press Ctrl+V (Windows) or k+V (Macintosh) to paste the segment in the Timeline.

About Effects Editing

You can edit effects in the Timeline. Effects editing techniques fall into the following basic categories: Motion effects, such as freeze-frame and slow-motion or fast-motion effects, involve applying frame-motion parameters to selected footage, usually on a single video track. Transition effects, such as dissolves and wipes, involve transitioning from one edited clip to another on the same video track. Segment effects, such as picture-in-picture, keys, or color effects, are applied to whole segments. They commonly require multiple layers of video.

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n
About Nesting

For more information on effects editing, see the Avid Xpress Effects Guide.

When editing effects, you can use a procedure known as nesting. This involves opening up effects to reveal added layers for combining multiple images and digital video effects. When the effect is applied, you can close it to view and render the effect as one segment on the track.

For more information on nesting techniques, see the Avid Xpress Effects Guide.

Printing the Timeline

To print the Timeline: 1. Click the Timeline to make it active. 2. Choose Print Timeline from the File menu. The Print dialog box appears. 3. Select the printing options. 4. Click OK (Windows) or Print (Macintosh). The system prints the current view of the Timeline.

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CHAPTER 15
Working in Trim Mode
Basic editing in the Timeline initially produces a rough cut, which can be loosely defined as a series of straight-cut edits with many rough edges and few effects. After creating a rough cut, you can enter Trim mode and fine-tune the transitions between each clip or between whole segments. You can also trim edits as you build a sequence, rather than create a rough cut first. The following sections describe the Trim mode procedures: Customizing Trim Mode Using Basic Trim Procedures Slipping or Sliding Clips or Segments Creating Overlap Edits Maintaining Sync While Trimming

Customizing Trim Mode

You can customize Trim mode by changing the Transition Play Loop settings for preroll, postroll, and intermission. To customize the Transition Play Loop settings: 1. Click the Settings button in the Project window.
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The Settings scroll list appears. 2. Double-click Trim. The Trim Settings dialog box appears.

3. Configure the Trim settings you want. You set and alter the lengths of the preroll, postroll, and intermission intervals by clicking the appropriate text box and by typing a new value.

Using Basic Trim Procedures

You can enter Trim mode in several different ways, depending on the type of trim you expect to perform. Once in Trim mode, you can: Select trim sides. Perform and review the trim. Trim on-the-fly. Trim video tracks. Extend edits.

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Entering Trim Mode

To enter Trim mode, use one of the following methods: t Click the Trim Mode button in the Tool palette. By default, the system enters Trim mode and selects the transition nearest the position indicator for dual-roller trimming. The Dual-Roller icon appears on all highlighted tracks. This method is useful for selecting straight-cut transitions on one track or across video and audio tracks. If the transitions are not straight cuts (overlap cuts or L-edits), the dual-roller icon only appears on the transition nearest the position indicator of the topmost track, and all other tracks are deselected. t Press the Alt key (Windows) or the Option key (Macintosh) and click the Trim Mode button to select the previous trim-roller configurations. By default, when you enter Trim mode, the trim rollers are set for dual-roller trimming. For more information about selected trim sides, see Selecting Between Trim Sides on page 536. Lasso the transitions in the Timeline. Draw the lasso by clicking at a point above the top track in the Timeline and by dragging to surround the transitions. You can drag from right to left or from left to right, and you can lasso single transitions across several contiguous tracks.

Avoid lassoing more than one transition on a single track when lassoing from left to right, however, because this activates Segment mode and lassoing from right to left activates slipping trim mode. This method is useful when you need to select multiple transitions staggered across parallel tracks (overlap cuts) for simultaneous trimming.

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Lasso drawn across four tracks

Transitions are selected for dual-roller trim

To select transitions located below several track layers, you can draw a lasso within the Timeline by pressing the Alt key (Windows) or the Option key (Macintosh) while you drag.

Exiting Trim Mode

To exit Trim mode, use one of the following methods: t t t t Click the Trim Mode button in the Tool palette. Press the Right Arrow key or the Left Arrow key. Press the Escape key on the keyboard. Click a specific location in the Timecode (TC1) track at the bottom of the Track Selector panel.
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The position indicator moves to that location.

Selecting Between Trim Sides

You can trim a transition on either the outgoing side (A-side or tail), the incoming side (B-side or head), or both sides (dual-roller). To select sides of a transition to trim: t Click the outgoing (A-side) or incoming (B-side) monitor to define which side of the transition to trim. The pointer changes to a Single-Roller A-Side, Single-Roller B-Side, or Dual-Roller icon, depending on the position.
A-Side B-Side A and B

Click in between the two frames displayed in the Composer monitor to trim both sides.

Selecting Additional Transitions

While in Trim mode, you can select additional transitions for trimming in different contexts.
Select tracks on the record side to add transitions.

To select additional transitions on contiguous tracks for trimming on the same side: t Click the corresponding Record Track buttons in the Track Selector panel. Likewise, you can deselect tracks in the Track Selector panel to remove transitions on those tracks from the trim procedure.

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To select additional transitions for single-roller trimming in varying locations on different tracks: t Shift+click the transitions in the Timeline. This method is useful when you are working with staggered transitions across multiple tracks. It also allows you to select both A-side and B-side transitions for simultaneous trimming in opposite directions (asymmetrical trim). This is not possible with dual-roller trims. As you move the pointer back and forth across a transition, the roller icon changes from an A-side roller (facing left) to a B-side roller (facing right) to indicate the type of selection.
Single-Roller A-Side icon Single-Roller B-Side icon

You do not see the Dual-Roller icon in the Timeline. To select both sides, you must first select one side, and then Shift+click to select the other side. To quickly add multiple transitions to the currently selected transition: t Press and hold the Shift key and lasso the additional transitions.

You can select and trim two heads or tails simultaneously, in any combination, for each track in the sequence. All selected transitions are trimmed the same number of frames. This allows you to save time and, in some cases, to maintain sync by performing a single-trim procedure across multiple tracks and transitions.

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Performing a Basic Trim

After you select your transitions and trim sides, you can perform a basic trim. To perform a trim, use one of the following procedures:
1 frame

t t t

Use the Trim buttons to trim forward or backward by 1-frame or 10-frame increments. Use the J-K-L keys to trim forward or backward in the sequence. Use the numeric keypad on the right side of the keyboard, as follows: t To move the transition a specific number of frames, type a plus sign (+) or minus sign () and the number of frames (from 1 to 99) you want to move forward or backward. Then press Enter. If the number of frames is larger than 99, type an f after the number to indicate frame count. For example, to enter 200 frames, type 200, then type f, and press Enter. t To move the transition to an exact timecode, type a timecode number larger than 99, including frames. For example, type 102 to enter 1 second and 2 frames (1:02).

10 frames

Use controls in the Timeline by clicking a roller at the selected transition and by dragging forward or backward in the sequence.

To have greater control: t t Press the Alt key (Windows) or the Option key (Macintosh) as you drag one frame at a time. Press the Ctrl key (Windows) or the k key (Macintosh) to snap to other transition points.

As you trim, all selected transitions in the Timeline move in unison. The Trim counter displays the frame count backward or forward for

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one or both trim sides, and the monitors display the new incoming or outgoing frames.

Reviewing the Trim Edit

You can review an edit by using the Play Loop button or the Edit Review button.

Reviewing an Edit with the Play Loop Button

To review the most recent trim edit or to play the currently selected transition while in Trim mode: 1. Click the Play Loop button. The system enters a playback loop. This repeatedly begins at a preroll point before the transition and ends at a postroll point, pausing briefly before beginning playback again. 2. Stop the playback loop by clicking the Play Loop button again. To exit Trim mode: t Click click the Step Forward or Step Backward button. For other ways to exit, see Exiting Trim Mode on page 535.

Reviewing an Edit with the Edit Review Button

The Edit Review command allows you to review an edit or other change that you have just made to a transition.You can set how far the position indicator backs up in the Pre-roll option in the Trim Settings dialog box. The Edit Review button appears in the Play tab of the Command palette and is mapped by default to the Tab key. When you use the Edit Review command, the Avid Xpress system exits Trim mode.

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To review footage starting from the previous transition: 1. Park the position indicator at the transition you want to review. 2. Press the Tab key (Edit Review button). The position indicator backs up past the previous transition and begins to play.

If you have a sequence with multiple selected tracks, the Edit Review command backs up past the first set of cuts that line up on all the selected tracks. 3. To stop play, press the space bar.

Trimming On-the-Fly
In Trim mode, you can use the J-K-L keys on the keyboard to play through outgoing or incoming material and to mark trim points. For convenience, this method isolates the trim controls to just three keys. To trim on-the-fly: 1. Select one or more transitions for single-roller or dual-roller trimming. See Performing a Basic Trim on page 538. 2. Use the J-K-L keys to step (jog), play, or shuttle through the footage at varying speeds: t Press and hold the K key while pressing J or L to step slowly backward or forward through the footage. When you find the frame where you want to relocate the transition, release the K key to complete the trim. Press the J or L keys once to play at normal speed, or more than once to shuttle at higher speeds. When you see the frame where you want to relocate the transition, press the space bar or the K key to complete the trim.

The monitors and the Timeline are updated to reflect the trim.

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When trimming with the J-K-L keys, you cannot completely trim away a segment. The system always leaves one frame. To remove the one frame, use another trim method. See Performing a Basic Trim on page 538.

Trimming Video Tracks

In Trim mode, when you click the A-side or B-side of a transition, all trim rollers are set to the selected side. If you want to set only the trim rollers on the video tracks, press the Alt key (Windows) or the Option key (Macintosh) and click either the A-side or B-side. The trim rollers appear only on the video tracks of the selected side. You can save the position of the trim rollers by pressing the Alt key (Windows) or the Option key (Macintosh) when you return to Trim mode using the Trim Mode button.

Extending an Edit
Use the Extend Edit function to perform dual-sided (A-side and B-side) trims on selected tracks. Using Extend Edit allows you to quickly create a split or overlap edit without entering Trim mode. It also lets you establish the exact frame you want to trim by using the position indicator. (If you enter Trim mode, the position indicator moves to the nearest transition by default.) You can extend edits backward or forward in the Timeline. In either case, like a dual-roller trim, the Extend Edit function always maintains sync relationships. To perform an Extend Edit: 1. Select the tracks you want to extend. 2. Find the point in the sequence to which you want to trim. If the trim point is before the edit, mark an IN point. If it is after the edit, mark an OUT point.
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3. Choose Command Palette from the Tools menu. 4. Click the Trim tab. 5. Select Active Palette. 6. Click the Extend button. The adjustment appears in the Timeline.

You can map the Extend Edit button to any button in the Tool palette or any key in the Keyboard palette. For information on mapping buttons, see Mapping User-Selectable Buttons on page 114.

Slipping or Sliding Clips or Segments

Slip and slide procedures are two unique Trim mode techniques that allow you to make frame-accurate adjustments to a selected clip. They occur without affecting the overall duration of the sequence or the sync relationships between multiple tracks. Procedures for performing them are described in this section.

Selecting Segments for Slip or Slide Trimming

To select segments for either slip or slide trimming, do one of the following: t While in Editing mode, make a selection for slipping and sliding. Then, enter Trim mode by dragging a lasso from right to left around a segment (two or more transitions). To select a segment for slide trimming, press Shift+Alt (Windows) or Option (Macintosh) while you drag the lasso.

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Drag right to left around at least two transitions.

IN

OUT

To drag a lasso around a segment on a lower track, press the Alt key (Windows) or the Option key (Macintosh) while you drag a lasso. You enter slide trim by default. To switch to slip trim, press the Alt key (Windows) or the Option key (Macintosh) while you double-click the segment. You can also select two or more contiguous segments within a track for slipping or sliding as a whole by dragging the lasso around four or more transitions.

Be sure to draw the lasso from right to left; if you draw from left to right, you enter Segment mode. t While in Trim mode, double-click a segment to select it for slip trimming. To select it for slide trimming, press the Alt key (Windows) or the Option key (Macintosh) while you double-click the segment. To switch back to slip trimming, press the Ctrl key (Windows) or the k key (Macintosh). You can also select two or more segments on different tracks for simultaneous slip or slide trimming. To do so, press the Shift key as you repeat this procedure. However, you cannot use the Shift key to select additional segments on the same track. t While in Trim mode, press the Shift key and select both the head and tail of a clip for slipping. Alternatively, select the outgoing tail frame of the preceding clip and the incoming head frame of the following clip in the sequence to prepare the clip for sliding. You can also use this method to select two or more contiguous segments on the same track, and additional segments on other tracks for slipping or sliding as a group.

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You cannot perform both slipping or sliding simultaneously. You can slip and slide the video and audio for a clip together. Alternatively, you can slip and slide a single segment of video or audio independently from the rest of the clip. The type of trim you perform (slip or slide) determines which frames are updated, as follows: In slip trimming, the two inner monitors for the head and tail frames of the clip change because only the contents of the clip are adjusted. The frames that precede and follow the clip are not affected.
Slip 1 frame to the right. 1 Frames 2 3 4

Surrounding material remains fixed. Before slip

After slip

In slide trimming, the two outer monitors for the outgoing (A-side) and incoming (B-side) frames change because the clip remains fixed while the footage before and after it is trimmed.
Slide 1 frame to the right. 1 2 3 4

Surrounding material is selected. Before slide 1 2 3 4

Frames After slide 1 2 3 4 5 2 3 4

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Performing the Slip or Slide Trim

To slip or slide a clip or segment: 1. After selecting the segments, as described in Selecting Segments for Slip or Slide Trimming on page 542, do one of the following: t t Click any roller in the Timeline, drag the selected material to the left or right, and release. Use the numeric keypad to enter specific frame-count or timecode values, and press Enter (Windows) or Return (Macintosh). Use the Trim keys to shift the selection by 1-frame or 10-frame increments.

Key / m period (.) comma (,)

Slips 10 frames forward 10 frames backward 1 frame forward 1 frame backward

2. Monitor the progress of the trim by using the monitors, the Trim counters, and the Timeline. When you reach the end of available material while slipping a clip, the trim stops. Similarly, when you reach the next transition while sliding a clip along a track, the trim stops. 3. Exit Slip mode or Slide mode either by clicking another transition for trimming, by clicking the Trim Mode button in the Tool palette, or by pressing the Escape key to exit Trim mode.

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Creating Overlap Edits

You can use an overlap edit (or L-edit) to smooth a transition by giving the viewer the illusion that the audio or video is shared between two separate but adjacent clips.
Audio overlap example V1 Before trimming A1 A2 V1 After trimming A1 A2 Clip A Clip B Clip C

Clip A

Clip B

Clip C

Clip B audio is extended.

Clip C audio is trimmed in.

To create an overlap edit: 1. Perform a straight-cut edit between two clips, including audio and video tracks. t t If the timing of the video edit is crucial, mark edit points according to video. If the timing of the audio transition is crucial, mark edit points according to audio.

2. Perform a dual-roller trim on either the video track or the audio tracks, but not both. t If the video transition occurs at the correct place, but you want the audio from one clip to linger into the other (or the reverse), trim the audio tracks accordingly. If the audio transition occurs at the correct place, but you want the video to transition either before or after the audio cut, trim the video track accordingly.

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Maintaining Sync While Trimming

The Avid Xpress system provides two features to ensure that you do not break sync unintentionally between two or more video and audio tracks when performing single-roller trims. You can add black filler to maintain the overall duration of the track. You can trim with tracks sync locked.

Adding Black While Trimming

Because single-roller (A-side or B-side) trims shorten or lengthen the duration of the track being trimmed, any relationships that exist with other tracks downstream of the trim will be thrown out of sync. To add black while trimming: t Press and hold the Alt key (Windows) or the Ctrl key (Macintosh) while performing any of the A-side or B-side trim procedures to maintain the overall duration of the track and the sync relationships. The system adds a black segment to fill the duration of trimmed frames.

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No black is added, and sync breaks appear in the Timeline.

Trimming without adding black

Black fills the trim duration, and sync is maintained. Adding black while trimming

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You can add black only while performing single-roller trims because dual-roller trims do not cause sync breaks.

Trimming with Sync-Locked Tracks

Sync-locked tracks aid only single-roller trim functions in Trim mode because dual-roller trims do not cause sync breaks. To trim with sync-locked tracks: 1. While in Trim mode, click next to the tracks you want to keep in sync.
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The Sync Lock icon appears, and the location of the position indicator determines the sync point across tracks.

Sync Lock icon

Sync Lock All button

Timecode button

You can also click the Sync Lock All button next to the Timecode button to switch sync lock on and off for all tracks. 2. Perform single-roller trims as necessary, with the following results: When you trim the A-side of a transition forward, all other segments locked in sync move forward with the trim. If the transitions are staggered, this might split one or more of the segments at the sync point established by the position indicator, leaving fill. If you trim the B-side of the transition in the same direction, the additional sync-locked segments slide back in the sequence to maintain sync until they encounter another segment in the same track. At this point, you can trim no further and the system emits a warning sound. When you trim back the A-side of a transition, additional segments locked in sync move back as well. If the segments are staggered and one of the additional sync-locked segments encounters another segment on the same track, you can trim no further and the system emits a warning sound.

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Before trimming forward, three tracks are sync locked.

After trimming forward, sync is maintained from position indicator forward.

If you trim the B-side of the transition in the same direction, all other segments locked in sync move forward to stay in sync. If the transitions are staggered, this action might split one or more of the sync-locked segments at the sync point established by the position indicator. Filler is added where the split occurs.

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CHAPTER 16
Working with Audio
You edit audio by using many of the same techniques and tools you use to edit video, including editing, Segment mode, and Trim mode functions. Your Avid Xpress system also provides several unique features that facilitate audio editing, such as audio scrub, waveform displays, and tools for adjusting and mixing audio levels and pan between speakers. In addition, you can adjust the high, low, and midrange frequency ranges of segments by using the Audio Equalization (EQ) tool. About Audio Tools Accessing Audio Effect Tools Audio Editing Aids Using the Audio Mix Tool Using Audio Gain Automation Using the Audio EQ Tool Digidesign AudioSuite Plug-Ins Recording Voice-Over Narration Fine-Tuning Audio Transitions Mixing Down Audio Tracks

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About Audio Tools

The Avid Xpress system provides a collection of tools for managing and fine-tuning audio volume, pan, equalization, and transitions. The general purpose of each tool is as follows: Audio tool: Use this tool primarily for adjusting and calibrating global input and output levels when you digitize from analog sources or from output to tape. For more information, see Using the Audio Tool on page 205 and Preparing for Audio Output on page 659. Audio Mix tool: Use this tool primarily for adjusting pan and volume levels on clips or whole tracks within a sequence. For more information, see Using the Audio Mix Tool on page 563. Audio Gain Automation tool: Use this tool to fine-tune your audio tracks. The tool provides control over volume keyframes and ramps within a clip. For more information, see Using Audio Gain Automation on page 575. Audio EQ tool: Use this tool for adjusting the sound characteristics of audio clips in the sequence based on three-band control over high, low, and midrange frequencies. For more information, see Using the Audio EQ Tool on page 593. Digidesign AudioSuite Plug-In tool: Use this tool to access third-party audio plug-ins. For more information, see Digidesign AudioSuite Plug-Ins on page 611. Audio Punch-In tool: Use this tool to record up to two channels of audio directly into the Timeline for voice-over narration. For more information, see Recording Voice-Over Narration on page 629.

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Accessing Audio Effect Tools

You can access the following tools from any of the audio effect tools: Audio Mix (for adjusting pan and volume) Automation Gain AudioSuite Audio EQ

To access one of the audio effect tools: t Choose one of the tools from the Tools menu.

To switch to another tool: t Choose the new tool from the Effect Mode Selector pop-up menu.

Effect Mode Selector pop-up menu

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To keep more than one tool open at the same time: t Choose the tool from the Tools menu or press and hold the Alt key (Windows) or the Option key (Macintosh) while choosing a new tool from the Effect Mode Selector pop-up menu.

To prevent confusion, the Avid Xpress system allows only one copy of an audio effect tool to be open at a time. For example, you can open only one copy of the Audio EQ tool. The following section describes several features that help you locate transitions and monitor audio samples while editing or adjusting sound with the tools.

Audio Editing Aids

The Avid Xpress system provides audio track soloing, audio scrub features, and waveform plots specifically designed for frame-accurate cueing, marking, and editing of audio. You can use these features any time during editing or while making adjustments with the audio tools.

Soloing Audio Tracks in the Timeline

You can solo multiple tracks in the Timeline. This feature allows you to: Listen to several tracks at once without turning other audio tracks off or down. Isolate audio tracks for audio scrubbing without having to deselect monitoring of all other audio tracks.

To solo an audio track: t Ctrl+click (Windows) or k+click (Macintosh) the Audio Track Monitor button for the track that you want to solo.

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The Audio Track Monitor icon changes to green. To turn off soloing for the track: t Click the Audio Track Monitor button again.

To turn off the solo feature for all tracks: t Ctrl+Alt+click (Windows) or k+Option+click (Macintosh) an Audio Track Monitor button for a solo track

Using Audio Scrub

The term audio scrub originated in the film industry. It describes the process of scrubbing a magnetic audiotape across the playback heads to monitor a portion of sound. This process isolates portions of audio to help you accurately mark edit points or analyze transitions for careful trimming.

Smooth Scrub Versus Digital Scrub

You have two options for scrubbing audio in either the sequence or the source material: Smooth audio scrub: This feature mimics the variable-pitch playback of traditional analog tape. Digital audio scrub: This feature takes advantage of the digital environment by sampling incoming frames, outgoing frames, or both at normal pitch and playback rate.

Each type of scrub has its advantages: Smooth scrub makes it easier to examine sound at varying speeds. Digital scrub allows you to focus quickly on individual bits of incoming or outgoing audio for frame-accurate edits and adjustments.

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Try both types of scrub and see which one works better in different situations.

Selecting Tracks for Scrubbing

By default, all monitored audio tracks are selected for scrubbing. However, as the play speed increases during audio scrubbing, some monitored audio tracks are dropped. You can select up to two tracks to ensure they play during scrubbing, even if the system has to drop some tracks. Table 16-1 shows how many tracks can be scrubbed at the varying speeds of play.

Table 16-1

Number of Tracks and Scrub Speeds

When you play footage forward or backward at: Normal speed Two times normal speed

You can scrub: Up to 8 tracks Up to 8 tracks (Windows) 2 tracks (Macintosh)

Three times normal speed Greater than three times normal speed

2 tracks 0 tracks

To ensure an audio track is monitored during scrubbing: t Alt+click (Windows) or Option+click (Macintosh) the Audio Track Monitor button in the Track Selector panel for the chosen track.

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Audio Track Monitor buttons with gold Speaker icons

The Audio Track Monitor button is purple with a gold Speaker icon to indicate which tracks will be played if the system has to drop tracks during scrubbing. By default, the two topmost Audio Track Monitor buttons display the gold Speaker icon. You can isolate specific audio tracks for scrubbing,without having to deselect monitoring of all other audio tracks, by soloing the audio tracks. See Soloing Audio Tracks in the Timeline on page 554.

Performing Smooth Audio Scrub

You perform the smooth audio scrub procedure by using either the J-K-L keys or the mouse, as described in this section.

Using the J-K-L Keys to Perform Smooth Scrub

You can use three-button play with the J-K-L keys to perform smooth audio scrubbing of selected tracks of audio at variable speeds. You cannot activate digital audio scrub with three-button play. You can monitor while stepping (jogging) or while shuttling at fixed rates up to three times normal speed. The audio cuts out at greater than three times the normal speed and comes back in after the speed drops below three times. To monitor audio with three-button play: 1. Select the correct track and adjust the playback volume as necessary. 2. Play the audio using the three-button variable speed playback procedures described in Shuttling with J-K-L Keys on page 446.
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Using the Mouse to Perform Smooth Scrub

You can use the mouse to perform smooth audio scrubbing of selected tracks. Like the J-K-L keys, you can jog and shuttle using the mouse. Unlike three-button play, however, playback rates with the mouse are not at fixed increments. They can vary from 1 to 300 fps, depending on manipulation of the mouse. To monitor audio with the mouse: 1. Select the correct track and adjust the playback volume as necessary. 2. Choose Command Palette from the Tools menu. 3. Click the Play tab. 4. Activate the mouse for jogging or shuttling by pressing the Mouse Jog button or the Mouse Shuttle button. Mouse Jog allows you to move the position indicator with the mouse. Mouse Shuttle allows you to control the speed of the position indicator by dragging the mouse. To deactivate jog or shuttle, press the space bar or the Escape key. 5. Play the footage with the mouse.

Using Digital Audio Scrub

Digital audio scrub enables you to sample selected frames of incoming or outgoing audio as you move through the footage, without a change in pitch or speed. The following are unique characteristics of digital scrub: The frames of audio you hear are always at your point of destination. For example, if you step forward 10 frames, you hear a selected number of audio frames from a point behind the position indicator (outgoing frames) to a point in front of the

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position indicator (incoming frames) as it reaches the new destination point. The audio is always sampled in a forward playback direction; whether you step backward or forward through the material, you hear the same audio sampling at each destination frame.
Digital scrub example This entire section is sampled. Step 10 frames Selected track Outgoing frames (behind position indicator) Incoming frames (ahead of position indicator)

Adjusting Digital Scrub Parameters

The default parameters for the number of frames you hear as you scrub are zero frames of outgoing audio (behind the position indicator) and one frame of incoming audio (ahead of the position indicator). To isolate frames for marking or trimming, the default parameters are sufficient. You can increase these settings to include more frames of audio on either side for example, when you want to sample whole words or parts of words as you scrub to find edit points within a phrase. You can also reverse the settings to sample frames behind the position indicator (outgoing frames) as you scrub. You should avoid increasing the number of sampled frames on both sides at once because this can make it difficult to isolate an edit point or trim point based on the location of the position indicator. To adjust the parameters for digital scrub: 1. Double-click Audio in the Settings scroll list of the Project window.
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The Audio Settings dialog box appears.

2. Click in a text box and type a new number of outgoing or incoming frames in the Pop-up Scrub area, the Timeline Scrub area, or both. The new parameters are now in effect.

To display audio scrub parameters in the Source pop-up and Composer monitors: open the Composer Settings dialog box in the Project windows Settings scroll list, click the Window tab, and select Digital Scrub Parameters.

Performing the Digital Scrub Procedure

To locate an audio edit point in audio by using digital scrub: 1. Solo an audio track for scrubbing, and adjust the output volume, if necessary. 2. Press the Caps Lock key to activate digital audio scrub.

You can also activate digital audio scrub by pressing and holding the Shift key while you drag the position indicator or click the step buttons. 3. Move through the material in one of the following ways to hear the scrub: t Drag the position indicator.
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Click the Step (Jog) buttons, located in the Move tab of the Command palette, to step through in fixed increments: 1 frame backward, 1 frame forward, 10 frames backward, or 10 frames forward.

When you have found the correct frame, mark the location, trim the transition, or perform any other function you choose. If you are sampling incoming frames (with the default scrub parameters, for example), the system places the position indicator at the head of the last sampled audio point. If you are sampling outgoing frames, the system places the position indicator at the tail of the last sampled audio point.

Displaying Waveform Plots

You can use waveform plots to help you visually locate points in an audio track for editing or trimming. There are two types of waveform plots, Energy or Sample, which you choose from the Timeline Fast menu. To display audio waveforms: 1. If you are searching for a point in a known section of the tracks, zoom in and show more detail in the sequence to isolate a section of the audio. With less audio to display, the system draws the waveform plot faster. 2. Click the Timeline Fast menu button and choose Sample Plot. The sample plot displays the entire amplitude of the audio waveform. This is the same as the sample voltage values you would see on an analog oscilloscope waveform.

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Waveform sample plot

Press Ctrl+period (Windows) or k+period (Macintosh) at any time during the redraw of the waveform plot to stop the redraw. 3. (Option) Maximize the visibility of your waveform display using any of the following procedures: t Continue to expand or shrink your view of the Timeline by using the scale bar, effectively spreading out the waveform plots to show detailed variations in the audio levels. To enlarge the height of selected audio tracks and subsequently the waveform displays, press Ctrl+L (Windows) or k+L (Macintosh). To reduce the height of selected audio tracks and subsequently the waveform displays, press Ctrl+K (Windows) or k+K (Macintosh). To enlarge the size of the sample plot image without enlarging its track, press Ctrl+Alt+L (Windows) or k+Option+L (Macintosh). This procedure is useful when you view detail in quiet passages. t To reduce the size of the sample plot image without reducing its track, press Ctrl+Alt+K (Windows) or k+Option+K (Macintosh).

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This procedure is useful when you view detail in loud passages.

You can set the option Show Marked Waveforms in the Timeline Settings dialog box to narrow the view of the tracks in the Timeline. This option provides faster displaying of the Timeline because the waveform is displayed only between the mark IN and the mark OUT. 4. Move through the audio shown in the waveform by using any of the playback methods. You hear sound as you track the audio visually. When the position indicator is at the point you want in the waveform, you can mark, trim, or perform any other function.

Audio waveform plots can slow your navigation through the Timeline. Therefore, you might want to use them selectively. To do this, you can create a custom Timeline view, as described in Customizing Timeline Views on page 491. Once you have created a customized waveform view, you can choose it from the Timeline View pop-up menu when needed, and return to another view when you are done.

Using the Audio Mix Tool

For additional information on audio levels for digital cut output, see Chapter 18.

The default volume for master clips is set to zero (that is, with no attenuation) when you first digitize the media. The pan option in the Audio Settings dialog box determines how the system plays back the default pan. If you set the Default Pan to Alternating Left - Right, odd tracks are sent to the left channel and even tracks are sent to the right channel. For more information, see Adjusting Pan Defaults on page 299.

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The Audio Mix tool allows you to: Adjust pan and volume for an individual clip, a whole track, several tracks at once, or a whole sequence. Adjust the volume, pan, or both for one track at a time. Adjust the volume, pan, or both for multiple tracks simultaneously by ganging them together.

The system uses these adjustments for all playback, including output to a digital cut.

The Audio Mix tool adjusts entire clips only. You can adjust volume levels within a clip in the Timeline by using Audio Gain Automation. For more information, see Using Audio Gain Automation on page 575. To open the Audio Mix tool: t Choose Audio Mix from the Effect Mode Selector pop-up menu or from the Tools menu.

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Render Effect button Audio Loop Play button Fast Menu button Number of Mix Panes button Effect Mode Selector pop-up menu Bypass Clip Gain button Track Selection button Display/Hide Sliders button Which Set of Tracks to Display in Mix Panes pop-up menu Volume Level display Gang button

Level slider

Pan level and slider

Resizing the Audio Mix Tool

You can use the Number of Mix Panes button to change the display from 8 tracks to 4. When you select 4 tracks, a menu appears that allows you to display the first 4 or last 4 tracks that are enabled. You can further simplify the Audio Mix Tool display by clicking the Display/Hide Sliders button to switch between hiding and displaying the Volume Level sliders. With the tool collapsed, you can continue to adjust levels by selecting a track and typing values by using the numeric keypad on the keyboard, or by typing a value into the Volume Level display.
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You can resize the entire Audio Mix tool by dragging the edge or corner of the tool. You can resize the Audio Mix tool only when the sliders are displayed.

Adjusting One Audio Track at a Time

To adjust one audio track at a time in the Audio Mix tool: 1. Load a clip or sequence, and activate the appropriate monitor: t t To adjust a track in a source clip, make sure the Source pop-up monitor is active. To adjust a track in a sequence, make sure the Composer monitor is active.

2. Select the track or portion of a track to be adjusted: t t To adjust the track in a single edited clip in a sequence, place the position indicator in the clip. To adjust an isolated section of audio on a track, mark IN and OUT points. Adjusting a clip with mark IN and mark OUT adjusts the entire clip. To adjust levels from an IN point through the end of the track, mark an IN point only. One mark also adjusts the entire track from the beginning of the clip that includes the mark. To adjust levels globally throughout the track, make no marks.

3. Choose Audio Mix from the Tools menu to open the Audio Mix tool.

The Audio Mix tool contains eight panels, one for each audio track that you can monitor and adjust. The Audio Mix tool can display only tracks that exist in the sequence and are monitored, or tracks that were digitized with the source clip. Only monitored tracks appear in the Audio Mix tool. If a track does not appear, check the sequence to make sure the track is monitored.

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4. Select the audio track to be adjusted by doing one of the following: t t Click the Track Selection button for the appropriate audio track. Alt+click (Windows) or Option+click (Macintosh) the Track Selection button, and then choose a track from the pop-up menu.

To verify or change the output channels, use the Audio tool (choose Audio Tool from the Tools menu). 5. With the Audio Mix tool active, use any playback method (such as the J-K-L keys on the keyboard) to play, shuttle, or step through the audio to check for necessary volume or pan adjustments. The keyboard can control either the Source pop-up or Composer monitor, depending on which monitor was active when you opened the Audio Mix tool. Switch your selection by clicking the appropriate monitor. 6. Decide whether to raise or lower the volume, or pan left or right, which adjusts the volume or pan for a single clip. See Changing an Audio Level on page 568.

Volume Level display Click Gang buttons to gang multiple tracks.

Level slider

Pan Value display

7. Adjust pan values. See Adjusting Pan Values on page 569.

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8. Apply the adjustments to a chosen region of the track by using the Audio Mix Fast menu located in the top bar of the tool. See Applying Pan Value Adjustments on page 569. 9. Play through the audio again, using the J-K-L keys. 10. Repeat steps 6 through 9 until you are satisfied with the pan and volume levels. The system uses the new settings whenever you play back or record the sequence.

Changing an Audio Level

To change an audio level value in the audio track panel, do one of the following: t t Click a number along the vertical edge of the Level slider. Click the Level slider, type a value, and press Enter (Windows) or Return (Macintosh). Values are cumulative until you press Enter (Windows) or Return (Macintosh). For example, if you want to enter the value 12, type it. However, if you enter 1 and then want to change the value to 2, press Enter (Windows) or Return (Macintosh) before typing the 2. t t t Click the Level slider, and then drag the slider to a new position. Click the Volume Level display, type a value, and press Enter (Windows) or Return (Macintosh). Alt+click (Windows) or the Option+click (Macintosh) the Level slider to reset the value to 0 dB.

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Adjusting Pan Values

To adjust the pan values in the audio track panel, do one of the following: t t
Pop-up slider for pan

Click the Pan Value display to reveal the pop-up slider, and then drag the slider to a new position. Alt+click (Windows) or Option+click (Macintosh) the Pan Value display for MID. If the sequence is playing, notice that play stops when you make an adjustment (the Audio Mix tool does not provide real-time audio control). You can adjust volume while playing the clip. For more information, see Adjusting Volume While Playing an Audio Mix Effect on page 573.

Applying Pan Value Adjustments

To apply the pan value adjustments: t Click the Audio Mix Fast Menu button and choose one of the following commands from the Fast menu:

Choose Set Pan on Track, Set Level on Track

To Apply the same pan or volume levels currently set in the Audio Mix tool to all segments in the marked regions of the tracks. Open a dialog box for making incremental adjustments to all current settings across segments in the marked regions of selected tracks. For example, when you type 1 in the Gain Adjustment text box, the various audio level settings across all segments of the marked region of selected tracks will be lowered by exactly 1 dB when you click OK.

Adjust Pan/Vols on Track

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Choose Remove Clip Gain on Track, Remove Pan on Track Remove Pan/Vols on Track

To Remove clip gain or pan values from the marked regions of selected tracks.

Delete all audio mix adjustments that have been applied to segments in the marked regions of selected tracks. Each audio clip is restored to its previous pan and volume settings. The options in the Fast menu appear dimmed until you select a track by clicking the Track Selection menu. (To apply the adjustments to multiple tracks, click additional Track Selection pop-up menus.) The options vary depending on the types of marks you set within the clip or sequence, as follows: With IN and OUT points: Commands apply adjustments to selected tracks between the points. With an IN point (no OUT point): Commands apply adjustments to full clips from the IN point to the end of selected tracks. With no points: Commands apply globally (across entire tracks).

The Clip Gain values set by the Audio Mix tool are the values for the entire segment; for example, you cannot set a subsection of a segment without affecting the entire segment. To set gain for a portion of a segment, use Audio Gain Automation. For more information, see Using Audio Gain Automation on page 575.

Ganging and Adjusting Multiple Tracks

You can gang multiple tracks in the Audio Mix tool to maintain the same relative settings between tracks when you make adjustments. This is useful in a variety of circumstances. For example, you can gang
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tracks to raise the overall volume of a portion of a sequence while maintaining variations in level adjustment among tracks. To gang and adjust multiple tracks: 1. Click the Gang buttons of the required panels. To deselect a Gang button, click it a second time. 2. Adjust either volume or pan for one of the tracks by using any of the techniques described in Adjusting One Audio Track at a Time on page 566, and the other tracks will maintain the same relative levels. When you gang two or more tracks, you gang both the Level and Pan sliders. To set all ganged sliders to the same value for volume: t Click the number along the vertical edge of the Volume Level slider or type a value in one of the Volume Level displays and then press Enter (Windows) or Return (Macintosh).

To set all ganged sliders to the same value for pan: t Click the Pan Value display and type a value.

Rendering an Audio Effect

The Render Effect button allows you to render an audio effect without closing the Audio Mix tool. For example, if you change the level of a clip that contains a rendered audio dissolve, the effect becomes unrendered. You can use the Render button to rerender the audio dissolves directly from the Audio Mix tool. Then, you can play it back immediately to hear the effect of the level change with the dissolve in place. For more information about rendering, see the Avid Xpress Effects Guide.

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Modifying Pan Values

There are two basic ways to work with pan values: Create or modify an audio pan/vol effect. This method creates an effect that is stored with the sequence. Modify the way that the system interprets pan values during playback.

Creating or Modifying an Audio Pan/Vol Effect

To create or modify an audio pan/vol effect, do one of the following: t Use the Pan pop-up sliders at the bottom of the Audio Mix tool. See step 6 of Adjusting One Audio Track at a Time on page 566. Use the pan-related commands in the Audio Mix Tool Fast menu. See the description of the commands in step 8 of Adjusting One Audio Track at a Time on page 566.

Stereo (available on the Audio tool) is the only Audio Mix mode that supports pan/vol effects.

Modifying How the System Interprets Pan

To modify the way the system interprets pan during playback: t t Set the default pan values in the Audio Settings dialog box. Choose one of the following modes from the Mix Mode Selection button in the Audio tool: Stereo uses the default pan settings and allows you to create pan/vol effects. Mono pans all tracks to center during output. This mode also ignores pan/vol effects.

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Bypassing Existing Volume Settings

You can have the system ignore the volume settings established with the Audio Mix tool when playing back or recording a sequence. To turn off current volume adjustments, do one of the following: t t Click the Bypass button in the Audio Mix tool. Click the Clip Gain button in the Bypass area in the Audio tool. The volume controls disappear. To restore the previous settings: t Deselect the Bypass or the Clip Gain button.

Adjusting Volume While Playing an Audio Mix Effect

You can use the Audio Loop Play button to change the volume on an existing Audio Mix effect while you play the clip. The Audio Loop Play button appears on several of the audio effect tools and is also a mappable button in the Command palette. You can perform the following operations while the system plays the loop: Adjust audio effects. Use the Peak Hold pop-up menu in the Audio tool to change between Peak Hold and Infinite Hold. Use the Reset Peak button in the Audio tool.

For more information on the Audio tool, see Using the Audio Tool on page 205. For limitations on adjusting volume, see Limitations on Adjusting Volume on page 574. For information on improving response time, see Improving Response Time on page 575.

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To adjust volume while playing an Audio Mix effect: 1. Do one of the following: t t t Choose an existing Audio Mix effect. Identify an area of the clip with IN and OUT points. Place the position indicator over an audio clip.

2. Click the Audio Loop Play button in the Audio Mix Tool window. The Avid Xpress system repeatedly loops through the selected area as follows: If you have IN and OUT points on your sequence, the command loops over the selected area. If there are no IN or OUT points, the command loops over the smallest selected audio track identified by the position indicator. If you have only an IN point or only an OUT point, the system uses the location of the position indicator as the second point. For example, if there is an IN point and no OUT point, the system loops from the IN point to the end of the (smallest selected) audio segment under the position indicator.

3. Adjust the volume as necessary. 4. Click the Audio Loop Play button to stop. The Avid Xpress system automatically saves your changes as part of an Audio Mix effect.

Limitations on Adjusting Volume

If there is not an existing Audio Mix effect on the clip before you start, you will not hear any changes until you click the Audio Loop Play button to stop and replay the effect. As you adjust the volume values on an existing Audio Mix effect, you might not hear the results immediately. It takes a few seconds for the Avid Xpress system to apply the changes to the clip. The response time
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for this feature is considerably longer than it is when changing EQ parameters while using Audio Loop Play. You might need to click the Audio Loop Play button to complete the edit and then play the effect to hear the result.

Improving Response Time

To improve the response time, do any of the following: t t t Monitor as few audio tracks as possible. Deselect the video track, if practical. Use IN and OUT points to select a narrow interval to adjust.

For additional ways to change the volume while playing an Audio Mix Effect, see Recording Automation Gain Information on page 589.

Using Audio Gain Automation

Audio Gain Automation (also known as audio volume rubberbanding) allows you to change the volume of a segment by adding and manipulating gain keyframes in the Timeline. The following illustration shows an expanded audio track containing gain keyframe information.
Graphic representation of keyframes and gain ramps in the Timeline

Gain values in decibels

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The Avid Xpress system uses a linear ramp to change the volume from one gain keyframe to the next.

Automation Gain Values and System Clip Gain Values

When you add a keyframe to a clip with Clip Gain already on, the keyframe is placed at 0 dB. Values set by the volume Level sliders in the Audio Mix tool are referred to as system clip gain values. Audio gain keyframes are additive to the system clip gain values. This allows you to adjust the values separately. You typically adjust clip gain values first, as shown in the following workflow.

Clip Gain

Audio Effect Processing Apply effects.

Automation Gain Fine-tune volume.

Adjust overall volume.

For example, assume that you have copied an audio file from a CD-ROM. You want to equalize (EQ) the audio but the overall volume is too loud. In this case, you would do the following: 1. Use the Audio Mix tool to lower the overall volume. 2. Apply an EQ effect and any other audio effects. 3. Use Audio Gain Automation to fine-tune the volume of different sections of the audio in the sequence. You can view the clip gain and the automation gain values in the Timeline at the same time. To turn on the display of either or both, use the Audio Data submenu of the Timeline Fast menu and select Auto Gain or Clip Gain.

Avid Xpress releases earlier than Release 4.0 do not support additive clip gain and automation gain. If you transfer a sequence containing additive clip gain and automation gain to a system running a release earlier than Release 4.0,
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you cannot hear the additive clip gain. Also, if you save the transferred sequence on the system running the earlier release, the system does not save the additive clip gain. If you need to transfer sequences from Release 4.0 to earlier releases and then bring the sequences back to Release 4.0, remove any additive clip gain before you transfer the sequence. Use the Remove Clip Gain on Track command in the Audio Mix tool Fast menu to remove the clip gain.

Adjusting Volume in the Timeline

To use Audio Gain Automation to adjust volume: 1. Select an audio track for adjusting volume. 2. Click the Timeline Fast menu button and choose Audio Auto Gain from the Timeline Fast menu.

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If there is audio volume data on a clip and Audio Auto Gain is not chosen from the Timeline Fast menu, the system displays a pink triangle on the clip to indicate that audio volume data is present but not displayed. You can enable Clip Gain, Audio Auto Gain, and Sample Plot in the Timeline Fast menu to display audio information superimposed over waveform plots in the Timeline. 3. (Option) Expand the audio track by doing one of the following: t t Press and hold Ctrl+L (Windows) or k+L (Macintosh). Press and hold the Ctrl key (Windows) or the Option key (Macintosh) while dragging in the Track Selector panel. When the pointer changes to a cross, drag the cross to expand or shrink the track as shown in the following illustration.

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The following illustration shows the expanded audio track with volume data.

4. Click the Add Keyframe button in the Tool palette to add keyframes along the Timeline. The Avid Xpress system adds a keyframe to each enabled track. A straight line appears in the selected audio track. The line shows the current gain level for that track in the Audio Mix tool.

You adjust gain in the Automation Gain tool by dragging keyframes in the Timeline or by placing the position indicator on a keyframe and adjusting the slider.

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After you add the first keyframe to a segment, you can adjust the gain for the entire clip. When you move the keyframe up or down, the corresponding volume Level slider in the Automation Gain tool also moves.

Deleting Audio Gain Keyframes

To delete a single audio keyframe: 1. Move the pointer over the keyframe. 2. When the pointer changes to the hand pointer, press the Delete key. If there are identical keyframes in other active tracks, the system deletes them also. (Do not press the mouse button.) To delete groups of keyframes: 1. Mark an IN point and an OUT point or mark the entire segment. 2. Delete any keyframes in the marked area.

Moving Audio Gain Keyframes in the Timeline

To move audio gain keyframes in the Timeline, do one of the following: t Click a keyframe and drag it up or down to increase or decrease the gain at that point. If there is a point at the same position on another enabled track, it moves also.

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To snap to the decibel lines, press and hold the Ctrl key (Windows) or the k key (Macintosh) while you drag the point. t Move a keyframe horizontally to move the start or end of a ramp. Place the pointer over a keyframe. When the pointer changes to the hand pointer, press and hold the Alt key (Windows) or the Option key (Macintosh), click the keyframe, and drag it.

Move several keyframes vertically on a track at the same time by placing IN and OUT points to select the area you want. When you move one keyframe up or down within the marked area, all keyframes within the marked area move in relation to each other. This works for all enabled audio tracks.

This procedure is similar to ganging sliders on an audio mixing board or in the Audio Mix tool.

Using an External Fader or Mixer to Adjust Volume

An external fader controller or mixer is optional. It is not required to perform Audio Gain Automation recording. Your Avid Xpress system supports the following external fader controllers or mixer: JL Cooper FaderMaster Professional (FaderMaster Pro) MIDI automation controller
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JL Cooper MCS-3000X MIDI automation controller Yamaha 01V digital mixing console

For a description of the fader controllers and mixer, and for information on attaching them, see Appendix D. For information on using these external fader controllers or mixer, see Recording Automation Gain Information on page 589.

Adjusting the Volume of Individual Keyframes

To edit the volume for individual keyframes by using an external fader controller or mixer:
Position indicator lights

1. Check the color of the position indicator lights. If the external fader controller or mixer is on and is correctly attached to the system, at least one of the position indicator lights on each enabled track is blue. 2. Click an audio gain keyframe. t t On the MCS-3000X and Yamaha 01V, the faders automatically adjust to the volume setting. On the FaderMaster Pro, adjust the sliders on the fader controller until both lights for each enabled track are on. This indicates that the slider on the fader controller matches the current volume in the Timeline. For more information, see Position Indicator Lights on page 585.

3. Move the corresponding fader to adjust the volume for the keyframe. For information on connecting a fader controller or mixer, see Appendix D.

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About the Automation Gain Tool

Before this section discusses recording volume in the Timeline, it describes the Automation Gain tool in detail. The following illustration shows the Automation Gain Tool window.
Render Effect Button Cancel button Record Status light Preroll and Postroll text boxes Record button Bypass Auto Gain button Number of Mix Panes button Which Set of Tracks to Display in Mix Panes button Track Solo button Audio Loop Play button Fast Menu button

External fader controller or mixer position indicators

Level sliders

Some portions of the Automation Gain tool are similar to the Audio Mix tool and the Audio Punch-In tool.

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The following features are similar to the Audio Mix tool: Bypass Auto Gain button: This button allows you to temporarily turn off the Automation Gain effect. This button is the same as the Bypass clip gain button in the Audio Mix tool. Number of Mix Panes and Which Set of Tracks to Display in Mix Panes buttons: These buttons allow you to display four or eight panes and to select which enabled tracks are displayed. They are similar to the display options in the Audio Mix tool. For more information, see Resizing the Audio Mix Tool on page 565. Render Effect Button: This button is particularly useful for rendering audio effects. For example, if you change the level of a clip that contains a rendered audio dissolve, the effect becomes unrendered. You can use the Render Effect button to rerender the audio dissolve directly from the Automation Gain tool. Then you can play back the clip immediately to hear the effect of the level change with the dissolve in place. Audio Loop Play button: This button allows you to adjust audio effects while looping over a portion of audio. This button is also available in the Command palette. For more information, see Adjusting Volume While Playing an Audio Mix Effect on page 573.

The following record features are similar to the Audio Punch-In tool: Record button: Starts and stops the recording. Cancel button: Stops a recording without saving the recorded data. Record Status light: Is black when there is no activity, green during a preroll, red during recording, and blue during a postroll.

In the Automation Gain tool, the Recording status light is gold during the Hardware Calibration test. Preroll text box: Allows you to provide a visual cue before the recording begins. The Avid Xpress system backs up the blue position indicator for the prescribed number of seconds.
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Postroll text box: Allows you to provide the same kind of visual cue at the end of the recording.

The remainder of the features described in this section are specific to the Automation Gain tool.

Track Solo Button

The Track Solo button (Speaker icon) lets you mute and solo individual audio tracks during Audio Gain Automation recording.

Button Color Purple (default) Gray Green

Description The audio track is on. The audio track is muted. The track is soloed. You can solo more than one track at a time.

To switch between solo and on: t Click the Track Solo button.

To switch between on and mute: t Alt+click (Windows) or Option+click (Macintosh) the Track Solo button.

When you turn off solo, the button returns to its previous state (mute or on). To change the previous state of a button: t Alt+click (Windows) or Option+click (Macintosh) the button.

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While the Automation Gain tool is active, the Avid Xpress system overrides any other mappings of the number keys 1 to 8 at the top of the keyboard. Number keys on the right side of the keyboard are not affected. You can also use the buttons above each fader on the external fader controller or mixer to solo or mute an individual audio track as follows: FaderMaster Pro: Has one button that you can use to solo or mute an individual audio track during Audio Gain Automation recording: t t Press the button above the fader once to switch between solo and on. Press the button above the fader twice quickly to switch between mute and on.

MCS-3000X: Has separate buttons for solo and mute. Mute buttons are on the bottom row and Solo buttons are above the Mute buttons. For more information, see MCS-3000X Buttons on page 834. Yamaha 01V: Supports solo only if you are not using the unit for audio mixing as well as Audio Gain Automation recording. For more information, see Operational Notes for the Yamaha 01v Mixer on page 841.

Position Indicator Lights

Position indicator lights

The position indicator lights provide information about the current location of the faders on the external fader controller or mixer.

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Colors Both lights are blue. Only top light is blue. Only bottom light is blue. Both lights are gray.

Description The fader matches the current Timeline volume. The fader is higher than the Timeline volume. The fader is lower than the Timeline volume. Either there is no fader controller or mixer attached to the system or the Avid Xpress system does not recognize the fader controller or mixer. If the system does not recognize the fader controller or mixer, check the connection as described in the setup guide for your system.

The position indicator lights are especially useful for the FaderMaster Pro because it is important to position the faders close to the track volume before you start recording. Otherwise, you might create an unwanted jump in the volume when you move the faders during a recording.

The Avid Xpress system does not record values from a fader on the FaderMaster Pro until you move the fader. Then it reads the current position of the fader and adjusts the volume accordingly. In many cases, it is not possible to exactly match the Timeline value. You do not have to reposition the faders on the MCS 3000-X and Yamaha 01V because the units automatically reset the faders to match the volume data in the Timeline.

Selecting Tracks in the Automation Gain Tool

To apply adjustments to a chosen region of the track: 1. Select the tracks.

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2. Choose an option from the Automation Gain Tool Fast menu located in the upper right portion of the tool.
Track Selection pop-up menu

The options in the Fast menu appear dimmed until you select a track by clicking the Track Selection button. To apply the adjustments to multiple tracks: t Click additional Track Selection pop-up menus.

To access the Track Selection pop-up menu options and choose either a track or None, do one of the following: t t Press and hold the Alt key (Windows) or the Option key (Macintosh) while clicking the Track Selection button. Click the Track Selection pop-up menu.

Automation Gain Tool Fast Menu

To make the Automation Gain Tool Fast menu active for a given track: t Click the Track Selection button for that track in the Automation Gain tool.

The options in the Fast menu appear dimmed until you select a track by clicking the Track Selection pop-up menu. (To apply the adjustments to multiple tracks, click additional Track Selection pop-up menus.) The options vary depending on the types of points you set within the clip or sequence, as follows: With IN and OUT points: Commands apply adjustments to selected tracks between the points. With an IN point (no OUT point): Commands apply adjustments to full clips from the IN point to the end of selected tracks. With no points: Commands apply globally (across entire tracks).

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To apply the adjustments: t Choose one of the following commands from the Fast menu: Set Pan on Track: This command applies the same pan or volume levels currently set in the Audio Mix tool to all segments in the marked regions of the tracks. Filter Automation Gain on Track: This command removes approximately 50 percent of the keyframes in the marked region. If you press and hold the Alt key (Windows) or the Option key (Macintosh) while choosing the menu item, the system removes all keyframes in the selected area, except for the minimum and maximum peaks. The Avid Xpress system tries to save major gestures while removing redundant points and points on a linear ramp. This is useful for deleting extra keyframes after a recording. Adjust Pan/Vols on Track: This command opens a dialog box for making incremental adjustments to all current settings across segments in the marked regions of selected tracks. For example, if you type 1 in the Gain Adjustment text box, the various audio level settings across all segments of the marked region of selected tracks will be lowered by exactly 1 dB when you click OK. Remove Automation Gain on Track: This command removes all of the audio keyframes within the marked region. Remove Pan on Track: This command deletes all pan adjustments that have been applied to segments in the marked regions of selected tracks. Each audio clip is restored to its previous pan settings. Remove Pan/Vols on Track: This command deletes all audio mix adjustments that have been applied to segments in the marked regions of selected tracks. Each audio clip is restored to its previous pan and volume settings. Calibrate Hardware Sliders: This command takes the place of the HW (hardware) button in previous releases. When the Calibrate Hardware Sliders option is enabled, the Recording
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status light changes to gold and the external faders control the sliders in the Automation Gain tool. This is a test mode. You cannot edit volume data when the Recording status light is gold. Choose the Fast menu option again to disable the test mode.

Recording Automation Gain Information

You can instruct the Avid Xpress system to record your actions while playing the clip as you move sliders to adjust the volume. The system creates the corresponding keyframes and saves them as part of a pan/volume audio effect. After you finish the recording, you can move, add, and delete keyframes to achieve the results you want. To record automation gain information, do one of the following: t t Use the Level sliders in the Automation Gain tool to adjust volume while you play the clip. Attach an optional fader controller or mixer to the system and use the faders on the unit to adjust volume.

Using the Automation Gain Tool Sliders

This procedure describes how to record audio gain information without using an external fader controller or mixer. To record audio gain information by using the Automation Gain Tool sliders: 1. Select an audio track for adjusting volume. 2. Click the Timeline Fast Menu button and choose Audio Auto Gain from the Timeline Fast menu.

If there is Automation Gain volume data on a clip and Auto Gain is not chosen from the Timeline Fast menu, the system displays a pink triangle on the clip to indicate that audio volume data is present but not displayed.
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3. (Option) Expand the audio track by doing one of the following: t t Press Ctrl+L (Windows) or k+L (Macintosh). Press and hold the Ctrl key (Windows) or the Option key (Macintosh) while dragging in the Track Selector panel.

4. Move the blue position indicator to the section of audio that you want to adjust and mark IN to OUT points. 5. Click the Record button or press the B key to start recording your actions. 6. Listen to the audio and adjust the Level sliders in the Automation Gain tool as necessary. 7. Click the Record button again to stop recording. The Avid Xpress system adds volume keyframes to the audio in the Timeline. Because it records every movement of the sliders, there are usually more keyframes than you need. 8. Decrease the number of keyframes: a. b. Click the Track Selection button for the track to enable the Fast menu. Choose Filter Automation Gain on Track In/Out from the Automation Gain Tool Fast menu.

9. Repeat step 8 until you have decreased the number of keyframes to an acceptable level. You should remove as many excess keyframes as possible while still maintaining the volume changes. You can move, add, and delete keyframes individually or as groups to further adjust the volume. For details on how to adjust the keyframes, see Adjusting Volume in the Timeline on page 577.

Using a Keyboard Shortcut

You can map the Fast Forward and Rewind buttons to your keyboard to speed your editing of audio keyframes.
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To use the Fast Forward and Rewind keys when editing audio keyframes: 1. Choose Command Palette from the Tools menu. 2. Click the Move tab. 3. Map the Fast Forward and Rewind buttons to the Keyboard palette. See Mapping User-Selectable Buttons on page 114. 4. Click the Automation Gain tool to make it active. 5. Click the Track Selection pop-up menu and choose the appropriate tracks. 6. Press the Fast Forward key or Rewind key. The position indicator moves to the next or previous audio keyframe.

The Automation Gain tool must be active when you use the Fast Forward or Rewind keys.

Using an External Fader Controller or Mixer

To record audio gain information by using an external fader controller or mixer: 1. Attach the fader controller or mixer to your system (see Appendix D). The position indicator lights change to blue when the fader controller or mixer is on and correctly attached to the system. 2. Move the blue position indicator to the section of audio that you want to adjust and mark IN to OUT points.
Position indicator lights

3. (FaderMaster Pro only) Note the colors of the position indicator lights for the track you want to adjust. Move the fader until both lights are blue. If you cannot adjust it to the exact position where both lights are blue, get it as close as you can. 4. Set Preroll and Postroll values, if necessary. 5. Click the Record button to start recording your actions.
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6. Depending on the fader controller or mixer, listen to the audio and do the following: t FaderMaster Pro: When you want to start recording volume information, move the corresponding fader. The system does not begin recording until you move a fader. MCS-3000X: When you want to start recording volume information, either touch or move the corresponding fader. The MCS-3000X faders are touch sensitive. Yamaha 01V: When you want to start recording volume information, click the faders On button and move the fader.

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If the Yamaha 01V fader is not moving, you can move it without first clicking the On button. For more information, see Operational Notes for the Yamaha 01v Mixer on page 841. When you record over previously recorded audio volume keyframes, the MCS-3000X and Yamaha 01V automatically display the changing values. This allows you to make quick adjustments to existing automation gain recordings. 7. Click the Record button again to stop recording. 8. Click the Audio Loop Play button to play the clip and test your results. 9. To decrease the number of keyframes, choose Filter Automation Gain on Track In/Out from the Automation Gain Tool Fast menu. (Click the Track Selection button for a track to enable Filter Automation.)

If you delete too many keyframes, use the Undo command to restore them. 10. Repeat step 9 until you have decreased the number of keyframes to an acceptable level. You should remove as many excess keyframes as possible while still maintaining the volume changes.
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Using the Audio EQ Tool

The Audio Equalization (EQ) tool supports real-time, segment-based frequency equalization on individual clips. This feature allows you to adjust the high, low, and midrange frequency ranges of an audio clip. You can also save a variety of audio EQ effects and apply them in different circumstances, as described in this section. To access the Audio EQ tool, do one of the following: t t Choose Audio EQ from the Tools menu. If one of the Audio tools is already open, choose EQ from the Effect Mode Selector pop-up menu. The Audio EQ Tool window opens.

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Render Effect button Audio Loop Play button Effect Mode Selector pop-up menu Track Selection pop-up menu EQ Parameter display Low shelf Parametric midrange High shelf 3 bands of Controls Fast Menu button Effect icon Display/Hide EQ Graph button Enable/Disable EQ Effect button Bypass RT EQ button

EQ Range slider

EQ Parameter graph

Audio EQ Tool Features

This section describes the basic buttons and menus in the Audio EQ tool as well as the EQ-specific items in the tool.

Basic EQ Tool Features

The following items appear in the top portion of the Audio EQ tool: Effect Mode Selector pop-up menu: Allows you to choose among the Audio EQ, Audio Gain Automation, Audio Mix, and AudioSuite Plug-In tools.
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Audio Loop Play button: Allows you to make adjustments to an EQ effect while you play the effect. This button is also a mappable button in the Command palette. For more information about using this button, see Adjusting Volume While Playing an Audio Mix Effect on page 573. Render Effect button: Allows you to render an effect without leaving the Audio EQ tool. Effect icon: Allows you to create an EQ template. Drag the icon to an open bin to create the template. Fast Menu button: Allows you to perform the following tasks: Set EQ for enabled tracks. Remove EQ for one or more tracks. Apply an effect template (see Using Audio EQ Templates on page 606).

Track Selection pop-up menu: Allows you to choose which tracks are enabled for the EQ effect. When you choose an item from this menu, the system selects or deselects the corresponding track in the Timeline.

If you enable more than one track in the Timeline, the tracks are designated by plus signs (+). They indicate that the effect will be applied to more than one track. Display/Hide EQ Graph button: Allows you to display or hide the Parametric Curve display. Bypass RT EQ button: Instructs the system to ignore all the EQ effects. This button is also available in the Audio Mix and Automation Gain tools. If you select this feature in one tool, it is selected in the other tools as well. Enable/Disable EQ Effect button: Allows you to enable or disable the current EQ effect. When the button is yellow, the effect is enabled. (The button text IN stands for inline.)

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EQ-Specific Features
The Audio EQ tool provides three bands of control: The first band, the low shelf, has four turnover points (50 Hz, 80 Hz, 120 Hz, and 240 Hz). A turnover point is the point at which the curve starts to return to 0. A shelf affects all frequency values within the range of the shelf. The low shelf affects all frequencies from 20 Hz to the low shelf turnover point. The second band is the parametric midrange. This band has two bandwidth values, 1/4 octave and 2 octaves. These values control the width of the curve. The third band, the high shelf, has four turnover points (6 kHz, 8 kHz, 12 kHz, and 15 kHz). The high shelf affects all frequencies from the high shelf turnover point to 20 kHz.

The horizontal center line of the graph is 0 (zero). As you move the curve below the zero line, the corresponding frequencies are deemphasized. Above the zero line, the corresponding frequencies are emphasized. The parametric midrange allows a smooth transition from deemphasized frequencies to emphasized frequencies. The IN button allows you to turn off an individual EQ effect (the currently selected effect). The button is yellow when the EQ effect is on (inline) and gray when the EQ effect is off. The Ignore EQ option turns off all EQ effects for the sequence. Rendered EQ effects still play correctly. When you apply Audio EQ effects, consider the following: Audio EQ can be applied only to entire segments. You cannot isolate portions of a segment for an Audio EQ effect by using IN to OUT points. You must use add edits (match frames) to mark off a smaller segment.

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You can use IN to OUT points to select a range of complete segments for applying an Audio EQ effect. Segments that fall within the marks, either in part or whole, will have the effect applied to them.

The following illustration shows the Audio EQ tool with the frequency response curve displayed, and identifies the related areas of the tool.

EQ Parameter display Bandwidth around the center point of the parametric curve 1/4 octave (narrow) or 2 octaves (wide)

Current values of the EQ parameters

Turnover point where low shelf curve starts moving back toward 0 Center point of the parametric midrange curve

Turnover point where high shelf curve starts moving back toward 0

High shelf 0 line

Low shelf

Parametric midrange

The Audio EQ tool allows you to emphasize or deemphasize audio frequencies. The height of the curve in the bottom pane shows the amount of emphasis or deemphasis (also called boost or cut) that is being applied. The range is from +15 dB to 20 dB.

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Applying Audio EQ Effects

To adjust audio EQ for a track: 1. Load the sequence containing the audio track. 2. (Option) Isolate a portion of an audio segment by placing add edits. 3. (Option) Mark a range of audio segments by adding IN to OUT points in the track. 4. Open the Audio EQ tool. 5. Select the audio track to be adjusted from the Track Selection pop-up menu in the Audio EQ tool.

Track Selection pop-up menu

The Track Selector panel in the Timeline is updated to reflect your selection.

If multiple tracks are enabled in the Timeline, then plus (+) signs appear next to the enabled tracks in the Audio EQ tool. 6. Click the Audio Loop Play button to play the currently selected audio clip within the current IN to OUT range. To stop playing the loop, click the button again or click anywhere in the Timeline. 7. Use one of the following methods to change a value in the Audio EQ tool: t t Click a number along the vertical edge of the Low Shelf, Parametric Midrange, or High Shelf sliders. Click the Low Shelf, Parametric Midrange, or High Shelf slider and type a value.

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Values are cumulative until you press Enter (Windows) or Return (Macintosh). For example, if you want to enter the value 12, type it. However, if you enter 1 and then want to change the value to 2, press Enter (Windows) or Return (Macintosh) before typing the 2. t t t Click a slider, and then drag the slider to a new position. Click the EQ Parameter display and type a value. Set a value of 0 dB by clicking the slider and entering 0, or by clicking 0 along the vertical edge of the Low Shelf, Parametric Midrange, or High Shelf sliders

8. Apply the adjustments to the track by using the Set EQ command from the Audio EQ Tool Fast menu. The command works as follows on the selected tracks: With IN and OUT points: Apply the EQ effect to selected tracks between the points. With an IN point (no OUT point): Apply the EQ effect to full clips from the IN point to the end of selected tracks. With no points: Apply the EQ effect globally (across entire tracks).

The Fast menu also allows you to remove EQ effects from one track or all enabled tracks, and provides access to a number of predefined EQ templates. For a description of predefined audio templates, see Using Audio EQ Templates on page 606. For example, the following illustration shows a segment with one EQ effect applied to the Audio Clip 2 in track A2. If you choose Set EQ In/Out, the current EQ effect is also applied to Audio Clip 1 and Audio Clip 3 on track A2.

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Before Set EQ In/Out

After Set EQ In/Out EQ effect is added to Audio Clip 1 and Audio Clip 3.

If there is no EQ setting on the currently selected clip, choosing Set EQ In/Out deletes the EQ settings on all clips within the IN to OUT range. For example, because there is no EQ setting on Audio Clip 3 in the following example, Set EQ In/Out deletes the EQ effect from Audio Clip 1 and Audio Clip 2.

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Before Set EQ In/Out

After Set EQ In/Out EQ effect is deleted from Audio Clip 1 and Audio Clip 2.

Set EQ In/Out applies only to the audio track currently selected by the Audio EQ tool. You can change your selected region by eliminating or adding marks in the Timeline, or by selecting a different track. 9. Play through the audio again, using the Audio Loop Play button. 10. Repeat steps 6 to 9 until you are satisfied with the EQ adjustments.

Saving Audio EQ Effects

The Avid Xpress system treats an EQ setting as an effect. You can save EQ settings in a bin just as you save any other effect template. This makes it easy to save EQ settings and apply them whenever you need them. The following illustration shows an EQ Effect icon in a bin and in the Timeline.

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EQ effect icon in a bin

EQ effect in the Timeline

To save EQ settings in a bin: t Drag the effect icon in the Audio EQ tool to a bin.

To copy the settings to another audio clip: t Drag the effect icon in the Audio EQ tool to another audio clip in the Timeline.

For more information on using effect templates, see the Avid Xpress Effects Guide.

Removing Audio EQ Effects

To remove an Audio EQ effect: 1. Place the position indicator on the effect in an active track. 2. Click the Remove Effect button in the Tool palette. See Using the Tool Palette on page 455.
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3. From Trim or Effects mode, press the Delete key. You can also use the commands from the Audio EQ Tool Fast menu.

Audio EQ Examples
The following examples present two different ways to use the Audio EQ tool to remove excess bass from an audio track. In these examples, assume that a bass drum in the sound track is very pronounced and the Audio EQ tool is used to deemphasize it. Also assume that there are voices on the same track as the music. The human voice covers a wide range of frequencies, and the challenge is to preserve the bass frequencies of the voices while deemphasizing the bass drum sound. Consider that the goal of the adjustments is the final sound. You should use small adjustments to preserve as much of the original sound track as possible. Do not be overly concerned about specific parameter values.

Low Shelf Example

This example adjusts the low shelf to deemphasize the bass. By dropping the low shelf to 20 dB, we are able to deemphasize it. However, there are voices on this track, and dropping the low shelf also removes some bass from the voices. To compensate for the loss of bass: 1. Use the 2-octave midrange setting to create a wide midrange. 2. Move the midpoint of the parametric curve to 88 Hz (Windows) or 90 Hz (Macintosh). 3. Boost the midrange of the parametric curve to +7.7 dB.

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Small Octave Range Example

This example isolates the particular frequency that we want to deemphasize. In this example, we do not use the low shelf, but instead use the parametric midrange to isolate the frequency. To isolate the frequency: 1. Use the 1/4-octave influence range. 2. Set the midrange EQ parameter to 15 dB. 3. Use the EQ Range slider to move the midpoint of the parametric curve until it isolates the bass frequency. In this case, the bass frequency that we want to deemphasize is approximately 80 Hz.

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Use the EQ Range slider to move the center point of the parametric curve and locate a specific frequency.

The following technique allows you to locate a specific frequency and either emphasize or deemphasize it: Use the 1/4-octave influence range and a large negative decibel value. Keep both the high shelf and low shelf set to zero. Use the EQ Range slider to move the center point of the parametric curve along the frequency range while you play the audio track.

Once you locate the frequency you want, you can adjust it as needed.

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Using Audio EQ Templates

Your Avid Xpress system provides a set of predefined audio EQ templates. These templates address a number of common audio problems such as removing tape hiss or boosting the low frequency on a music track. The templates are accessible from the Fast menu in the Audio EQ tool. You can also add your own custom EQ templates to the Fast menu. The Fast menu in the Audio EQ tool provides access to a number of predefined EQ templates, as shown in the following illustration.

The EQ templates are designed to fix problems that you often encounter with audio clips. For example, Tape Hiss Filter rolls off
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frequencies above 4 kHz. NTSC Hum Buster cuts the bass on frequencies that often cause hum on NTSC systems.

Applying an EQ Template
To apply an EQ template from the Audio EQ Tool Fast menu: 1. Place the blue position indicator on the audio clip in the Timeline. 2. Click the Fast Menu button and choose the template from the Audio EQ Tool Fast menu. The Avid Xpress system places the EQ effect on the audio clip. The following illustration shows the contents of the Audio EQ tool when you select the Female Voice with Presence template in the Timeline. As explained in the tool, you cannot change the parameters of a predefined EQ template.

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To see the parameter values of one of the EQ templates that cannot be edited, view the Console window after you apply the effect. To open the Console window, choose Console from the Tools menu.

Creating Your Own Templates

If you create an EQ effect, you can use it again as a template in another sequence or on another track. To create your own EQ effect template 1. Drag the effect icon from the Audio EQ tool to a bin. The system creates an EQ effect in the bin. 2. Rename the template by clicking the text and typing a new name.
Effect icon

About Adding an EQ Template to the Fast Menu

You can add your own EQ templates to the Audio EQ Tool Fast menu. You do this by storing your EQ template in the same bin as the predefined templates. The Avid Xpress system stores the predefined EQ templates in a special bin named Site_EQs_Bin in: (Windows) drive:\Program Files\Avid\Avid Xpress\ SupportingFiles\Site_Effects (Macintosh) Avid drive:SupportingFiles:Site_Effects

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Adding an EQ Template to the Fast Menu (Windows)

To add an EQ template to Site_EQs_Bin: 1. Open the bin containing your EQ templates. 2. Choose Open Bin from the File menu. A dialog box appears. 3. Open the bin named Site_EQs_Bin.avb as follows: a. b. c. Open drive:\Program Files\Avid\Avid Xpress\ SupportingFiles\Site_Effects Choose All Files from the Files of Type pop-up menu at the bottom of the dialog box. The Site_EQs_Bin.avb file appears. Double-click the Site_EQs_Bin.avb file.

4. Drag one of your EQ templates to Site_EQs_Bin. 5. If you have not already done so, name the template by clicking the text and typing a name. 6. Close the bin.

The Avid Xpress system does not save the effect to the bin until you close the bin. 7. Click the Audio EQ Tool Fast Menu button and look for your new template.

Adding an EQ Template to the Fast Menu (Macintosh)

To add an EQ template to Site_EQs_Bin: 1. Open the bin containing your EQ templates. 2. Choose Open Bin from the File menu. A dialog box appears. 3. Open the bin named Site_EQs_Bin.avb as follows: a. Open the Avid Xpress folder.
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b. c.

Open the Supporting Files folder. Open the Site_Effects folder.

d. Double-click the Site_EQs_Bin file. 4. Drag one of your EQ templates to Site_EQs_Bin. 5. If you have not already done so, name the template by clicking the text and typing a name. 6. Close the bin.

The Avid Xpress system does not save the effect to the bin until you close the bin. 7. Click the Audio EQ Tool Fast Menu button and look for your new template.

Adjusting EQ While Playing an Audio Effect

You can use the Audio Loop Play button to create or change an EQ effect while a clip is playing.
Audio Loop Play button

Use the same procedure as described in Adjusting Volume While Playing an Audio Mix Effect on page 573. If there is no existing EQ effect on the clip before you start, you will not hear any changes until you click the Audio Loop Play button to stop and replay the effect. As you adjust the EQ values on an existing EQ effect, you might not hear the results immediately. It takes a few seconds for the changes to be applied to the clip.
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To improve the response time, do one of the following: t t t Monitor as few audio tracks as possible. Deselect the video track, if practical. Use IN and OUT points to choose a narrow interval to adjust.

Digidesign AudioSuite Plug-Ins

Your Avid Xpress system supports AudioSuite, the Digidesign host-based, file-based plug-in specification. Users have access to audio-processing plug-ins developed by Digidesign and by Digidesign third-party developers. These plug-ins perform pitch processing, artifact removal, audio reversal, and many other processes. For more information on using the AudioSuite plug-ins, see Appendix A. For information on Digidesign and third-party plug-ins, see the AudioSuite Plug-In Catalog available from Digidesign. For more information, contact Digidesign at 800-333-2137. For information on plug-ins that are not supported by your Avid Xpress system, see Plug-In Limitations on page 627.

Installing AudioSuite Plug-Ins (Windows)

The Avid Xpress system installation software automatically creates a DAE (Digidesign Audio Engine) folder in the following location: drive:\Program Files\Digidesign\DAE The DAE folder contains the following: A DAE Prefs folder. The plug-in vendor might install settings in this folder.
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A DAE Plug-Ins folder containing the following: A set of basic plug-ins from Digidesign. A file named AvidAppPlugIn.dpm. The Avid Xpress system requires this file; do not delete it.

Several basic plug-ins are installed automatically. For a description of the plug-ins, see Appendix A. When you purchase additional plug-ins, the third-party vendor will provide instructions on how to load the plug-ins. Some vendors might require you to drag the plug-in to the Plug-Ins folder. Other vendors might perform the task automatically for you via an installation program.

Installing AudioSuite Plug-Ins (Macintosh)

The Avid Xpress system installation software automatically creates a folder in your System folder named DAE folder (DAE stands for Digidesign Audio Engine). The DAE application manages the AudioSuite plug-ins. The DAE folder contains the following files and folders: The DAE application. A Plug-In Settings folder. The plug-in vendor might install settings in this folder. A Plug-Ins folder containing the following: A set of basic plug-ins from Digidesign. A file named Avid Application PlugIn. The Avid Xpress system requires this file; do not delete it.

Several basic plug-ins are installed automatically. For a description of the plug-ins, see Appendix A.

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When you purchase additional plug-ins, the third-party vendor will provide instructions on how to load the plug-ins. Some vendors might require you to drag the plug-in to the Plug-Ins folder. Other vendors might perform the task automatically for you via an installation program.

Starting and Quitting DAE (Macintosh Only)

When you open the Digidesign AudioSuite window (see Using Digidesign AudioSuite Plug-Ins on page 614), the Avid Xpress system automatically starts the DAE application. The application continues running even after you close the window. To quit the DAE application while the AudioSuite window is open: t Press k+click the status display in the AudioSuite window.

Plug-In Selection pop-up menu Target Drive pop-up menu Status display

The DAE application uses between 9 and 16 MB of memory, depending on how many plug-ins are loaded. If you plan to use other applications while the Avid Xpress system is running, you might find it useful to quit the DAE application to free up memory for the other application. To restart the DAE application, Option+click the status display.

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Setting Playback Buffer Size (Macintosh Only)

While the DAE application is running, you can choose Set Playback Buffer Size from the DAE applications File menu. However, this command has no effect on Avid Xpress system performance. For an example of how to use this command, see Addressing Memory Allocation (Macintosh Only) on page 627.

Using Digidesign AudioSuite Plug-Ins

To use AudioSuite plug-ins, do one of the following: t t Apply a plug-in to a clip in the Timeline. The end result is a rendered effect. Use the controls in the AudioSuite window to create a new master clip. This method allows you to process more than one channel at a time and to create new media that is longer or shorter in duration than the source media. For more information, see Creating New Master Clips on page 619.

By default, the AudioSuite window displays the controls for applying a plug-in to a clip in the Timeline. When you drop a master clip onto the window, the window expands to display additional parameters for working with master clips. The following illustration shows the expanded view.

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Additional parameters for working on master clips

Status display

Applying an AudioSuite Plug-In to a Clip in the Timeline

The following illustration shows the default layout of the AudioSuite window.
Effect Mode Render Effect button Selector pop-up menu Audio Loop Play button

Fast Menu button Effect icon

Display/Hide Master Clip Controls button Plug-in Selection pop-up menu Target Drive pop-up menu Status display Track Selection pop-up menu Activate Current Plug-In button

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To apply an AudioSuite plug-in to a clip in the Timeline: 1. Open the AudioSuite Tool window by doing one of the following: t t Choose AudioSuite from the Tools menu. If an audio tool is already open, choose AudioSuite from the Effect Mode Selector pop-up menu.

2. Use the Track Selection pop-up menu to choose the tracks that you want to modify. When you choose an item from this menu, the system selects or deselects the corresponding track in the Timeline.

To select multiple tracks, press the Shift key while you choose additional tracks from the Track Selection pop-up menu. The tracks are designated by plus signs (+), which indicate that the effect will be applied to more than one track. 3. Choose a plug-in from the Plug-in Selection pop-up menu. The Avid Xpress system automatically applies the plug-in effect to the track or tracks in the Timeline. 4. Click the Activate Current Plug-in button. A dialog box associated with the plug-in appears. 5. Make any necessary adjustments and click the Preview button to preview the effect. For more information, see Using a Plug-In Dialog Box on page 617. 6. To save the effect, click OK. To close the dialog box without saving the effect, click Cancel. 7. (Option) To save the effect as a template, drag the effect icon to a bin.

If you want to use plug-ins that operate on stereo pairs or that change the length of the audio clip, use the methods described in Creating New Master Clips on page 619.

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Using a Plug-In Dialog Box

The contents of the plug-in dialog boxes vary, but the top six buttons will always be visible. If a particular button is not available, it appears dimmed. The following illustration shows the Digidesign Normalize plug-in.

These six buttons appear on all AudioSuite Plug-in dialog boxes.

The buttons are: OK: Saves the effect and closes the dialog box. Cancel: Closes the dialog box and does not save the effect. Preview: Plays back a portion or all of the currently selected audio clip with processing. Some plug-ins can preview in real time and some cannot. If the plug-in cannot preview in real time, the Avid Xpress system plays back the processed audio in 2-second intervals. The Avid Xpress system processes 2 seconds of audio, plays it, processes the next 2 seconds, plays it, and so on. Render: Renders the effect and creates a new audio media file. Bypass: Plays the selected audio without processing. This is useful for comparing the audio with and without processing applied. Find peak: Performs an analysis pass on the audio. Depending on the plug-in, the text and function of this button might change.

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Some plug-ins require an analysis pass on the audio data before they can process the information. If so, they perform the first pass automatically. Other plug-ins do not require a first pass but can achieve more accurate results if you allow them to perform a first pass. If the plug-in supports the optional pass, this button will be available. Otherwise, it appears dimmed.

AudioSuite Plug-In Fast Menu

The Fast menu allows you to perform the following tasks: Apply an existing Audiosuite template (see Using AudioSuite Effect Templates on page 624). Set, render, or remove AudioSuite plug-ins. The menu text differs, depending on whether you have IN to OUT points on the sequence.

The following commands appear in the menu: Global: There are no IN points on the segment. The command affects all the plug-ins on the enabled tracks. IN/OUT: There are IN to OUT points on the segment. The command affects the plug-ins on the enabled tracks within the marked region. From IN: There is an IN point and no corresponding OUT point. The command affects all plug-ins on enabled tracks, starting with the IN point.

Rendering Plug-In Effects

You need to render all AudioSuite plug-ins before you can play back the effect. If you do not render the effect manually, the Avid Xpress system automatically renders the effect before it creates an audio mixdown or audio dissolve containing the effect.

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For more information, see Troubleshooting AudioSuite Plug-Ins on page 627.

Creating New Master Clips

You can use AudioSuite plug-ins to create new master clips. This allows you to use multiple input and output channels, and to change the length of the media. You can perform the following operations on the media you create: Apply AudioSuite plug-ins to more than one track (also referred to as a channel or stream) at the same time. For example, a plug-in might allow you to process two separate tracks as a stereo pair. This enables you to use plug-ins that perform linked compression, reverb, and other effects that allow multichannel input. Create new media that is longer or shorter in duration than the source media. This allows you to use effects that perform time compression and expansion. For example, you can use a Time Compression Expansion plug-in to change the length of the audio file, or you can lengthen the file to add a reverb trail. Apply one mono AudioSuite effect to multiple inputs of a master clip in a multiple-mono fashion.

AudioSuite Controls for Creating New Master Clips

When you drag a master clip onto the AudioSuite window, the window automatically expands to display additional controls. You can also click the Display/Hide Master Clip Controls button to display or hide the additional parameters. The following illustration identifies the controls that appear when you expand the AudioSuite window.

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Activate Current Plug-in button Track Selection pop-up menu Clip Selection pop-up menu Input Source Track selectors Processing Mode Selection pop-up menu Target Bin for New Master Clip pop-up menu

Display/Hide Master Clip Controls button Toggle Master Clip Mode button Mark IN to OUT indicators Find Source button Load in Source Pop-up Monitor button Status display Load Result in Monitor check box Handle Length for End of Master Clip text box

Track Selection pop-up menu: This menu is not active in Master Clip Processing mode. Clip Selection pop-up menu: This menu allows you to choose the active clip. It lists the current active clip and other clips you dragged into the AudioSuite window. The window controls change to reflect the active clip. Input Source Track selectors: These buttons allow you to choose the input source tracks for the effect. The system automatically chooses a preview track and displays a blue Speaker icon on the track. To change the preview track, Alt+click (Windows) or Option+click (Macintosh) the appropriate source track. If the source track that is set as the current preview track is deselected, the system chooses the lowest available track.

Processing Mode Selection pop-up menu: This menu displays the current processing mode of the AudioSuite effect on a given clip. For more information, see Mono, Stereo, and Multichannel Processing on page 622.

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Target Bin for New Master Clip pop-up menu: This menu allows you to choose the target bin. The system will place the new media and a corresponding AudioSuite effect template in the bin. The template allows you to modify the effect at a later time. Toggle Master Clip Mode button: This button activates the master clip processing mode. The button is yellow when master clip processing mode is active. Mark IN to OUT indicators: These lights change to green when a mark IN or mark OUT exists on the current master clip. Find Source button: This button allows you to find the master clip associated with an AudioSuite template. When you drop an AudioSuite effect template into the AudioSuite window, the system activates this button. Click the button to load the master clip into the AudioSuite window as the active master clip.

The template you drop in the window must reference an existing master clip. Load in Source Pop-up Monitor button: This button loads the current source master clip into the Source pop-up monitor. This is useful if you want to add or change IN to OUT points on the clip. Load Result in Monitor check box: Click this box to instruct the system to automatically load the resulting master clip into the Source pop-up monitor. Handle Length for End of Master Clip text box: This text box allows you to add filler at the end of a master clip. The value represents the number of seconds to add. For example, use this feature to add filler at the end of a master clip when you use a reverb effect to add a reverb trail to the end of the clip. Select the value before you run the plug-in. Status display: This display provides information about the current state of the DAE application and the currently applied effect. For stereo and multichannel processing plug-ins, the Status display identifies the maximum number of tracks that can be processed. If more than the maximum are initially selected, the

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system automatically disables tracks until it reaches the plug-ins maximum number.

Mono, Stereo, and Multichannel Processing

AudioSuite plug-ins allow you to select the following types of processing: Mono processing only: This option is available for plug-ins that operate on only one audio track at a time. The other option (Stereo) appears dimmed. The plug-in applies the effect to each source track individually, in a serial manner. Mono and stereo processing: These options are available for plug-ins that can treat two tracks as a stereo pair. This allows the system to apply the audio effect simultaneously to each track. For example, Time Compression plug-ins typically operate on a stereo pair. You can choose mono if you want the plug-in to operate on each track individually, in a serial manner. Mono and multichannel processing: These options are available for plug-ins that can process multiple tracks simultaneously. For example, the Normalize plug-in allows you to adjust the volume separately for each track or to adjust the volume for all tracks at the same time. In the latter case, the system examines all enabled tracks for the loudest volume and then adjusts all tracks relative to that value.

You can think of stereo processing as a special case of multichannel processing. For mono processing, the system creates a new master clip with the same number of tracks that you selected in the AudioSuite window. For stereo and multichannel processing, the plug-in creates a master clip with the number of tracks equal to the number of output streams from the plug-in. For example, a plug-in that operates on stereo pairs creates a two-channel master clip. A plug-in such as Normalize, which

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operates on multiple channels, creates a master clip with as many tracks as were selected in the AudioSuite window. The Status display at the bottom of the AudioSuite Plug-in window indicates how many tracks the plug-in can process. If more tracks are enabled than can be processed, the plug-in automatically selects the correct number of tracks. You can change the track selection based on your needs. Most AudioSuite plug-ins automatically select the appropriate processing mode and label the values in the Processing Mode Selection pop-up menu. For example, the Normalize plug-in offers two choices: Peak On Each Track and Peaks From All Tracks. The default is Peaks From All Tracks. You choose the processing mode from a menu in the AudioSuite window as described in Creating New Master Clips Using Plug-Ins on page 623.

Creating New Master Clips Using Plug-Ins

To create new master clips using the AudioSuite plug-ins: 1. Drag one (or more) master clips or subclips into the AudioSuite window. The system automatically enters Master Clip Processing mode and expands the AudioSuite window, if necessary. You can click the Display/Hide Master Clip Controls button to display or hide the controls for processing a master clip. To enter or exit Master Clip Processing mode, click the Toggle Master Clip Mode button. The button is yellow when Master Clip Processing mode is active. 2. If you dropped more than one master clip in the AudioSuite window, choose a clip to work on from the Clip Selection pop-up menu. 3. Choose the input sources from the Input Source Track selectors.
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4. (Option) Change the preview source track; Alt+click (Windows) or Option+click (Macintosh) the Input Source Track selector. 5. (Option) Type a value in the Handle Length text box to lengthen the clip by a specific amount. For example, type 2 if you plan to add a 2-second reverb trail.

If you are using Time Compression Expansion plug-ins, the plug-ins will automatically lengthen or shorten the clip. 6. Choose a plug-in from the Plug-in Selection pop-up menu. 7. Click the Activate Current Plug-in button to open the plug-ins dialog box. For more information, see Using a Plug-In Dialog Box on page 617. 8. Make any changes and click the Preview button to preview the effect. 9. Either render the plug-in from the Plug-in dialog box or return to the AudioSuite window. For more information on rendering, see Rendering Plug-In Effects on page 618. When you click the Render Effect button, the system creates a new master clip in the target bin. The system names the new master clip by combining the original clip name with the effect name, for example, Test Audio clip_Normalize (Windows) or QuietClip.Normalize (Macintosh). The system also creates an AudioSuite effect template in the bin as described in Using AudioSuite Effect Templates on page 624.

Using AudioSuite Effect Templates

When you create a new master clip, the system also creates an AudioSuite effect template in the bin. This effect template contains a reference to the original master clip to which the effect was applied.

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The system names the template as follows: (Windows) The original clip name is combined with the effect name, for example, Test Audio clip - AudioSuite Plug-In Effect: Normalize. (Macintosh) An effect file name extension is added to the effect name, for example, QuietClip.NormalizeQuietClip.Normalize.effect.

The template is useful if you want to modify the effect after it is created. To use a template to modify a master clip: 1. Drag an AudioSuite plug-in template into the AudioSuite window. The Find Source From Effect button becomes active. 2. Click the Find Source From Effect button to load the master clip into the AudioSuite window. If a corresponding master clip exists, the system loads the master clip with its associated plug-in values. 3. Modify the effect as described in AudioSuite Controls for Creating New Master Clips on page 619. (Windows) To add a template to the AudioSuite Fast menu: 1. Open the bin containing your AudioSuite templates. 2. Choose Open Bin from the File menu. A dialog box appears. 3. Open the bin named Site_AudioSuite_Bin.avb as follows: a. b. Open drive:\Program Files\Avid\Avid Xpress\ SupportingFiles\Site_Effects Choose All Files from the Files of Type pop-up menu at the bottom of the dialog box. The Site_AudioSuite_Bin.avb file appears.
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c.

Double-click the Site_AudioSuite_Bin.avb file.

4. Drag one of your AudioSuite templates to Site_AudioSuite_Bin. 5. If you have not already done so, name the template by clicking the text and typing a name. 6. Close the bin.

The Avid Xpress system does not save the effect to the bin until you close the bin. 7. Click the AudioSuite Fast Menu button and look for your new template. (Macintosh) To add a template to the AudioSuite Fast menu: 1. Open the bin containing your AudioSuite templates. 2. Choose Open Bin from the File menu. A dialog box appears. 3. Open the bin named Site_AudioSuite_Bin.avb as follows: a. b. c. Open the Avid Xpress folder. Open the Supporting Files folder. Open the Site_Effects folder.

d. Double-click the Site_AudioSuite_Bin file. 4. Drag one of your AudioSuite templates to Site_AudioSuite_Bin. 5. If you have not already done so, name the template by clicking the text and typing a name. 6. Close the bin.

The Avid Xpress system does not save the effect to the bin until you close the bin. 7. Click the AudioSuite Fast Menu button and look for your new template.
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Plug-In Limitations
The following limitations apply to the AudioSuite plug-ins: Some plug-ins that perform analysis passes on the audio data are not supported. This includes plug-ins that use playlist information to cache analysis data. If you want to use plug-ins that change the length of an audio clip or that operate on multiple inputs at the same time, use the method described in Creating New Master Clips on page 619. Applying an effect to a clip in the Timeline does not work for these operations.

Troubleshooting AudioSuite Plug-Ins

This section describes problems you might encounter when using the AudioSuite plug-ins. Addressing Memory Allocation (Macintosh Only) Canceling a Render Operation Addressing Errors When Rendering a Plug-in Effect

Addressing Memory Allocation (Macintosh Only)

The DAE application requires between 9 and 16 MB of RAM, depending on how many plug-ins are loaded. When the application starts, it attempts to allocate enough memory for all the plug-ins in the Plug-Ins folder within the DAE folder. If you have many plug-ins (for example, more than 10), the application might not be able to allocate enough memory for all of them. To correct memory allocation errors, or if the screen does not redraw correctly the first time you use the AudioSuite plug-ins: 1. Quit the Avid application.

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2. Locate the DAE folder in your System folder and click the DAE application icon within the DAE folder. 3. Pressk+I to open the Get Info dialog box. 4. Change the Preferred Size value to a large number, such as 30000 (30 MB), to change the memory allocation. 5. Close the Get Info dialog box. 6. Start the DAE application by double-clicking the DAE application icon. The DAE application automatically checks the available plug-ins and allocates enough memory to run all of the plug-ins. 7. Choose Set Playback Buffer Size and set the buffer size to 0.

The Set Playback Buffer Size setting has no effect on the Avid Xpress systems performance. 8. Quit the DAE application. 9. Repeat step 3 and change the Preferred Size value back to the Suggested Size value. 10. Restart the Avid application.

If you still receive memory errors when using the AudioSuite plug-ins, you might have too many plug-ins in the Plug-Ins folder within the DAE folder. Move some plug-ins to another folder and try running the AudioSuite plug-ins again. For example, you could create a Plug-Ins Disabled folder for storing plug-ins that are not in use.

Canceling a Render Operation

You can press Ctrl+period (Windows) or k+period (Macintosh) to cancel a render operation. However, be careful not to press these keys multiple times. If you press Ctrl+period (Windows) or k+period (Macintosh) after the render operation has been stopped (from previously pressing Ctrl+period (Windows) or k+ period

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(Macintosh)), the Avid Xpress system closes the window after it cancels the render operation.

Addressing Errors When Rendering a Plug-in Effect

If the DAE application is not running when you start to render a plug-in effect, the system displays an error message stating that the DAE connection does not exist. The dialog box gives you the following options: Cancel stops the rendering process. This allows you to open the AudioSuite tool and then start rendering again. Bypass continues the rendering process but doesnt render the plug-in effect.

(Windows) In most cases, you should click Cancel and open the AudioSuite window. (Macintosh) In most cases, you should click Cancel and restart the DAE application. Either open the AudioSuite window, or if the window is already open, Option+click the Status display in the AudioSuite window. If the plug-in is not installed when you go to render a plug-in effect, the system displays an error message and tells you which plug-in is not installed. At that time, you can cancel or bypass the rendering process.

Recording Voice-Over Narration

Audio punch-in allows you to record up to two channels of audio directly into the Timeline for voice-over narration. This feature saves you the extra steps of recording the narration to tape first, digitizing, and then editing the audio clip into the sequence. The narrator can also watch the sequence and hear playback of edited sound tracks while recording.
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You open the Audio Punch-In tool from the Tools menu. The following illustration identifies the various elements of the tool.
Record Status light Cancel button

Record button Play Loop button

Audio Tool button Preroll and Postroll text boxes Handles text box Audio Input pop-up menu

Input Channels buttons

Timeline Track pop-up menus Target Drive pop-up menu Target Bin pop-up menu

Features of the Audio Punch-In tool are as follows: Record button: Starts and stops the recording. Cancel button: Stops a recording without saving the recorded data. Record Status light: Is black when there is no activity, green during a preroll, red during recording, and blue during a postroll. Audio Tool button: Opens the Audio tool so that you can monitor and adjust the audio levels during recording. Play Loop button: Allows you to replay the recorded audio. You can perform the following tasks while listening to the recording: Use the Peak Hold pop-up menu in the Audio tool to change between Peak Hold and Infinite Hold. Use the Reset Peak button in the Audio tool.
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Preroll text box: Allows you to provide a visual cue before the recording begins. The Avid Xpress system backs up the blue position indicator for the prescribed number of seconds. Postroll text box: Allows you to provide the same kind of visual cue at the end of the recording. Handles text box: Instructs the Avid Xpress system to record audio at the beginning and end of the clip. This allows you to perform trim edits on the audio. Input Channels buttons: Identify the channels on the audio hardware that are used for recording. Click the appropriate button to select the channel. The button changes to pink when it is selected. Alt+click (Windows) or Option+click (Macintosh) the button to display a menu and select another channel.

The selected input channels are not used for playback. Do not select the same channels as mix output on the Audio Mix tool. Audio Input pop-up menu: Includes optional sources for audio input. Use one of the two digital formats when you are working with digital audio input and output, such as DAT (digital audiotape). Analog AES/EBU (Audio Engineering Society/European Broadcasting Union), the industry digital format S/PDIF (Sony/Philips Digital Interface Format), the consumer format Microphone Mic w/Phantom Pwr, that draws power from the system if the microphone needs it

Timeline Track pop-up menus: Allow you to specify where the Avid Xpress system places the audio in the Timeline. Choose either New Track or an existing track. When you choose an existing track, the Avid Xpress system overwrites the audio on that track between the IN and OUT points.
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Target Drive pop-up menu: Allows you to choose a target drive. Target Bin pop-up menu: Allows you to choose a target bin.

Using the Audio Punch-In Tool

This section provides an overview of how to set up and use your Avid Xpress system for creating voice-overs in the Timeline.

Connecting the Hardware

Before you can use the Audio Punch-In tool, you need to connect a microphone or other input device to your system. The following are typical examples: Connect a microphone to a mixer, and connect the mixer to the audio interface I/O device on your Avid Xpress system. Connect a microphone to a microphone preamplifier, and connect the preamplifier to the audio interface I/O device on your Avid Xpress system.

For information on connecting the hardware, see the setup guide for your system.

Creating the Voice-Over

You can replace part (or all) of an existing track, or you can instruct the Avid Xpress system to create a new track for the voice-over. To use the tool when you want to mark IN and OUT points, and create a new track for the voice-over: 1. Mark the IN and OUT points in the Timeline, as shown in the following illustration.

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IN point

OUT point

2. Choose Audio Punch-In from the Tools menu. The Audio Punch-In Tool window opens.

Record Status light Record button Cancel button

Audio Input pop-up menu

Input Channels buttons

3. Choose the input source and input channels that correspond to your hardware setup, and set other values in the dialog box as appropriate. To choose the input channels you want, click and hold the appropriate Input Channel Selection button. 4. To start recording, click the Record button or press the B key.

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If you started with both IN and OUT points in the Timeline, the Avid Xpress system automatically stops recording when it reaches the OUT point (or after it adds the appropriate audio handle after the OUT point). If you added only an IN point, click the Record button a second time to stop the recording. The following illustrations show the results of adding a voice-over. The system automatically names the voice-over. You can change the name as you would for any clip (for example, change the name in the bin).
Voice-over adding a new track

Voice-over replacing a portion of a track

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Voice-Over Media Files

The Avid Xpress system automatically names the voice-over and stores it as an audio clip, as shown in the following illustration.

Fine-Tuning Audio Transitions

When making audio level and pan adjustments, the Avid Xpress system looks at either an individual clip in the Source pop-up monitor, a segment in the sequence, or entire tracks. To change level or pan settings in an area not defined by a discrete clip or group of clips, use the Add Edit function to define your own custom area. To isolate clip portions for adjustment: 1. Find the start of the area where you want to change the pan or level, leaving your position indicator on that frame as a marker. 2. Turn on the appropriate track in the track panel. 3. Click the Add Edit button under the Composer monitor. This places an edit where the position indicator is parked. 4. Find the end of the area where you want to change the pan or level, leaving your position indicator on that frame as a marker. 5. Turn on the appropriate track. 6. Click the Add Edit button. 7. Use the process described in Using the Audio Mix Tool on page 563 to change the level or pan within this new segment.
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Fading and Dipping Audio

In traditional analog editing, you manually change volume levels to smooth audio transitions between elements in an edited sequence by: Fading audio up or down Dipping audio to a lower level Crossfading between audio elements on two separate channels

With the Avid Xpress system, these effects are more accurately termed audio dissolves because they occur instantly when you apply the same dissolve effect that you use for video tracks.

Fading Audio
To fade or crossfade audio, you can use the procedures described in Using Audio Gain Automation on page 575, or you can use the procedure described in this section. Fading and crossfading audio are easy effects to achieve. The procedure that differs most from analog editing is crossfading. In the analog world, unless you are using a mixer, you must lay down audio on two separate channels and fade one down, and then fade up the second on an overlapping section. With the Avid Xpress system, you simply apply an audio dissolve. To apply a fade or crossfade: 1. Place the position indicator on a transition. 2. Click the Add Dissolve button in the Tool palette. The Quick Dissolve dialog box appears.

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3. Do not choose another effect from the Add pop-up menu at the top; only dissolves work with audio tracks. 4. Select a duration for the dissolve, measured in frames (30 frames equals 1 second of NTSC footage; 25 frames equals 1 second of PAL footage). 5. Choose the location for the dissolve from the Position pop-up menu. Ending at Cut fades the audio on the A-side to 0, ending at the cut point. Centered on Cut or Custom Start creates a crossfade. Custom Start allows you to begin the dissolve off-center that is, closer to the transition and ending later into the B-side, or the reverse. Starting at Cut fades the audio up from the B-side, starting at the cut point.

6. If you chose Custom Start, type the number of frames before the transition to begin the effect in the Starts n frames before cut text box. Otherwise, leave the default value in the text box.
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7. (Option) Choose a media drive other than the default from the Target Drive pop-up menu. 8. Click the Add button to place the effect at the transition point without rendering. Click the Add and Render button to do both at once.

n
Dipping Audio

In most cases, you can select Add and Render for immediate real-time playback of the audio effect (rendering of audio dissolves is usually instantaneous). The effect is completed.

To dip audio from a higher level to a lower one for example, when bringing music down and under a voice-over track you can use the procedures described in Using Audio Gain Automation on page 575, or use the procedure described in this section. To apply a dip in audio: 1. Play back the section of the sequence where the dip will take place to determine the start point for the dip, and apply an add edit to the audio track. For information on add edit, see Adding an Edit (Match Framing) on page 514. 2. Repeat the action in step 1 for the end point where the audio will dip back up. 3. Place the position indicator over the new segment of audio, and open the Audio Mix tool. 4. Adjust the track to the volume level you want, as described in Using the Audio Mix Tool on page 563. 5. Apply a Quick Dissolve to both Add Edit points, using the techniques described in Fading Audio on page 636. Be sure to choose Centered on Cut or Custom Start from the Position pop-up menu.

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After rendering, the audio dips smoothly from the higher levels of the adjacent segments of the track to the lower level applied to the middle segment.

Mixing Down Audio Tracks

When you work with multiple audio tracks while editing your material, you might need to mix down the final audio to two tracks. To mix down several edited audio tracks to one or two audio tracks: 1. Load a sequence into the Composer monitor. 2. Click the Track buttons in the Track Selector panel to select the audio tracks you want to mix down. 3. Mark an IN point and an OUT point at the start and end of the material you want to mix down. If you do not mark the section of audio you want to mix down, the system mixes down all of the selected audio tracks. 4. Choose Audio Mixdown from the Clip menu. The Audio Mixdown dialog box appears. The top of the dialog box displays the source audio tracks and the start and end timecodes for the section of audio you selected to mix down.

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Selected section of audio

Destination tracks

5. Select Mono and select the target track to which you want to mix down the audio. If you want stereo, select Stereo and select two target tracks for the mixed-down audio. 6. Choose a target drive and a target bin. The target drive is the media drive where the system stores the media files for the mixed-down audio. 7. Click OK. The audio is mixed down and the Avid Xpress system displays the new master clip in the bin.

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CHAPTER 17
Syncing Methods
Your Avid Xpress system provides special tools that help you establish and maintain sync relationships between various clips. This includes managing sync between unrelated clips or clips with the same timecode, match-framing footage, and ganging footage. These topics are discussed in the following sections: Autosyncing Clips Managing Sync Breaks Managing Sync with Multiple Tracks

Autosyncing Clips
When you digitize footage that includes both audio and video, the system automatically establishes sync when it creates clips in the bin. Autosyncing applies to audio and video clips that have been digitized separately, usually from two separate sources. Autosyncing creates a new subclip that displays sync breaks in the Timeline as though the audio and video were digitized simultaneously. Autosyncing is often used for film projects in which picture and sound are captured separately. These clips are often synced based on common film timecode, sound timecode, or auxiliary timecode. You
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can also autosync any audio and video clips based on an artificial IN point or OUT point relationship you establish with marks. Use the following guidelines when autosyncing: You can autosync audio clips with video clips only. You can create only one autosynced subclip at a time. You cannot autosync numerous pairs of audio and video clips simultaneously. If the audio and video clips do not have matching source or auxiliary timecode, you must establish common sync frames. To do this, mark IN points (or OUT points) on both clips before autosyncing. If you are autosyncing clips of different lengths, the longer clip is truncated to the length of the shorter clip. If you autosync according to common timecodes that are staggered (one clip starts later than the other), the later starting timecode becomes the start of the new subclip. The clip with the earlier starting timecode is trimmed accordingly.

To create an autosynced subclip: 1. Highlight the two clips in the bin, and then choose AutoSync from the Bin menu. The Sync Selection dialog box appears.

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2. Select an option, based on the following: Inpoints if you are syncing according to IN points set in both clips. Outpoints if you are syncing according to OUT points set in both clips. Source Timecode if the two clips have matching timecode. Auxiliary TC1TC5 if the two clips have matching timecode in the same auxiliary timecode column. Choose an Auxiliary TC, 1 through 5, from the pop-up menu.

3. Click OK. The subclip is created and named by default after the video clip with the extension .sync.n where n is the incremental number of subclips created with the same name.

Managing Sync Breaks

Sync breaks occur when a frame-accurate relationship between two clips or between the audio and video tracks within a single clip is offset during editing. Often this happens unintentionally when you perform one of the following actions: Selecting only one track in a synced relationship (for example, audio only or video only) and performing edit functions that lengthen the duration, such as Splice-in, Extract/Splice-in, or adding frames in Trim mode Selecting only one synced track and performing edit functions that shorten the duration, such as Extract, Extract/Splice-in, or removing frames in Trim mode

Your Avid Xpress system provides several features for avoiding, tracking, and removing sync breaks, as described in the following sections.

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Editing to Avoid Sync Breaks

One way to avoid breaking sync is to maintain the duration of the track when you add or remove material, as follows: When adding material to a track, use the Overwrite function instead of Splice-in, whenever possible. When removing material from a track, use Lift instead of Extract. (The Lift function leaves filler of the same duration when you remove footage.) When performing Segment mode edits, use the Lift/Overwrite function instead of Extract/Splice-in whenever possible. (Lift/Overwrite leaves filler behind and overwrites material at the new destination, maintaining sync in both cases.) In Trim mode, you can sync lock tracks to avoid breaking sync, or you can use the Alt key (Windows) or the Ctrl key (Macintosh) for adding black during trims, as described in Maintaining Sync While Trimming on page 547. You can also perform dual-roller trims (that maintain duration) instead of single-roller trims.

There are many cases in which you cannot avoid splicing or extracting material, or performing single-roller trims that break sync.

Fixing Sync Breaks

In general, sync breaks are displayed only when the out-of-sync tracks overlap and the audio no longer matches the video. If an overlapping portion of one of the tracks is deleted, replaced, moved, or trimmed, then the sync break disappears. You fix sync breaks in one of several ways, based on the type of break and the needs of your sequence.

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Fixing Sync in Trim Mode

To restore frames to sync in Trim mode: t Perform one or more single-roller trims on the out-of-sync tracks. Trim the exact number of sync-break frames displayed in the Timeline to reverse the break.

Consider the following: Sync lock any additional tracks that are synced to the track you are trimming. Otherwise, you might restore sync in one track and break it in the others. See Using Sync Lock on page 646. Do not perform a dual-roller trim; this does not remove the sync break. Do not perform the trim on the OUT point (A-side transition) of the out-of-sync segment. This does not remove the sync break. Always perform the trim on the IN point (B-side transition) of the out-of-sync segment.

Fixing Sync in Segment Mode

To restore frames to sync in Segment mode: t Select and move the entire out-of-sync segment. You can move the segment forward or backward in the opposite direction of the break to reverse it.

Consider the following: Use the Lift/Overwrite function to leave filler behind and maintain any other sync relationships that might be affected by the move. Use the Lift/Overwrite function to delete the entire segment and leave filler to eliminate the break.

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Use the Add Edit function to isolate a portion of the clip for moving or deleting. See Adding an Edit (Match Framing) on page 514. Move the out-of-sync track, if possible, beyond the overlapping range with the synced material to eliminate the sync break.

Managing Sync with Multiple Tracks

The display of sync breaks in the Timeline makes it easy to manage sync between video and one or two audio tracks. You can use additional techniques to manage sync when you work with four or more tracks, including syncing with tail leader and syncing with locators.

Using Sync Lock

The sync lock feature allows you to maintain sync among several tracks while you add or remove frames in Trim mode. For example, if you insert an edit into one track that is sync locked to a second track, the system automatically inserts filler in the second track to maintain sync between the two.

Sync Lock button

Sync Lock All button

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You activate sync locking by clicking the Sync Lock button in the Track Selector panel to display the Sync Lock icon. You can also switch all sync locks on or off by clicking the Sync Lock All button. There are several unique aspects to sync locking: Sync locking is only available in Trim mode. Edits performed in Segment or Effect mode will override sync-locked tracks. Sync locking applies to single-roller trims only; dual-roller trims do not break sync. You can sync lock any number of tracks in any combination. The tracks do not require matching timecode or common sources, and can include multiple video tracks as well as audio tracks. Sync locking affects entire tracks. This means that parallel segments in other sync-locked tracks are affected when you trim anywhere in the sequence.

Syncing with Tail Leader

You can add tail leader to the audio or video material in Avid Xpress to provide a useful visual reference in the Timeline for tracking and fixing sync breaks across any number of tracks.

Tail leaders lined up for multiple video (vid) and audio (aud) tracks

Film editors traditionally use standard head and tail leaders for this purpose. You can create your own leader according to any specification, as described in Creating Leader on page 349. With tail leader added to synchronized tracks, you can go to the end of the sequence after making a complicated edit and see whether the
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leaders are lined up. If they are out of line, this indicates a sync break that you can measure and eliminate as follows. To restore sync by using tail leaders: 1. Move the position indicator to the black segment that follows the out-of-sync leader. 2. Select the track, and then click the Mark Clip button. You can measure the break by checking the IN to OUT duration of the marked segment. 3. Find the point at which the sync was lost. 4. Add or remove frames by using the appropriate edit function, as described in Fixing Sync Breaks on page 644. As a quick fix, click the Extract/Splice-in button. Drag the black segment at the end of the out-of-sync tail leader to the location where the sync was lost. This segment of black, created when the track went out of sync, is the exact length of the sync break.

Move the black segment by using Extract/Splice-in.

Syncing with Locators

You can add locators to material in the Timeline to track and adjust breaks in sync between any number of tracks. With locators, you have

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the advantage of placing them anywhere in the sequence and adding specific notes. To mark sync points with locators: 1. Move the position indicator to the point in the sequence where you want to maintain sync between two or more tracks. 2. Select the top video track, and click the Add Locator button. The system adds a red locator to the top track in the Timeline and in the Composer monitor. To add a note that will appear in the Composer monitor whenever you park on the locator frame (such as Music sync or Sound Effect sync): 1. Double-click the locator in the Composer monitor. 2. Type the text in the Locator text box. 3. Click OK. To repeat the procedure for subsequent synchronized tracks: 1. Disable the video track where you placed the locator. 2. Enable the top audio track. Make sure you keep the position indicator in the same location in order to line up the locators.

Avid Xpress shows the comment only for the locator on the top track.

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To determine if sync is broken after an edit: t Return to the segment that contains the locators. If the locators are not lined up, the sync is broken.

To adjust the sync break: 1. Measure the sync break by first moving the position indicator to the leftmost locator and clicking the Mark IN button. Then move it to the other locators and click the Mark OUT button. 2. Check the IN to OUT duration of the marked section. To restore sync: 1. Find the point at which the sync was lost. 2. Add or remove frames by using the appropriate edit function, as described in Fixing Sync Breaks on page 644.

Using Add Edit When Trimming

When you are trimming with several audio tracks in sync, the Add Edit button allows you to create an edit in the silent or black areas of the synced tracks. They occur in line with the track you are trimming, and they trim all the tracks at once to maintain sync. To use the Add Edit button while trimming: 1. Move the position indicator to the edit that you want to trim. 2. Select only the additional tracks that are in sync, and click the Add Edit button. The system adds a transition at the location of your position indicator in the Timeline. 3. Select the transition and trim (be sure to select all the synced tracks).

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As you trim, frames are also added or removed from the additional tracks. 4. When you have finished trimming, you can remove the add edits from the synced tracks by clicking each Add Edit transition and by pressing the Delete key.

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CHAPTER 18
Output Options
The Avid Xpress system provides tools for generating output for individual tracks or entire sequences to various videotape or audiotape formats. In addition, you can generate an edit decision list (EDL) to be used by editors in a videotape suite for preparing a master tape. You can also use VTR emulation for direct playback of sequences by using an edit controller in an analog editing suite. These options are described in the following sections: Preparing for Output Preparing for Audio Output Using the Digital Cut Tool Using EDL Manager Using the Matchback Option VTR Play Emulation

Preparing for Output

Preparing for video output involves the following procedures: Render all non-real-time effects. See the Avid Xpress Effects Guide.

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Calibrate and adjust video output levels. See Calibrating for Video Output on page 654. Calibrate and adjust audio output levels. See Preparing for Audio Output on page 659. Decide whether you want to generate stereo or mono audio. See Adjusting One Audio Track at a Time on page 566. Mix down multiple audio tracks if necessary. Systems equipped with a two-channel audio board can generate a maximum of two channels. See Mixing Down Audio Tracks on page 639. Prepare the record tapes. See Preparing Record Tapes on page 665. (Option) Record reference bars and tone to tape. See Recording Bars and Tone on page 666.

Establishing Sync for Output

Sync for output comes from reference input (REF) when black burst or house sync is connected to the Meridien I/O box. If there is no reference connected to the reference input, output sync is generated from internal timing.

If you are working in a facility that uses house sync or a black burst generator to maintain accurate timing between various input and output devices, you should connect the reference signal to the reference input (REF) on the Meridien I/O box before performing a digital cut. For more information, see the setup guide for your Avid system. Avid Xpress now supports longitudinal timecode (LTC) output. The LTC OUT connector on the Meridien I/O box provides SMPTE or EBU timecode that you can use as a sync source for decks with built-in synchronizers or to stripe a destination tape.

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If you connect a reference input while the Avid Xpress application is running, you might need to reestablish sync. To reestablish sync, do one of the following: t t Exit and then restart the Avid Xpress application. Open the Digital Cut tool.

Calibrating for Video Output

You can calibrate for video output by using the factory preset buttons or by performing a basic video calibration: Calibrating for video output, using the factory preset buttons: You should use the factory preset buttons if you do not have an external Waveform monitor or if your site engineers calibrate the system as a general maintenance procedure. Performing basic video calibration: All users can follow the steps for calibrating video output, as described in Basic Video Output Calibration on page 655.

Before you calibrate video output for an NTSC-EIAJ (Japan) project, make sure the option NTSC Has Setup is not selected in the General Settings dialog box.

Using the Factory Preset Buttons

The preset buttons in the Video Output tool show the status of each calibration setting as follows: When you open the Video Output tool the first time you run the application, all preset buttons are lit (appear green), with the factory settings loaded for each slider. When you click a slider of a lit preset button, the button dims (appears gray), and the slider returns to the most recent manual level settings.
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When you click an unlit preset button, it becomes lit (appears green), and the slider moves to the factory preset level for that parameter.

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

Basic Video Output Calibration

You can calibrate by using digital color bars and tone that you create and edit into the sequence.

If you or your site engineers calibrate the system as a general maintenance procedure, or if you do not have an external Waveform monitor, leave the Video Output tool set to the preset values. To calibrate for video output: t Choose Video Output Tool from the Tools menu. The Video Output Tool window opens.

Preset buttons

Using Test Patterns

The expanded Video Output tool provides a pop-up menu of test patterns you can use to calibrate the system output.

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To display a test pattern: t Click the Test Patterns pop-up menu and choose a pattern.

To add test patterns to the list: 1. Quit the Avid Xpress application. 2. Find or create a PICT file for a chosen pattern.

You can create your own test pattern files by digitizing the pattern from videotape and by exporting it as a PICT file. You can improve the accuracy of the image by correcting colors and by removing errors, using a third-party application. 3. Place the file in the Test Patterns folder in the Supporting Files/Test_Patterns folder as appropriate. For best results, size your new test pattern as follows: NTSC test patterns should be 248 lines high with the top 5 lines set to RGB values 16, 16, 16 (ITU-R black, formerly CCIR black). PAL test patterns should be 296 lines high with the top 8 lines set to 16, 16, 16. Both NTSC and PAL test patterns should be 720 pixels wide.

The new pattern appears in the Test Patterns pop-up menu in the Video Output tool.

Adjusting Phase Controls

The expanded Video Output tool provides controls for adjusting horizontal phase globally for output. Horizontal phase, or H Phase, is the horizontal blanking interval used to synchronize the timing of two or more video signals. SC Phase (subcarrier phase) controls are also available for timing two or more signals based on the color burst portion of a composite or S-Video signal.

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In most situations, you do not need to calibrate the horizontal phase or subcarrier phase of the output signal. If you are working in a production house in which timing is necessary between various devices such as switchers, decks, and monitors use these controls to adjust phase globally for all outputs from the Avid Xpress system.

Calibrating the System with Passthrough Signals

If you work in a production environment in which house standards are used to synchronize a number of devices including the source decks connected to your Avid Xpress system, you can calibrate the system one time to conform to existing standards with the least amount of alteration of the signal by using a passthrough signal (a signal that gets sent directly from an input source to the output channels). This advanced form of calibration is an alternative to Video Input tool calibration settings for each source tape. It involves calibrating tapes at the source device by using external time-based correction. You need both a signal generator and external Waveform and Vectorscope monitors to calibrate the system with passthrough. To calibrate by using a passthrough signal: 1. Connect a source signal with a test pattern from a signal generator. 2. Choose Video Input Tool from the Tools menu. The Video Input Tool window opens. See Calibrating for Video Input on page 215. 3. Choose a video format from the Input pop-up menu. The chosen input provides the passthrough signal. 4. Calibrate the input by using the Video Input tool, as described in Calibrating for Video Output on page 654. 5. Save the input calibration settings as the system Default settings, as described in Saving Video Input Settings on page 219. 6. Choose Video Output Tool from the Tools menu.
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The Video Output Tool window opens. 7. Choose Digitize from the Tools menu. The Digitize Tool window opens. 8. With the Digitize tool active, calibrate any of the available controls in the Video Output tool according to house standards by using external Waveform and Vectorscope monitors. For more information, see Basic Video Output Calibration on page 655.

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The Digitize tool must be active to enable passthrough of the input signal from the signal generator. Whenever the Digitize tool is active, hue, horizontal phase (H Phase), and subcarrier phase (SC Phase) are not applicable; therefore, the controls appear dimmed in the Video Output tool. 9. Select a test pattern from the output tool. The test pattern appears and is sent to the output channels (the input signal is no longer passed through). Additional controls are enabled in the Video Output tool for phase control. 10. Make any necessary adjustments to H phase, SC phase, and Hue by using the sliders in the Video Output tool while checking the external Waveform and Vectorscope monitors. 11. Save this setting with an appropriate name by choosing Save As from the Settings pop-up menu in the Video Output tool, by typing a name, and by clicking OK. The Video Output settings, a Site setting, applies to all users and projects on the system. The default Video Input settings will be recalled each time a new tape is loaded for digitizing in the current project.

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Preparing for Audio Output

The Audio tool lets you generate and customize calibration tone and adjust global output levels. For information on additional audio mix procedures, see Using the Audio Mix Tool on page 563.

Setting the Calibration Tone

The Audio tool provides an internal calibration tone that you can customize and play as a reference signal on a digital cut. You can use the recorded reference signal for calibrating the digital cut audio at another site. The default tone playback is 14 dB (digital scale) with a 1000-Hz signal. In some cases, you might need to customize the signal. For example, a common reference signal convention for audio work involves recording 30-second segments of 100-Hz, 1-kHz, and 10-kHz tones back-to-back. To change the parameters for the calibration tone: 1. Choose Audio Tool from the Tools menu. The Audio Tool window opens. See Using the Audio Tool on page 205. 2. Click the PH button to display the Peak Hold pop-up menu. 3. Choose Set Calibration Tone from the Peak Hold pop-up menu. The Set Calibration Tone dialog box appears.

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4. Type new values for the tone level and frequency, and click OK. To play back the tone: t Choose Play Calibration Tone from the Peak Hold pop-up menu.

To check the adjusted tone level in the meters: t Make sure the In/Out (I/O) toggle buttons are set to O for Output.

Calibrating Global Output Levels

You can use the meters and master attenuator (output control slider) in the Audio tool to make global level adjustments for output from the system. These adjustments affect levels for all output tracks to both the speakers and to record devices.

You should leave this output level at the factory preset of 0 dB. Adjust the level only when necessary to raise or lower the overall volume based on the headroom parameters of the record format, or for consistently overmodulated or undermodulated source material.

Adjusting Output on Two-Channel Audio Systems

By default, the volume scales for Output sliders in the Audio tool reflect levels for consumer-grade VCRs and recording devices. To adjust the output parameters: 1. Choose Audio Tool from the Tools menu. The Audio Tool window opens.

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Mix Mode Selection pop-up menu Show/Hide Setup Control button Show/Hide Output Control button

IN/OUT toggle buttons Peak Hold pop-up menu

Output Control Slider (Master Attenuator)

2. Click the Show/Hide Output Control button (the Speaker icon) to display the master attenuator (slider). 3. Click the Show/Hide Setup Control button to open the Setup Options panel. 4. Choose a type of output from the Mix Mode Selection pop-up menu: t t Choose Stereo to mix the currently monitored audio tracks into a stereo pair. Choose Mono to pan all the currently monitored tracks to center.

5. You can select Clip Gain, RT EQ, or Auto Gain from the Bypass pane to disable the customized volume, real-time EQ, or automation gain effects you applied with the other audio tools. 6. Click the In/Out toggle buttons above the meters to display O for Output.

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7. Play back one of the following sources of reference audio: t t Choose Play Calibration Tone from the Peak Hold pop-up menu. Play back a representative sequence or clip containing audio.

8. Watch the levels in the meters, and adjust the master attenuator to the level that you want.

To adjust levels for individual tracks, you must use the Audio Mix tool. 9. Close the Audio Tool window.

Adjusting Output on Eight-Channel Audio Systems

To adjust global output on a system equipped with an eight-channel audio I/O device: 1. Choose Audio Tool from the Tools menu. The Audio Tool window opens.

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Show/Hide Setup Control button Show/Hide Output Control button

Peak Hold pop-up menu

Mix Mode Selection pop-up menu Setup Options panel

IN/OUT toggle buttons Reset Peak button

Stereo Mix Channel Output Control slider assignments Tracks pop-up (master attenuator) menu All or Timeline Track Maps pop-up menu

2. Click the Show/Hide Output Control button (the Speaker icon) to display the master attenuator (slider). 3. Click the Show/Hide Setup Control button to open the Setup Options panel. 4. Choose a type of output from the Mix Mode Selection pop-up menu. t t t Choose Stereo to mix the currently monitored audio tracks into a stereo pair. Choose Mono to pan all the currently monitored tracks to center. Choose Direct Out to map tracks directly to up to eight channels of output (depending on your hardware configuration). By default, Direct Out maps all audio tracks in
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numerical sequence to existing output channels. You can remap a track to any channel by clicking the channel assignment display and by choosing another channel.

You must select All from the All or Timeline Track Maps pop-up menu to remap channels. 5. (Option) Depending on your type of output, you can make additional adjustments: By default, the Stereo Mix Tracks option directs the mixed tracks to output channels 1 and 2. You can also direct mixed tracks to output channels 3&4, 5&6, or 7&8. You can select between All or Timeline from the All or Timeline Track Maps pop-up menu above the track and channel selectors buttons as follows: Timeline allows you to assign output channels to the tracks that are monitored in the Timeline. All allows you to choose between all available tracks. You can select Clip Gain, RT EQ, or Auto Gain from the Bypass pane to disable the customized volume, real-time EQ, or automation gain effects you applied with the other audio tools.

6. Click the In/Out toggle buttons above the meters to display O for Output. 7. Play back one of the following sources of reference audio: t t Choose Play Calibration Tone from the Peak Hold pop-up menu. Play back a representative sequence or clip containing audio.

8. Watch the levels in the meters, and adjust the master attenuator to the level that you want.

To adjust levels for individual tracks, you must use the Audio Mix tool.

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9. Close the Audio tool.

Preparing Record Tapes

The two basic methods of recording to tape are: Frame-accurate recording, using the Digital Cut tool Manual recording, using controls on the record deck

Each method requires different treatment of the record tapes.

Frame-Accurate Recording
Frame-accurate recording involves using the Digital Cut tool to record your sequence onto a prestriped tape (a tape with prerecorded control track and timecode) or a partially striped tape. Before you can record a frame-accurate digital cut, you must prepare the record tapes in advance by using either insert-editing recording or assemble-edit recording. To perform insert-edit recording: t Stripe the record tapes (record black with timecode for the entire duration of the tape) in advance (prestriped tape).

To perform assemble-edit recording: t Record black with timecode onto the tape, including the necessary preroll prior to the IN point plus at least 10 seconds (partially striped tape).

Manual Recording
Manual recording (sometimes referred to as crash recording) involves bypassing deck control in Avid Xpress and using manual operation of the record deck. Because the timing of playback is based on manual
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procedures, the recording is not frame accurate. However, you do not need to record timecode onto the tape in advance. You can also record onto non-Avid-controlled decks, such as a consumer-grade VHS or Hi-8. To record manually: 1. If the record deck has a serial control switch, set it to Local. 2. Use the controls on the deck to start the videotape recording. 3. Play the sequence.

Recording Bars and Tone

You can also record a portion of bars and tone onto the tape before recording a digital cut. There are two methods of recording bars and tone to tape: If your recording must be frame accurate, consider adding a segment of digital bars and tone to the front of your sequence, or prepare it as a separate sequence that you can record using the Digital Cut tool. For more information, see Preparing Digital Bars and Tone on page 346. If your recording does not need to be frame accurate, you can manually record direct output of bars and tone from Avid Xpress.

To record bars and tone manually: 1. Open the Video Output tool and the Audio tool by choosing them from the Tools menu. 2. Choose a color bars pattern from the Test Patterns pop-up menu in the Video Output tool. If you do not see the Test Patterns pop-up menu, click the Arrow button at the lower left corner of the window. 3. Choose Play Calibration Tone from the Peak Hold (PH) pop-up menu in the Audio tool. 4. Set the record deck to Local for manual recording.
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5. Record the bars and tone as either an insert or assemble edit according to the operation of your record deck and chosen method.

Enabling Assemble-Edit Recording

Insert editing is the default setting for the Digital Cut tool. You can also use assemble-edit settings in Avid Xpress, along with the assemble-editing capabilities of your record deck, to quickly record frame-accurate digital cuts without striping entire tapes in advance.

To avoid accidentally breaking timecode on prestriped tapes during digital cut recording, enable assemble editing only when in use, and disable it during insert-edit recording. To enable assemble-edit recording: 1. Click the Settings button in the Project window. The Settings Scroll list appears. 2. Double-click Deck Preferences. The Deck Preferences dialog box appears.

Assemble-edit option

3. Select Allow assemble edit for digital cut.

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4. Click OK. 5. Make sure the record deck has the following settings: The free run/rec (record) run switch should be set to record run. The Ext (external)/Int (internal) sync switch should be set to internal. The switch for internal timecode should be set to Regen (regenerate) or Slave Lock, not Preset. After you record 15 to 30 seconds of timecode onto the record tape for jam syncing, set the Local/Remote switch to Remote for deck control from within Avid Xpress.

6. When you are ready to record, set the options in the Digital Cut tool, as described in Using the Digital Cut Tool on page 668.

Using the Digital Cut Tool

The Digital Cut tool provides controls when you record a sequence to tape. The Digital Cut tool has the following operating modes: Remote mode allows you to control the decks by using the deck controller in the Digital Cut tool. This mode provides frame-accurate control when you record a sequence to tape. See Recording a Digital Cut to Tape on page 673. Local mode allows you to manually control the record deck by using the controls on the deck. This mode is useful when you need to use non-Avid-controlled decks, such as a consumer-grade VHS or Hi-8. Local mode also allows you to preview the output of a digital cut before recording it to tape. You can manually record a digital cut including countdown, but the recording will not be frame accurate. For more information, see Preparing Record Tapes on page 665.

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Sync for output comes from reference input (REF) on the Meridien I/O box. If there is no reference signal connected to the reference input, output signals are generated from internal timing. For more information, see Establishing Sync for Output on page 653. The Digital Cut tool allows you to: Select the sequence video and audio tracks to record (Sequence Tracks Selection pop-up menu and Audio Track Selection panel). Select the tracks to record to on the tape (Enable Video Track button Remote mode only). Record an entire sequence. Add black at the end of a digital cut.

The Digital Cut tool provides several options for managing the recording of your sequence. For example, you can: Record using either assemble or insert edits. Record a selected portion of the sequence or selected tracks. Record according to different timecode parameters.

You can also preview the digital cut before recording it to tape. The Digital Cut tool includes its own deck controls for: Cueing a record deck from the Digital Cut tool (Remote mode only) Cueing the tape and marking an IN point This capability applies when you choose Mark In Time from the pop-up menu in the deck control area (Remote mode only). The Mark OUT button does not appear in the deck controller section of the Digital Cut tool because it has no effect on digital cuts. Also, the Mark OUT and Duration text fields are read-only. You cannot alter them.

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Sequence Tracks pop-up menu Audio Track Selection panel

Depending on the system configuration, you might need to use the deck controls in the Digitize tool to review a digital cut.

Enable Video Track button

Timecode text boxes Deck controls

Deck Selection pop-up menu

Previewing a Digital Cut

You can preview what your digital cut looks like in Remote mode as well as Local mode before actually making the cut. To preview a digital cut: 1. Choose Digital Cut from the Clip menu. 2. Select Remote or Local in the deck control option area. 3. Select the options that you want for the digital cut. See Recording a Digital Cut to Tape on page 673.
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4. Select the audio tracks and topmost video track that you want represented in the digital cut preview by using the Sequence Track buttons. The display of tracks in the Digital Cut tool varies according to the tracks existing in the sequence. 5. Click the yellow Preview Digital Cut button. The Digital Cut tool goes through the motions of an insert edit and shows you how the tape will appear before, during, and after the cut, but does not actually change the master tape. You can then modify your digital cut, if you want, before it is committed to the master tape.

Creating a Custom Countdown Display

The option Custom Screen allows you to change the font (type style), size, and color of the countdown numbers. You can also import your own PICT file as a background. To create a custom countdown: 1. Choose Digital Cut from the Clip menu. The Digital Cut Tool window opens. 2. Select Local in the deck control option area. 3. Select With Countdown, and select Custom Screen. 4. Click the Choose button. The Custom Countdown dialog box appears.

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5. Choose another font, font size, or font color from the pop-up menus.

The menus display all currently available fonts, as determined by the contents of the Fonts folder. 6. Click Import if you want to import an available PICT file to use as a custom background. The Directory dialog box appears. 7. Locate a PICT file to serve as the new background image, and click Open. 8. Click OK. The custom countdown screen is ready for previews.

The best resolution for imported PICT files is 720 x 486 for NTSC and 720 x 576 for PAL. The resolution cannot be changed after import.

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Recording a Digital Cut to Tape

To record a digital cut to tape: 1. Load a sequence into the Composer monitor. (You cannot access digital cut options without a sequence loaded.) 2. Choose Digital Cut from the Clip menu. The Digital Cut Tool window opens.
Enable Video Track button Sequence Tracks pop-up menu Audio Track Selection panel

Timecode text boxes Deck controls

Deck Selection pop-up menu

3. Select or deselect the Entire Sequence option based on the following: t Select Entire Sequence if you want the system to ignore any IN or OUT points and play the entire sequence from start to finish.

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Deselect Entire Sequence if you have established IN points, OUT points, or both for recording a portion of the sequence.

4. (Option) Select Add Black at Tail, and enter a timecode to add black at the end of the digital cut. 5. Select Remote in the deck control option area. 6. Choose either Insert Edit or Assemble Edit from the pop-up menu. This menu appears only if you selected Allow assemble edit for digital cut in the Deck Preferences dialog box. For more information, see Enabling Assemble-Edit Recording on page 667. 7. Choose an option from the pop-up menu in the deck control option area to indicate where to start recording on the tape: t Choose Sequence Time to start the recording at a timecode existing on tape that matches the start timecode of the sequence. If you intend to record several sequences to tape one after another, this option requires resetting the start timecode on each sequence to match the appropriate IN points on the tape. Choose Record Deck Time to ignore the timecode of the sequence and to start the recording wherever the record deck is currently cued. Choose Mark In Time to ignore the sequence timecode. Establish an IN point on the record tape by cueing and marking with the deck controls.

8. (Option) Select Custom Preroll and choose the number of seconds from the pop-up menu to indicate how many seconds the tape rolls before the digital cut starts. This option overrides the preroll setting in the Deck Settings dialog box. 9. Select the audio and video tracks you want represented in the digital cut preview. The display of tracks in the Digital Cut tool varies according to the tracks existing in the sequence. 10. Select the audio and video tracks to record to tape by using the Enable Video Track button.
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11. Click the Play Digital Cut button. The system cues the record deck and then plays and records the digital cut. The playback appears in the Composer monitor and the video monitor (if you have one). To stop the recording at any time: t Press the space bar or click the Halt Digital Cut button.

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After assemble-edit recording, a freeze frame is usually added after the OUT point for 1 second or more, depending on the record deck model. This provides several frames of overlap for the next IN point before control track and timecode break up. If you see degraded image quality in your digital cut (particularly visible as noise during black), deselect the option Poll deck during digital cut in the Deck Preferences dialog box and record the digital cut again. With this option deselected, the timecode display in the deck controller will not update for the duration of the digital cut.

Using EDL Manager

EDL Manager is a standalone application with powerful features and sorting capabilities to help you prepare an edit decision list (EDL). For more information on specific features and capabilities of EDL Manager, see the Avid EDL Manager User's Guide or the Avid EDL Manager Help.

Using the Matchback Option

The Matchback option is a standalone option for the Avid Xpress system. If you are working with film material in a 30-fps video project and need to generate cut lists, you can set up the system to generate
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lists that are accurate to within one frame by using a conversion feature known as matchback. The Matchback option on an Avid Xpress system, along with the FilmScribe application, allows you to generate a film cut list from a 30-fps or 25-fps video project that uses film as the source material. This video-to-film conversion is useful in a variety of matchback circumstances, including the following: Use the Matchback option to generate a videotape master for the project along with a final cut on film. Use the Matchback option to generate pull lists for retransferring selects at high quality before online editing.

n n

Your system might not include the Matchback option. To purchase the Matchback option, contact your Avid sales representative. Matchback supports 16mm, 35mm 3-perf, and 35mm 4-perf formats. For more information about the FilmScribe application, see the Avid FilmScribe Users Guide.

Setting Up Matchback
To use matchback: 1. Choose Matchback when you first create the project. See Creating a New Project on page 48. 2. Set the Film settings in the Setting Scroll list. See Using the Settings Scroll List on page 80.

Choosing Film Settings

To choose Film settings: 1. Click the Settings button in the Project window.
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2. Double-click Film. The Film Settings dialog box appears. 3. Choose options as presented in Table 18-1.

Table 18-1
Select

Film Settings Dialog Box Options

To

Ink Number Format Select one of these industry-standard ink number formats to meet your production lab standards and your film format. Ink Number displayed as Auxiliary Ink Format Select the format for the ink number display in bins and cut lists. Select the format for the ink number (this is useful for tracking additional information for different film gauges). The choices are the same as for Ink Number Format. Select the format for the auxiliary ink number display. The choices are the same as for Ink Number displayed as.

Auxiliary Ink displayed as

VTR Play Emulation

VTR play emulation allows you to control a sequence loaded in the Composer monitor from an edit controller for playback in the edit room along with other sources.

To use VTR play emulation, you must connect a supported controller (any controller that uses Sony serial control protocol) to the system by using a special Avid 9-pin VTR emulation cable and a serial adapter. For information about the cable connection, see the setup information that came with your system.

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To avoid timeout errors when using VTR play emulation, you need to install a serial driver from the Avid Xpress installation CD-ROM. Perform a Custom installation, and select only Serial Driver. For details, see the release notes that came with your system.

Opening the VTR Play Emulation Dialog Box

To open the VTR Emulation dialog box t Double-click VTR Emulation in the Settings scroll list in the Project window. The VTR Emulation Settings dialog box appears.

Table 18-2 describes the VTR Emulation Settings options.

Table 18-2
Option Device Code

VTR Emulation Settings Options

Description Select the device code that identifies the VTR that the system will emulate. The edit controller adjusts to this choice. The default value is a Sony PVW 2800, which performs all the common play and record functions. You do not need to change the device code value unless your edit controller does not recognize the VTR emulator or you want to emulate a specific VTR. 678

Table 18-2
Option Runup (frames)

VTR Emulation Settings Options (Continued)

Description Specify the time (measured in frames) it takes the deck to start playing from a cued position. The default value is five frames. When the runup times of two video devices are similar, it is easier for the edit controller to synchronize the devices during preroll. If your Avid VTR emulator does not sync up as often as you want, try adjusting this value so that the two devices attain full speed at nearly the same time.

Inhibit preloading when cueing by single frame.

Do not inhibit preloading under normal circumstances. Preloading occurs by default in the Avid Xpress system. It improves playback performance by preparing the digital media for playback each time you cue a new frame. This option causes the system to match the behavior of a tape deck when you step through footage frame by frame. It is recommended only for projects that require quick cueing of one frame after another for example, when you are using the system to present a sequence of still images as in a slide presentation.

Enabling VTR Play Emulation

Before you enable VTR play emulation, be sure the controller is properly connected To enable VTR play emulation: 1. Choose Serial (COM) Ports from the Tools menu. The Serial (COM) Ports Tool window opens. See Using the Serial (COM) Ports Tool on page 125.

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2. Select the appropriate port from the VTR Emulation pop-up menu. 3. Close the Serial (COM) Ports tool. The system saves the setting as a Site setting, effective for all projects. 4. Choose VTR Emulation from the Clip menu when you are ready to use the system for playback. A check mark appears next to the command to indicate that the system is ready. A yellow outline appears around the Play button in the Composer monitor to indicate that VTR emulation is active.

The VTR Emulation command behaves like a Local/Remote switch on a playback device, with VTR play emulation disabled (in Local mode) by default when you start the system. Once active, VTR play emulation allows you to control the sequence with an edit controller as follows: You can shuttle, step (jog), play, cue, and mark points based on master sequence timecode for editing onto another master. IN and OUT points will appear in the Timeline only if the controller sends that information to the Avid Xpress system. Your control of the Avid Xpress system is for play only. For example, you cannot arm tracks or send record commands to the Avid Xpress system itself. Smooth audio scrub is enabled by default, emulating analog audio scrub on a VTR.

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CHAPTER 19
Exporting and Exchanging Material
You can export material directly from your Avid system to many supported file types. You can export an individual frame, a selected region of footage, or an entire clip or sequence. See the following sections: About Exporting Files Preparing to Export a Sequence Mixing Down Video Tracks Exporting Frames, Clips, or Sequences Using Media Cleaner Using AvidLinks Creating Files for a DVD Using OMM to Export Clips Customizing Export Settings About OMF Interchange Exporting as an AAF File QuickTime Reference Movies Exporting as a QuickTime Movie
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Exporting as an AVI File (Windows Only) About Avid Codecs Exporting Tracks as Audio Files Exporting as a Graphic File Exporting as an MPEG-2 File Exchanging Files with QuickTime Macintosh Applications Transferring a Project Between Avid Systems Transferring Media to and from a Video Server

About Exporting Files

There are several reasons why you might want to export video, audio, or both from your Avid system: You can export files to be viewed as an AVI or QuickTime movie. You can export files in RealMedia, ASF formats, and MPEG-2 formats. You can export audio files for audio sweetening in a digital audio workstation (DAW), such as a Pro Tools system. You can export video files for touching up or creating special effects in third-party applications or other Avid applications. You can export files compatible with CD-ROM for use in multimedia projects. You can use the export process to convert audio media files from one supported audio format to another. Your Avid system supports the AIFF-C, SD2 (Macintosh only), and WAVE formats.

If you plan to transfer the exported files to another Avid system or third-party application, see the appropriate section in this chapter or the Avid Products Collaboration Guide.

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The following sections describe general procedures for preparing to export a sequence and for exporting frames, clips, and sequences.

Preparing to Export a Sequence

If you are exporting part or all of a sequence to create an OMFI file, an AAF file, a QuickTime file, an AVI file, or a graphic sequence, for example you can speed the export process by preparing the sequence in advance, as follows: Make sure all media for the sequence is online. For more information about selecting offline items in a bin, see Selecting Offline Items in a Bin on page 321. If you want to archive the source sequence before making any alterations, duplicate the sequence, place the duplicate in another bin, and prepare the duplicate for export. The original sequence will be unaffected. Consider rendering all effects in advance. Although any unrendered effects are rendered on export (except for an OMFI export), rendering effects in advance saves time during the export process. Always render fast-saved titles before using OMFI to export a sequence, or before creating an EDL from the sequence. In addition, make sure all rolling titles are rendered before using OMFI to export a sequence. If your sequence contains numerous video tracks, consider mixing down the tracks in advance for faster export, unless you need to preserve the multiple-track information. For more information about mixing down video tracks, see Mixing Down Video Tracks on page 684. If your sequence contains numerous audio tracks with various audio effects and level adjustments, consider mixing down the tracks in advance for faster export, unless you need to preserve the multiple-track information. For more information about mixing
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For more information on rendering, see the effects guide for your Avid system.

down audio tracks, see Mixing Down Audio Tracks on page 639. Check and adjust all pan and audio levels in advance. All current Pan and Level settings in the sequence are carried to the exported media. For more information on performing an audio mixdown, see Mixing Down Audio Tracks on page 639. For OMFI files, consider consolidating the sequence to create smaller source clips, thereby saving time and disk space. For more information on consolidating media, see Using the Consolidate Command on page 361. OMFI files with very complex sequences can fail during import into some applications due to memory limitations. Try one of the following solutions: t t Break the sequence into smaller sequences and export the new sequences. Add more physical memory.

To export multiple clips in a single OMFI file, create a sequence from them. For example, you can select all the clips, Alt+drag (Windows) or Option+drag (Macintosh) them into the Timeline to create an instant sequence, and then export the sequence.

Mixing Down Video Tracks

Video mixdown allows you to combine several tracks into a single new master clip. This is convenient for building multilayered effects, for consolidating media, and for export and exchange.

When you mix down video tracks, you cannot separate them again to work on the tracks individually. Use this function only during the last stages of editing when you no longer need to make changes, or to make a copy for previewing.

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To perform a video mixdown: 1. Render all effects that require rendering. See the Avid Xpress Effects Guide. 2. Highlight the tracks you want to mix down.

Make sure the Record Track Monitor button in the Track Selector panel is in the topmost track that you want to mix down. Video mixdown works from the monitored track down, regardless of track selection. 3. Mark an IN point and an OUT point around the area to mix down. 4. Choose Video Mixdown from the Clip menu. The Video Mixdown dialog box appears.

5. (Option) Choose a bin other than the sequence bin from the Target Bin pop-up menu. 6. Choose a target drive for storing the new master clip from the Target Drive pop-up menu. 7. Choose a video resolution for the mixdown from the Resolution pop-up menu. 8. Click OK.

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A progress indicator appears, showing the progress of the video mixdown. When the mixdown is completed, a new clip appears in the bin along with the sequence, and a new media file is created on the target drive.

Exporting Frames, Clips, or Sequences

For information on using the drag-and-drop method, see Using the Drag-and-Drop Method for Export on page 689.

This section provides the steps for exporting frames, clips, and sequences. For information on exporting for digital distribution on the World Wide Web, CD-ROM, or DVD, see Using Media Cleaner on page 691. To export frames, clips, or sequences: 1. Select the material you want to export in one of the following ways: t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others. Make sure Use Enabled Tracks is selected in the Export Settings dialog box. You can set this option before the export. See Customizing Export Settings on page 698. To export a single-frame graphic, mark an IN point to export the marked frame from a bin or a monitor, or move the position indicator to the frame you want to export. Make sure Use Marks is selected and Sequential Files is deselected in the Export Settings dialog box. To export part of a clip or sequence, mark IN and OUT points to export the marked range from a bin or a monitor. If you mark an IN point and no OUT point, the system exports from the IN point to the end of the clip or sequence. Make sure Use Marks is selected in the Export Settings dialog box. To export the entire clip or sequence, deselect the options Use Enabled Tracks and Use Marks in the Export Settings dialog box, and make sure the topmost track is monitored.
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When you export to an OMFI file, you do not need to select both the sequence and its source clips. Select only the sequence to export all the necessary information, including reference clips. 2. Select a clip or sequence in one of two ways: t t Click the monitor that displays the clip or sequence you want to export. Click the clip or sequence in a bin. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple clips or sequences.

3. Choose Export from the File menu, or right-click (Windows) or Shift+click (Macintosh) and choose Export from the context menu. The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears with a default file name in the File name text box (Windows) or the Export As... text box (Macintosh), based on the file type.

Windows

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Macintosh

4. Select the destination folder for the file. 5. (Option) Change the file name. In most cases, keep the default file name extension. 6. (Windows only) Choose a setting from the Export Setting pop-up menu. This setting determines the format of the exported file. The default setting is labeled Untitled.

Your Avid system supplies you with several templates for Export settings. For a list of the templates and their settings, see the Avid Products Collaboration Guide or the Avid Xpress Online Publications CD-ROM. 7. (Option) If you want to check the current Export setting, click the Options button to open the Export Settings dialog box, view the selections, and then click Save to return to the Export As dialog box (Windows) or a destination dialog box (Macintosh). 8. Click Save. The file is exported and appears at the chosen destination.

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n c c

Your Avid system saves the intermediate movie that it makes for some formats in a temporary folder. Make sure the temporary folder is on a drive with plenty of space. You can view and change the location of the temporary file in the General Settings dialog box, which you access from the Settings scroll list. Your Avid system allows a maximum exported file size of 2 GB. If you exceed this limit, the file is unusable and an error message is displayed. If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process. The only exception is a sequential file sequence, where all frames up to the point of failure are usable.

Using the Drag-and-Drop Method for Export

To export a frame, clip, or sequence by using the drag-and-drop method: 1. Select the material you want to export in one of the following ways: t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others. Make sure Use Enabled Tracks is selected in the Export Options dialog box. See step 2. To export a single-frame graphic, mark an IN point to export the marked frame from a bin or a monitor, or move the position indicator to the frame you want to export. Make sure Use Marks is selected in the Export Options dialog box. To export part of a clip or sequence, mark IN and OUT points to export the marked range from a bin or a monitor. If you mark an IN point and no OUT point, the system exports from the IN point to the end of the clip or sequence. Make sure Use Marks is selected in the Export Options dialog box.

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To export the entire clip or sequence, deselect Use Enabled Tracks and Use Marks in the Export Options dialog box, and make sure the topmost track is monitored.

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You cannot use the drag-and-drop method to export ALE, tab-delimited, or sequential files. When you export to an OMFI file, you do not need to select both the sequence and its source clips. Select only the sequence to export all the necessary information, including reference clips. 2. In the Settings scroll list of the Project window, select the setting you want to use for export. The default Export setting, the preset templates, and any additional Export settings you create appear in the Settings scroll list. After you select a setting in the Settings scroll list, the parameters remain the default settings for all exported files, unless you change them during the export. This is especially useful when you batch export a number of files at the same time directly from a bin. To view or modify the parameters, double-click the setting. 3. Export the frame, clip, or sequence by dragging the clip or sequence you want to export to the location (folder or drive) where you want to store the file. To select multiple objects, Ctrl+click (Windows) or Shift+click (Macintosh) the objects and drag the objects to the new location.

During a drag-and-drop export, your Avid system saves an intermediate file in a temporary folder. Make sure the temporary folder is on a drive with plenty of space. You can view and change the location of the temporary file in the General Settings dialog box, which you access from the Settings scroll list. To save time, assign the temporary folder to a folder on the same drive where you will be dragging the export.

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Using Media Cleaner

You can use Terran Interactives Media Cleaner to turn clips and sequences into streaming files. To use Media Cleaner with your Avid system, you should install Media Cleaner EZ from the CD provided by Avid.

If you have Media Cleaner Pro 4.0.2 or later installed on your system, you do not need to install Media Cleaner EZ to use Media Cleaner with your Avid system. Media Cleaner provides you with the following settings options: QuickTime Progressive Download QuickTime Streaming RealG2 Web Download RealG2 Streaming Windows Media - Video Windows Media - Audio AVI CD-ROM QuickTime CD-ROM Still Image

Media Cleaner also has a Settings Wizard, which guides you through the process of choosing the proper setting for your media. When the Avid system exports to Media Cleaner, it creates a QuickTime reference movie. This QuickTime reference movie uses the setting Digital Mastering Defaults. If you want more control over the QuickTime reference movie, you can choose different options, manually export a QuickTime reference movie, and open it in Media Cleaner. For more information about QuickTime reference movies, see QuickTime Reference Movies on page 706.

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To send a sequence or clip to Media Cleaner: 1. Select a sequence or clip to export (see Exporting Frames, Clips, or Sequences on page 686). 2. Choose Send To from the File menu and Media Cleaner from the submenu.

The Media Cleaner application starts and the sequence or clip appears.

For help using Media Cleaner, see the documentation on the Media Cleaner CD-ROM.

Using AvidLinks
AvidLinks enables you to send data from your Avid system to other Avid applications. You can use AvidLinks to export to any of the applications listed in Table 19-1.

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Table 19-1
Avid Application AudioVision Digidesign Pro Tools

Applications for AvidLinks Export

File Format OMFI OMFI Embed Audio in OMF Interchange file External Audio Files (native AIFF-C only) Options

Media Illusion (Composition) Media Illusion (Video)

OMFI OMFI Convert to 1:1 (selected for export to Media Illusion Version 6.0)

Softimage|DS (Composition)

OMFI

To use AvidLinks: 1. In the bin, select the media object you want to export. 2. Choose AvidLinks from the File menu. The AvidLinks submenu appears.

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You can also access AvidLinks by right-clicking (Windows) or by Ctrl+Shift+ clicking (Macintosh) and choosing it from the context menu. 3. Select an application from the AvidLinks submenu. The AvidLink Export To application name dialog box (Windows) or a destination dialog box (Macintosh) appears with a default file name in the File Name text box (Windows) or the AvidLink Export To text box (Macintosh), based on the file type.

4. (Option) Change the file name. 5. Select the destination folder for the file. 6. Click Save. The file is exported and appears at the chosen destination.

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Creating Files for a DVD

If you plan to put your sequence onto a DVD, you have two basic choices: If you want to burn the sequence directly to a DVD, you can choose the Create DVD command from the File menu to create the necessary files. If you want to export your sequence in a format that can be used by a DVD authoring package such as DVDit! by Sonic Solutions, use the MPEG-2 export option. See Exporting as an MPEG-2 File on page 752.

You can use the Create DVD feature to create DVD image files on your hard drive. These file can be processed by a DVD-R burning application to create a DVD. If you dont have a DVD-R burner attached to your Avid system, you can move the files to another system for burning.

Before you begin creating the DVD files, create and select an MPEG-2 export setting. See Creating a New Export Setting on page 698. To create files for a DVD: 1. Select a sequence in a bin. 2. Choose Create DVD from the File menu. The Create DVD dialog box appears.

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3. Select a folder in which to store the generated files. 4. Choose an export setting from the Export Setting pop-up menu. 5. (Option) Click Modify to make any changes to the export setting in the Export Settings dialog box. 6. Click OK to save your settings and to start the export. A progress indicator shows your progress.

The length of export depends on the length of the media you are exporting. For example, it might take up to 30 minutes to export a 3-minute sequence. During the creation process, the system renders all effects and creates MPEG-2 files from the media. The system creates a folder named DVDVolume. This folder contains the following two folders: Audio_ts Video_ts

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Use the Audio_ts and Video_ts folders with your DVD-R burning application to create the DVD.

Using OMM to Export Clips

Exporting through Open Media Management (OMM) allows you to copy or check in clips from a bin to an asset manager application such as Avid MediaManager. Avid MediaManager is the asset manager used in the Avid MediaNet environment, which includes Avid Unity storage. You can use MediaManager to help find and obtain access to master clips, sequences, and other media objects in the Avid MediaNet environment. For more information, see the Avid MediaManager Users Guide.

Exporting a Clip with OMM and Drag-and-Drop

To export a clip by using OMM and the drag-and-drop method: 1. In the Settings scroll list of the Project window, click to select an OMM setting and an export setting.

When you select an OMM setting, your Avid system uses this location for all OMM imports and exports. If you use the drag-and-drop method to export to a different OMM location, the exported clip will go to the location specified in the OMM setting. 2. Start your browser and locate your asset manager. 3. Open the bin that contains the clip or clips you want to export. 4. In the bin, click the clip you want to export and drag it to the asset manager window. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple clips. The exported clip appears in the asset manager database.
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Customizing Export Settings

In addition to selecting preset templates, your Avid system allows you to customize and name your Export settings. Use the following procedures to customize your Export settings.

Creating a New Export Setting

To create a new Export setting: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Click Export. 3. Choose Duplicate from the Edit menu, or right-click (Windows) or Shift+click (Macintosh) and select Duplicate from the context menu. 4. Name the setting by clicking the custom name column, typing a name, and pressing Enter (Windows) or Return (Macintosh). 5. Adjust the parameters for the setting as described in the following procedure. To adjust the parameters in an Export Settings dialog box: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click the Export setting. The Export Settings dialog box appears. 3. Select the appropriate file type and options based on the descriptions in Table 19-2.

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Table 19-2
Export As Option OMFI

Export Settings Dialog Box Options

Description Select this option to export a standard OMFI composition for transfer to a third-party workstation that supports OMFI. You can choose to export composition only, or embed the video and audio, or both. See About OMF Interchange on page 700. Select this option to create an Advanced Authoring Format (AAF) file.You can choose to export composition only, or embed the video and audio, or both. See Exporting as an AAF File on page 704. Select this option to create a QuickTime reference movie. A QuickTime reference movie contains pointers (links) to movie files. This is similar to exporting as composition only. See QuickTime Reference Movies on page 706. Select this option to export the selected media object in the MPEG-2 file format. See Exporting as an MPEG-2 File on page 752. Select this option to create a standard DV stream. The DV Stream format is often used for distribution on a CD-ROM or over the Web. Use this option when exporting video that will be combined or processed with other DV-formatted media. Requires a video track. Select this option to create a self-contained QuickTime movie. See Exporting as a QuickTime Movie on page 712. Select this option to export an AVI file through the Avid Codec for AVI or other compression tool. For more information, see Table 19-8 on page 726. Select this option to export audio tracks in the WAVE format, SD2 (Macintosh only), or AIFF-C audio format. Select this option to export a single frame, a series of frames, or a file type that supports multiple frames as a graphic file. Choose a file type from the pop-up menu. See Exporting as a Graphic File on page 743. For information about supported file types, see Appendix B. Select this option to export the selected bin as a shot log file that complies with Avid Log Exchange (ALE) specifications. For information about Avid Log Exchange, see Converting Log Files with Avid Log Exchange on page 140. 699

AAF

QuickTime Reference

MPEG-2

DV Stream

QuickTime Movie AVI (Windows only) Audio

Graphic

Avid Log Exchange

Table 19-2
Export As Option Tab Delimited

Export Settings Dialog Box Options (Continued)

Description Select this option to export the selected bin as a shot log file in the form of a tab-delimited ASCII text file.

About OMF Interchange

OMF Interchange (OMFI) is a platform-independent file format that stores both the digital media (video, audio, graphics, animation) and the information describing how the media is edited together to form a final sequence. This editing information, called a composition, is the OMFI representation of the sequence created in your Avid system. The OMF Interchange format is the result of cooperative efforts of many industry and standards partners and Avid Technology, Inc. Any other program that supports OMFI can read OMFI files, even if the program resides on a different computer platform. As a result, with OMFI, you can transfer among different applications on different platforms without worrying about cross-platform translations. This can be very effective for importing animation or audio files created on proprietary platforms.

To avoid errors and incompatibilities when importing and exporting OMFI files, observe the recommendations in OMFI Files on page 812.

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Choosing an OMFI Transfer Method

OMF Interchange, as implemented in your Avid system, provides two basic methods for exporting files: Exporting OMFI Compositions Only Exporting OMFI Compositions with Media Files

Exporting OMFI Compositions Only

Your Avid system can export an OMFI file that contains only the editing information about a selected master clip or sequence. You then need to transfer both the OMFI file and the media files or to redigitize the media on the other system. After you have transferred the media once, you can transfer revised composition-only files, unless you consolidated the media (in which case, you must transport the media files as well). For more information on consolidating media, see Consolidating Media on page 358. To export an OMFI composition only (Method 1): 1. Select the file you want to export. 2. Choose Export from the File menu. The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears. 3. Click the Options button to open the Export Settings dialog box. 4. Select OMFI in the Export Settings dialog box and select Link to Video Media, Link to Audio Media, or both.

(Macintosh only) When exporting an OMFI composition only to a product that supports the SD2 audio format, you must select Use Audio Media and SD2. Audio media is not embedded in the OMFI file. The converted files are located in a folder labeled Exported Audio Media at the top level of the drive with the most available space. 5. Click Save.
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The Export As dialog box (Windows) or a destination dialog box (Macintosh) reappears. 6. Select the destination folder for the file. 7. (Option) Change the file name. In most cases, keep the file name extension. 8. Click Save. The file is exported and appears at the chosen destination.

Exporting OMFI Compositions with Media Files

Your Avid system exports an OMFI file that contains all the editing information for the selected master clip or sequence along with the video and audio media files for that master clip or sequence. To export an OMFI composition with media (Method 2): 1. Select the file you want to export. 2. Choose Export from the File menu. The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears. 3. Click the Options button to open the Export Settings dialog box. 4. Choose OMFI from the Export As pop-up menu. 5. Select options as described in Table 19-3. 6. Click Save. The Export As dialog box (Windows) or a destination dialog box (Macintosh) reappears. 7. Select the destination folder for the file. 8. (Option) Change the file name. In most cases, keep the file name extension. 9. Click Save. The file is exported and appears at the chosen destination.
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Table 19-3

Export Settings Dialog Box (OMFI Options)

Option OMFI Version 1.0

Description Select this option if the application to which you are exporting does not support OMFI Version 2.0. Select this option if the application to which you are exporting supports OMFI Version 2.0. If you are not sure, select 1.0. Select this option to include (embed) video media in the OMFI composition; for example, if you plan to add video or film effects in an OMFI-compatible application. Select this option when you use Method 1 (composition only).

OMFI Version 2.0

Embed Video Media

Link to Video Media

Use the Embed WAVE Audio Media, Embed AIFF-C Audio Media, SD2 Format (Macintosh only), Link to Audio Media, or AudioVision Compatibility options if you plan to enhance audio in an OMFI-compatible application such as a digital audio workstation. Embed WAVE Audio Media Select this option to export audio tracks in the WAVE format (.WAV file name extension) for audio files. WAVE media is embedded in the OMFI file. Use this option if you plan to enhance audio in an OMFI-compatible application such as a digital audio workstation. Nearly all Windows and Windows NT applications that support sound use WAVE files. QuickTime also supports the WAVE format. Embed AIFF-C Audio Media Select this option to export audio tracks in the industry-standard AIFF-C format, which is compatible with many third-party sound editing and multimedia applications.

n Your Avid system does not compress audio media. AIFF-C media is embedded in the OMFI file.

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Table 19-3

Export Settings Dialog Box (OMFI Options) (Continued)

Option Use SD2 Format (Macintosh only)

Description Select this option for export to AudioVision or another product that supports the SD2 (Sound Designer II) audio format. Audio media is not embedded in the OMFI file. Use this option to convert AIFF-C or WAVE audio media to Sound Designer II media when exporting. The converted files are located in a folder labeled Exported Audio Media at the top level of the drive with the most available space. Select this option when you use Method 1 (composition only).

Link to Audio Media AudioVision Compatibility

Select this option when you want to transfer the OMFI composisiton and audio to AudioVision.

Exporting as an AAF File

Advanced Authoring Format (AAF), is a cross-platform, multimedia file format that allows interchange of media and composition information between AAF-compliant applications. These applications are primarily content creation tools such as Adobe Photoshop and After Effects, Avid Symphony, Avid Media Composer, Avid Xpress, Softimage DS, and Sonic Foundrys Sound Forge, to name a few. There are two types of data in an AAF file: Media such as audio and video Composition information, or metadata, that provides the instructions needed to combine and modify the media portions of the AAF file to produce a complete multimedia program

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As with OMFI export, there are two basic methods for exporting files: AAF compositions only (Method 1) AAF compositions with media files (Method 2)

Exporting AAF Compositions Only

Your Avid system can export an AAF file that contains only the editing information about a selected master clip or sequence. You then need to transfer both the AAF file and the media files or to redigitize the media on the other system. After you have transferred the media once, you can transfer revised composition-only files, unless you consolidated the media (in which case, you must transport the media files as well). For more information on consolidating media, see Consolidating Media on page 358. To export an AAF composition only (Method 1): t Select AAF in the Export Settings dialog box and select Link to Video Media, Link to Audio Media, or both.

Exporting AAF Compositions with Media Files

Your Avid system exports an AAF file that contains all the editing information for the selected master clip or sequence along with the video and audio media files for that master clip or sequence. To export an AAF composition with media (Method 2): t Select AAF in the Export Settings dialog box and select Embed Video Media, one of the Embed Audio Media options, or both.

Table 19-4 describes the available options.

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Table 19-4

Export Settings Dialog Box (AAF Options)

Option Embed Video Media Link to Video Media Embed WAVE Audio Media

Description Select this option to include (embed) video media in the AAF composition; for example, if you plan to add video or film effects in an AAF-compatible application. Select this option when you use Method 1 (composition only).

Select this option to export audio tracks in the WAVE format (.WAV file name extension) for audio files. WAVE media is embedded in the AAF file. Use this option if you plan to enhance audio in an AAF-compatible application such as a digital audio workstation. Nearly all Windows and Windows NT applications that support sound use WAVE files. QuickTime also supports the WAVE format.

Embed AIFF-C Audio Media

Select this option to export audio tracks in the industry-standard AIFF-C format, which is compatible with many third-party sound editing and multimedia applications. Note that your Avid system does not compress audio media. AIFF-C media is embedded in the AAF file. Use this option if you plan to enhance audio in an AAF-compatible application such as a digital audio workstation. Select this option when you use Method 1 (composition only).

Link to Audio Media

QuickTime Reference Movies

A QuickTime reference movie is a QuickTime movie that contains composition information but no movie data. Instead, the movie contains pointers to the original media in the OMFI MediaFiles directory on local or network media drives. Because the QuickTime reference movie does not contain media, the file is much smaller than a QuickTime movie, usually only a few kilobytes per file. Therefore, exporting a sequence as a QuickTime reference movie is faster and takes up less disk space than exporting a sequence as a QuickTime
706

movie. When you play back the movie in QuickTime Player, the movie references the media files. QuickTime reference movies are useful as long as you are working with Avid OMF media files available on your local system or on an Avid Unity workgroup. Advantages are speed and small file size because the system does not copy the source media files into the exported QuickTime file. However, if you expect to move the exported QuickTime file to a system that doesnt have access to the media, then you should use the standard QuickTime export so that the media files and QuickTime wrapper can be moved as one file. See Exporting as a QuickTime Movie on page 712.

Exporting as a QuickTime Reference Movie

To export as a QuickTime reference movie: 1. Select the material you want to export in one of the following ways: t t t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others. To export part of a clip or sequence, mark IN and OUT points to export the marked range from a bin or a monitor. To export the entire clip or sequence, make sure the topmost track is monitored.

For more information, see Preparing to Export a Sequence on page 683. 2. Choose Export from the File menu. The Export As (Windows) or a destination dialog box (Macintosh) dialog box appears. 3. Select the Export settings by doing one of the following: t Choose a setting from the Export Setting pop-up menu if you have created a setting in advance, and go to step 10.
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If you want to review or edit a setting, go to step 4.

4. Click Options. The Export Settings dialog box appears. 5. Choose QuickTime Reference from the Export As pop-up menu. The Export Settings dialog box appears.

6. Select options as described in Table 19-5.

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7. Click Save As. The Save Export Setting dialog box appears.

8. Name the setting by typing a name of your choice in the Setting Name text box, and click OK. The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears with the default QuickTime reference movie file name extension in the File Name text box. 9. Select the destination folder for the file. 10. (Option) Change the file name. In most cases, keep the default file name extension. 11. Click Save. The file is exported and appears at the chosen destination.

If a power failure or mishap occurs during the export process, the entire file is unusable. You need to repeat the export process. The only exception is a sequential file sequence, where all frames up to the point of failure are usable.

QuickTime Reference Export Options

Table 19-5 describes the options in the QuickTime Reference Settings dialog box.

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Table 19-5

Export Settings Dialog Box (QuickTime Reference Options)

Option Use Marks

Description When this option is selected, the system uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option. When this option is selected (default), the system uses tracks that are enabled in the Timeline. To export the entire clip or sequence, deselect this option. When this option is selected, the composition is exported as one video track. When this option is deselected, one QuickTime video track is generated for each video track in the composition, and you cannot select Fill Spaces with Black. Because most third-party applications do not understand multiple QuickTime video tracks, it is a good idea to select this option. This option is automatically selected in the Fast Draft Defaults and the Digital Mastering Defaults options. When this option is selected, blank spaces in video tracks are filled with black in the QuickTime movie. Because QuickTime movies do not recognize blank spaces, it is a good idea to select this option. When this option is deselected, a QuickTime movie might interpret spaces in the video track as gray or the background of the player. This option is automatically selected in the Fast Draft Defaults and Digital Mastering Defaults options. When this option is selected, all unrendered video effects, including matte keys and titles, are rendered before export. When this option is deselected, any unrendered effects are ignored. This option is automatically selected in the Digital Mastering Defaults option. When this option is selected, the audio tracks in the composition are mixed to a stereo AIFF-C files created at the same location as the movie. When this option is deselected, the original audio is exported. This option is selected automatically in the Digital Mastering Defaults option.

Use Enabled Tracks

Flatten Video Tracks

Fill Spaces with Black

Render All Video Effects

Premix Audio Tracks

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Table 19-5

Export Settings Dialog Box (QuickTime Reference Options) (Continued)

Option Fast Draft Default

Description Choose this option for a faster export. This option automatically selects Flatten Video Tracks and Fill Spaces with Black. It automatically deselects Render All Video Effects and Premix Audio Tracks. Choose this option to render all video effects and premix audio tracks before exporting the file. This option automatically selects Flatten Video Tracks, Fill Spaces with Black, Render All Video Effects, and Premix Audio Tracks. When this option is selected, the exported movie uses the machine and share name of the media drive in the QuickTime reference movie instead of a drive letter. Select this option when the media files referenced by the movie are accessed remotely over the network. If the media files are stored on the same drive as the QuickTime reference movie, you do not need to select this option. When this option is deselected, you cannot select Add Shares for Media Drives.

Digital Mastering Defaults

Use Network Media References

Add Shares for Media Drives When this option is selected, the system creates a new drive share for referenced media files stored on unshared network drives. The drive share is hidden, that is, other users do not see the shared drive when browsing your computer. You do not need to select this option when media is stored on the same drive as the QuickTime Reference movie.

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Table 19-5

Export Settings Dialog Box (QuickTime Reference Options) (Continued)

Option Pixel Aspect Ratio

Description The pixel aspect ratio allows you to apply a scaling to the video: square, 4:3, or 16:9. The pixel aspect ratio allows you to control the display format without modifying the source file. This feature creates metadata additional data that is stored with the QuickTime movie. Some applications, such as the QuickTime Player and Avid ePublisher, can interpret this metadata and scale the image at display time. Pixel aspect ratio is useful for QuickTime reference movies because you do not modify the source files of referenced movies. For example, if your source movies are stored at the standard 720 x 486 for NTSC (720 x 576 for PAL), you can create two different QuickTime reference movies that use the same referenced source files one that uses 4:3 and another that uses 16:9.

Exporting as a QuickTime Movie

This section presents the procedures for exporting as a QuickTime movie and the export options you can select. The QuickTime export option creates a standard QuickTime movie that combines the media files and QuickTime wrapper. The benefit of this method is that you can move all related information as one file. If you are working with Avid OMFI media files available on your local system or on an Avid Unity workgroup, you might want to investigate the QuickTime reference format. See QuickTime Reference Movies on page 706.

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To export as a QuickTime movie: 1. Select the material you want to export in one of the following ways: t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others. Make sure Use Enabled Tracks is selected in the QuickTime Export Settings dialog box. You can select this option before the export. To export part of a clip or sequence, mark IN and OUT points to export the marked range from a bin or a monitor. If you mark an IN point and no OUT point, the system exports from the IN point to the end of the clip or sequence. Make sure Use Marks is selected in the QuickTime Export Settings dialog box. To export the entire clip or sequence, deselect Use Enabled Tracks and Use Marks in the QuickTime Export Settings dialog box, and make sure the topmost track is monitored.

You can use the drag-and-drop method to export QuickTime files. See Using the Drag-and-Drop Method for Export on page 689.

2. Choose Export from the File menu. The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears. 3. Choose the Export settings by doing one of the following: t t Choose a setting from the Export As pop-up menu if you created a QuickTime template in advance, and go to step 11. If you want to review or edit a setting, go to step 4.

4. Click the Options button. The Export Settings dialog box appears. 5. Choose QuickTime Movie from the Export As pop-up menu.

If you installed additional QuickTime Export formats, they appear in the pop-up menu with tildes (~) before their names. This indicates that they have not been qualified and are not supported by Avid.

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QuickTime Movie (Same as Source)

QuickTime Movie (Custom)

6. Select Same as Source to use the resolution of the source file or select Custom to customize your settings. 7. Set the remaining options; use Table 19-6 as a reference. 8. Name the setting by typing a name of your choice in the text box at the top of the Export Settings dialog box. The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears with the default QuickTime file name extension in the File Name text box. 9. (Option) Change the file name. In most cases, keep the default file name extension. 10. Select the destination folder for the file. 11. Click Save.
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The file is exported and appears at the chosen destination.

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Your Avid system allows a maximum exported file size of 2 GB. If you exceed this limit, the file is unusable and an error message is displayed. If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process. The only exception is a sequential file sequence, where all frames up to the point of failure are usable. Table 19-6 describes the QuickTime Movie Export options.

Table 19-6
Option Use Marks Suboption

QuickTime Movie Export Options

Description When this option is selected, the system uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option. When this option is selected, the system exports only the currently enabled tracks for a selected sequence or clip. To export all tracks in the sequence, deselect this option. When this option is selected, the original compression of the clip is maintained. When this option is selected, you can customize your settings. Click the Format Options button to open the Movie Settings dialog box. For more information, see Selecting QuickTime Codecs on page 717. Select this option if you want to export an entire clip or sequence as a QuickTime movie.

Use Enabled Tracks

Same as Source

Custom

Format Options

Video and Audio

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Table 19-6
Option Video Only Suboption

QuickTime Movie Export Options (Continued)

Description Select this option if you want to add effects in a third-party application or use only the video in a multimedia project. Select this option if you want to use or enhance audio in a third-party application or use only the audio in a multimedia project.

Audio Only

Video Format

Width x Height

This option sets the width of the clip. Scale to Fit: This option sizes to fit the specified width and height. Crop/Pad: This option instructs the system not to scale or resize the frames. If necessary, it adds black lines to the top and bottom of the frame to achieve the correct size. Crop/pad never scales or resizes.

Color Levels File Field Order

This option allows you to set the color to RGB or ITU-R 601. These options allow you to choose the field that will be the upper field during export. For 24p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames. Odd: Select this option if you are in a PAL project. In forming the export frame, Field 1 becomes the upper field, that is, field 1s lines become the odd-numbered lines in the frame (counted starting from 1). Field 2s lines become the even-numbered lines. Even: Select this option if you are in an NTSC project. In forming the export frame, Field 1 becomes the lower field, that is, Field 1s lines become the even-numbered lines in the frame. Field 2s lines become the odd-numbered lines. Single Field: Select this option if you want the output file to consist of only field 1. In this case, the single field of 243 lines for NTSC (288 lines for PAL) will be resized to fit the frame as specified in the width and height selection.

Create Preview

Select this option if you want to create of a preview of the QuickTime movie. 716

Table 19-6
Option Pixel Aspect Ratio Suboption

QuickTime Movie Export Options (Continued)

Description The pixel aspect ratio allows you to apply a scaling to the video: square, 4:3, or 16:9. The pixel aspect ratio allows you to control the display format without modifying the source file. This feature creates metadata additional data that is stored with the QuickTime movie. Some applications, such as the QuickTime Player and Avid ePublisher, can interpret this metadata and scale the image at display time. Pixel aspect ratio is useful for the Same as Source option because that option also preserves the original format.

Selecting QuickTime Codecs

Your Avid system includes many codecs you can use to compress and export your sequence. See About Avid Codecs on page 730. To access the QuickTime codecs: 1. Choose Export from the File menu. The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears. 2. Click the Options button. The Export Settings dialog box appears. 3. Choose QuickTime Movie from the Export As pop-up menu. 4. Select Custom. 5. Click Format Options. The Movie Settings dialog box appears.

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6. Click the Settings button in the Video pane. 7. Choose the settings, using Table 19-7 for reference.

Table 19-7
Format Options Suboption Compressor Animation

QuickTime Movie Format Options

Description For high-quality, lossless compression (in which no picture information is lost). Uses a run-length-encoded (RLE) scheme to encode each pixel, resulting in a file that is 70 to 95 percent the size of the uncompressed file. At maximum quality, this is a lossless compression (in which no picture information is lost). See the description of the Quality option in this table.

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Table 19-7
Format Options Suboption Avid Meridien Compressed Avid Meridien Uncompressed

QuickTime Movie Format Options (Continued)

Description For compression compatible with Avid products. Allows fast import. See Using the Avid Codecs on page 730. For 1:1 resolution. Allows fast import. See Using the Avid Codecs on page 730. same your current clips, n For export at theinsteadresolution asSee Exporting as choose Same as Source of Custom. a QuickTime Movie on page 712.

Avid ABVB NuVista BMP (Windows only) Cinepak

For backward compatibility with systems using AVRs.

For internal encoding of individual frames as BMP (Windows native bitmap format) files. For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screen-size playback from CD-ROM or hard drive. Uses compression algorithm optimized for CD-ROM playback. For high-quality, lossless compression (in which no picture information is lost). Uses the same algorithm as the Animation method but saves the file in YUV RLE format, which separates the luminance from the chrominance. All QuickTime applications can read this format, but only some can write to this format. For storing original or edited DV (digital video) footage in QuickTime files. For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screen-size playback from CD-ROM or hard drive. Uses a limited color palette version (16 colors) of Animation compression. For low-quality video conferencing.

Component Video

DV-NTSC DV-PAL Graphics

H.261

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Table 19-7
Format Options Suboption H.263

QuickTime Movie Format Options (Continued)

Description For video conferencing. Optimized for low data rates and low motion. For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screen size playback from CD-ROM or hard drive. Files do not export at 720 x 540 and 720 x 486 frame sizes, even though these sizes are listed. For medium-quality, lossy compression (in which some picture information is lost) requiring much storage space and additional hardware support for real-time playback. Motion JPEG (M-JPEG) is a variant of the ISO JPEG specification for use in digital video. Considered the standard for Motion JPEG, format A is supported by chips from Zoran Corporation and C-Cubed, Inc.

Intel Indeo Video 4.4

Motion JPEG A

Motion JPEG B

For medium-quality, lossy compression (in which some picture information is lost) requiring much storage space and additional hardware support for real-time playback. Motion JPEG (M-JPEG) is a variant of the ISO JPEG specification for use in digital video. Format B cannot use the markers that ISO JPEG and format A do; supported by chips from LSI Logic Corporation.

None

For high-quality, lossless compression (in which no picture information is lost). Does not compress the file; results in very large files. For medium quality, lossy compression (in which some picture information is lost) requiring moderate storage space and data throughput on playback. Uses the Joint Photographic Experts Group (JPEG) algorithm for image compression; results in files that are 20 to 30 percent the size of the uncompressed files. Some data is lost during compression, and the export process takes longer to complete (typically six times longer than the Animation compression, for example). 720

Photo-JPEG

Table 19-7
Format Options Suboption Planar RGB

QuickTime Movie Format Options (Continued)

Description For high-quality, lossless compression (in which no picture information is lost). Results in large files. Encodes each image plane separately, using a run-length-encoded (RLE) scheme. Used primarily to support Photoshop files, which are usually stored using a planar run-length algorithm.

PNG

Portable Network Graphics, used to replace GIF as a bitmap still-image format for newer Internet browsers. For medium-quality, lossy compression (in which some picture information is lost) at a low data rate and low storage requirements. This codec is particularly suited for Web or CD-ROM delivery. Saves exported file in Targa format. Tagged Image Format, a cross-platform bitmap still-image format, used often in pre-press production. For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screen-size playback from CD-ROM or hard drive. Choose the colors that you want included in the exported file. The selections vary according to the codec you choose. Some codecs have only one color setting. Do not select the option Millions of Colors +. This option creates an alpha channel that is not used for export from your Avid system. If you use one of the Avid Codecs for QuickTime with other applications that support alpha channels, you can choose the Millions of Colors + option to create an alpha channel that can be imported into your Avid system.

Sorensen Video

TGA TIFF

Video

Colors

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Table 19-7
Format Options Suboption Quality

QuickTime Movie Format Options (Continued)

Description Click the option and drag this slider to adjust the image quality for the exported file. The selections vary according to the codec you choose. Some codecs have only one Quality setting. If you selected Avid Meridien Compressed or Uncompressed, a dialog box appears, allowing you to choose a resolution.

Motion

Frames per second

Choose a frame rate from the pop-up menu. Choose 30 to maintain full-motion video/animation. A frame rate of 29.97 conforms to NTSC video frame-rate standards. Use this option to have the system use keyframes as a reference for subsequent frames. Enter a numeric value to specify the frequency of the keyframes. Allows you to apply a single effect filter during an export.

Key frame every

Filter

Choose Video Filter Export Size Settings

Size

QuickTime allows you to set a size, but Avid recommends you set the size in the Width and Height text boxes of the Export Settings dialog box. Both settings have the same effect, and the QuickTime size setting overrides the Avid size setting. Choose a sound compression setting for your export. Allows a movie to begin playing over the Internet without downloading the entire movie first. Adequate for movies that have a hint track. A better choice for movies available through hypertext transfer protocol (HTTP). Dont choose this option if the movie has a hint track; the streaming server cannot read a compressed header.

Sound Settings Prepare for Internet Streaming

Compressor Fast Start

Fast Start Compressed header

Hinted Streaming Choose if you are putting the exported file on a streaming server. The file will not stream without a hint track for each track in the movie.

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Exporting as an AVI File (Windows Only)

To export as an AVI file: 1. Select the material you want to export in one of the following ways: t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others. Make sure Use Enabled Tracks is selected in the AVI Options dialog box, which is accessed from the Export Settings dialog box. You can set this option before the export. See Customizing Export Settings on page 698. To export part of a clip or sequence, mark IN and OUT points to export the marked range from a bin or a monitor. If you mark an IN point and no OUT point, the system exports from the IN point to the end of the clip or sequence. Make sure Use Marks is selected in the AVI Options dialog box, which is accessed from the Export Settings dialog box. To export the entire clip or sequence, deselect Use Enabled Tracks and Use Marks in the Export Settings dialog box, and make sure the topmost track is monitored.

2. Choose Export from the File menu. The Export As dialog box appears.
You can set these options in advance. See Customizing Export Settings on page 698.

3. Choose the Export settings by doing one of the following: t t If you created a setting in advance, choose a setting from the Export pop-up menu, and go to step 13. If you want to review or edit a setting, go to step 4.

4. Click the Options button. The Export Settings dialog box appears.

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5. Choose AVI from the Export As pop-up menu. 6. Select AVI options as described in Table 19-8. 7. Select an AVI codec by clicking the Codec Options button. The Video Compression dialog box appears. 8. Select the compressor you want, and click Configure to further configure the codec. For more information, see Table 19-9 on page 729. 9. Click OK to close the Video Compression dialog box and return to the Export Settings dialog box. 10. Click Save As.
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The Save Export Setting dialog box appears.

11. Name the setting by typing a name of your choice in the Setting Name text box, and click OK. The Export As dialog box appears with a default file name in the File Name text box. 12. Select the destination folder for the file. 13. (Option) Change the file name. In most cases, keep the default file name extension. 14. Click Save. The file is exported and appears at the chosen destination.

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Your Avid system allows a maximum exported file size of 2 GB. If you exceed this limit, the file is unusable and the system displays an error message. If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.

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AVI Settings
Table 19-8 describes the AVI Settings options in the Export dialog box. In the Video Format tab, you can also select further options by clicking the Codec Options button.

Table 19-8
Option Use Marks Suboption

AVI Settings Options

Description When this option is selected, the system uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option. When this option is selected, the system uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option. Select this option if you want to export an entire clip or sequence as an AVI file; for example, in a multimedia project. For more information, see Using the Avid Codec for AVI (Windows Only) on page 737. Select this option if you want to add effects in a third-party application or use only the video in a multimedia project. Select this option if you want to use or enhance audio in a third-party application or use only the audio in a multimedia project.

Use Enabled Tracks

Video and Audio

Video Only

Audio Only

Video Format

Same as Source

When this option is selected, the original compression of the clip is maintained. When this option is selected, you can customize your settings. When you click this button, the Video Compression dialog box appears. For more information, see Table 19-9 on page 729.

Custom Codec Options

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Table 19-8
Option Suboption Width x Height

AVI Settings Options (Continued)

Description This option allows you to set the width of the clip; at this time you can only select a height of 486. Scale to Fit: This option will size to fit the specified width and height. Crop/Pad: Crop/Pad never scales or resizes frames. If necessary, the system adds black lines to the top and bottom to achieve the correct size.

Color Levels FPS File Field Order

This options allows you to set color to RGB or ITU-R 601. This option sets the frame-per-second (fps) rate for AVI export. These options allow you to choose the field that will be the upper field during export. For 24p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames. Odd: Select this option if you are in a PAL project. In forming the export frame, Field 1 becomes the upper field, that is, field 1s lines become the odd-numbered lines in the frame (counted starting from 1). Field 2s lines become the even-numbered lines. Even: Select this option if you are in an NTSC project. In forming the export frame, Field 1 becomes the lower field, that is, Field 1s lines become the even-numbered lines in the frame. Field 2s lines become the odd-numbered lines. Single Field: Select this option if you want the output file to consist of only field 1. In this case, the single field of 243 lines for NTSC (288 lines for PAL) will be resized to fit the frame as specified in the width and height selection.

Audio Format

Mono Stereo

Exports audio to a single channel. Exports audio to two channels.

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Table 19-8
Option Suboption Sample Rate

AVI Settings Options (Continued)

Description Select this option to select the sample rate. Project Rate: The native rate of the chosen audio media (44.1 kHz or 48 kHz). 22.050 kHz: Half the sample rate of 44.1-kHz media. 11.025 kHz: One quarter the sample rate of 44.1-kHz media.

Sample Size

Select this option to select the sample size. 16-bit: When this option is selected, the system exports a 16-bit audio sample size (currently the industry-standard bit rate for audio). 8-bit: When this option is selected, the system exports an 8-bit audio sample size for use in third-party systems that do not support 16-bit. This option is also used to minimize the data throughput requirements (for example, to improve playback in multimedia projects).

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AVI Video Compression Dialog Box Options

Table 19-9 describes the AVI Video Compression dialog box options.

Table 19-9
Option Compressor Suboption

AVI Video Compression Dialog Box Options

Description

Microsoft Video 1 Use this option when you create files that will play with Video for Windows. Click Configure to open the Configure dialog box. You can then adjust the quality of the compressed file by using the Temporal Quality Rate slider. Cinepak Codec by Radius For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screen-size playback from CD-ROM or hard drive. This codec uses a compression algorithm optimized for CD-ROM playback. Click Configure to open the Cinepak for Windows 32 configuration dialog box. You can then choose to compress to color or to black and white. Avid AVI Codec 2.0d2 Full Frames (Uncompressed) Use this option to choose Avid resolutions. See Using the Avid Codec for AVI (Windows Only) on page 737. For high-quality export in which no picture information is lost. This option does not compress the file and can result in very large files. To export an uncompressed file at 1:1, use the Avid Codec for AVI. Use this option to have the system use keyframes as a reference for subsequent frames. Enter a numeric value to specify the frequency of the keyframes. This option is not available for the Avid Codec for AVI or for uncompressed files. Use this option to set a specific data rate for the compressed file, in kilobytes per second. This option is not available for the Avid Codec for AVI or for uncompressed files.

Key Frame Every n frames

Data Rate n KB/sec

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About Avid Codecs

You can use the following Avid codecs (compressor/decompressor) when exporting QuickTime or AVI files from your Avid system or from third-party applications for import into an Avid system: Avid Codecs for QuickTime (Windows only) Avid Codec for AVI

Using the Avid Codecs

The Avid codecs create encapsulated media files for export of high-resolution files that are readable within QuickTime applications. The two Avid Meridien codecs enable fast import to current Avid products. Use the Avid ABVB NuVista Codec for QuickTime for backward compatibility with systems using AVRs.

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Exporting with an Avid Meridien Codec

To export a clip or sequence with one of the Avid Meridien codecs: 1. Select the material you want to export in one of the following ways: t t t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others. To export part of a clip or sequence, mark IN and OUT points to export the marked range from a bin or a monitor. To export the entire clip or sequence, make sure the topmost track is monitored.

2. Choose Export from the File menu. The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears. 3. Click Options. The Export Settings dialog box appears. 4. Choose QuickTime Movie from the Export As pop-up menu. 5. Select Custom. 6. Click the Format Options button. The Movie Settings dialog box appears.

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7. Click Settings in the Video pane. The Compression Settings dialog box appears.

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8. Choose Avid Meridien Uncompressed or Avid Meridien Compressed from the Compressor pop-up menu. 9. Adjust the Quality slider. 10. Click OK in the Compression Settings dialog box. The Export Settings dialog box reappears. 11. Click Save As. The Save Export Setting dialog box appears.

12. Name the setting by typing a name of your choice in the Setting Name text box, and click OK. The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears with a default file name in the File Name text box. 13. (Option) Change the file name. In most cases, keep the default file name extension. 14. Select the destination folder for the file. 15. Click Save. The file is exported and appears at the chosen destination.

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Exporting with the Avid ABVB NuVista Codec for QuickTime

To export a clip or sequence with the Avid ABVB NuVista Codec for QuickTime: 1. Select the material you want to export in one of the following ways: t t t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others. To export part of a clip or sequence, mark IN and OUT points to export the marked range from a bin or a monitor. To export the entire clip or sequence, make sure the topmost track is monitored.

2. Choose Export from the File menu. The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears. 3. Click Options. The Export Settings dialog box appears. 4. Choose QuickTime Movie from the Export As pop-up menu. 5. Select Custom. 6. Click the Format Options button. The Movie Settings dialog box appears.

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7. Click Settings in the Video pane. The Compression Settings dialog box appears.

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8. Choose Avid ABVB NuVista from the Compressor pop-up menu. 9. Adjust the Quality slider. The Avid QuickTime Codec Configuration dialog box appears.

10. Select the appropriate format for the media you want to create: NTSC or PAL. 11. Select the appropriate board set for the media: NuVista (Macintosh systems with the NuVista video board) ABVB (Macintosh systems using the Avid Broadcast Video Board)

12. Choose a resolution from the Resolution pop-up menu. The menu is updated according to the format and system type you choose. 13. Click OK to close the Avid QuickTime Codec Configuration dialog box. 14. Click OK in the Compression Settings dialog box. The Avid QuickTime Codec Configuration dialog box reappears. 15. Click OK. The Export Settings dialog box reappears. 16. Click Save As. The Save Export Setting dialog box appears.
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17. Name the setting by typing a name of your choice in the Setting Name text box, and click OK. The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears with a default file name in the File Name text box. 18. (Option) Change the file name. In most cases, keep the default file name extension. 19. Select the destination folder for the file. 20. Click Save. The file is exported and appears at the chosen destination.

Using the Avid Codec for AVI (Windows Only)

The Avid Codec for AVI creates encapsulated media files for export of high-resolution files that are readable within AVI-compatible applications. To export a clip or sequence with the Avid Codec for AVI: 1. Select the material you want to export in one of the following ways: t t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others. To export part of a clip or sequence, mark IN and OUT points to export the marked range from a bin or a monitor.

737

To export the entire clip or sequence, make sure the topmost track is monitored.

2. Choose Export from the File menu. The Export As dialog box appears. 3. Click the Options button. The Export Settings dialog box appears. 4. Choose AVI from the Export As pop-up menu. 5. Click the Codec Options button. The Video Compression dialog box appears.

6. Choose Avid AVI Codec from the Compressor pop-up menu. 7. Click the Configure button. The Avid AVI Codec Configuration dialog box appears.

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8. Select the appropriate format for the media you want to create: NTSC or PAL. 9. Select the appropriate board set for the media: Interlaced or Progressive. 10. Choose a resolution from the Resolution pop-up menu. 11. Click Close. 12. Click OK to close the Video Compression dialog box and return to the Export Settings dialog box. 13. Click Save As. The Save Export Setting dialog box appears.

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14. Name the setting by typing a name of your choice in the Setting Name text box, and click OK. The Export As dialog box appears with a default file name in the File Name text box. 15. (Option) Change the file name. In most cases, keep the default file name extension. 16. Select the destination folder for the file. 17. Click Save. The file is exported and appears at the chosen destination.

Installing an Avid Codec on Other Systems

When you install Avid Xpress on your system, the Avid Codecs for QuickTime and the Avid Codec for AVI are automatically installed. You can copy the codecs and install them on other Windows NT or Macintosh workstations where you are using QuickTime compatible applications. Once an Avid Codec for QuickTime is installed on the workstation, you can export files from the QuickTime compatible application for reimport into the Avid Xpress system. Once the Avid AVI codec is installed on the other workstation, you can export AVI files from the AVI compatible application for reimport into the Avid Xpress system.

Copying a Codec to a Windows NT Workstation

To copy either an Avid Codec for QuickTime or the Avid Codec for AVI to another workstation: 1. On your Avid system, open the C:\Winnt\System32 folder. 2. Copy the AvidQTCodec.qtx (Avid ABVB NuVista Codec for QuickTime), AvidQTAVJICodec.qtx (Avid Meridien Compressed Codec for QuickTime), AvidQTAVUICodec.qtx (Avid Meridien Uncompressed Codec for QuickTime), or AvidAVICodec.dll (Avid Codec for AVI) to a floppy disk or network server.
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3. Install the codec in the other workstation in the C:\Winnt\System32 folder.

Copying a Codec to a Macintosh System

To install the Avid Codec for QuickTime on another Macintosh system: 1. On your Avid system, open the Extensions folder in the System folder. 2. Copy Avid Codec (Avid ABVB NuVista Codec for QuickTime), Avid Compressed G4 (Avid Meridien Compressed Codec for QuickTime), or Avid Uncompressed G4 (Avid Meridien Uncompressed Codec for QuickTime) to floppy disk or network server. 3. On the system where the QuickTime compatible application resides, copy the codec extensions to the System folder. A dialog box asks if you would like to install the file in the Extensions folder. 4. Click OK. 5. Restart your system. The codec is installed.

If you are having trouble opening or playing the export in a third-party application, increase the memory allocated to the program.

Exporting from a Third-Party Application

To export files from a QuickTime compatible application or an AVI compatible application on a Windows NT system for import (or reimport) into your Avid system: 1. Make sure the applicable codec is installed on the workstation. See Installing an Avid Codec on Other Systems on page 740.
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2. Conduct the export procedure according to the procedures used by the particular software. 3. When you get to the step where the standard Export Options dialog box appears, select the applicable Avid compressor.

If you select a nonstandard frame size, your Avid system will not import the file quickly. 4. Complete the export.

Exporting Tracks as Audio Files

To export the audio tracks in a clip or sequence as an audio file: 1. (Option) Mark IN or OUT points to identify a particular portion of the audio in a sequence. 2. Select a clip or sequence in one of two ways: t t Click the monitor that displays the clip or sequence you want to export. Click the clip or sequence in a bin.

3. Choose Export from the File menu. The Export As dialog box (Windows) or a destination dialog box (Macintosh) dialog box appears. 4. Choose a setting from the Export pop-up menu. If you do not have a preset audio template, click the Options button. The Export Settings dialog box appears. 5. Choose Audio from the Export As pop-up menu. 6. (Option) Make sure Use Marks is selected. 7. Choose a format from the Audio Format pop-up menu. Use Table 19-10 to make your selection. 8. Click Save.
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The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears with the audio file name extension in the File Name text box. 9. (Option) Change the file name. In most cases, keep the file name extension. 10. Select the destination folder for the file. 11. Click Save. The file is exported and appears at the chosen destination. Table 19-10 Export Settings Dialog Box (Audio Options)
Suboption WAVE Description Select this option to export audio tracks in the WAVE format (.WAV file name extension). Nearly all Windows and Windows NT applications that support sound use WAVE files. QuickTime also supports the WAVE format. (Macintosh only) Select this option to export audio tracks in the Sound Designer II format, which is compatible with Pro Tools and other third-party applications.

SD2 (Macintosh only)

AIFF-C

Select this option to export audio tracks in the industry-standard AIFF-C format, which is compatible with many third-party sound editing and multimedia applications.

Exporting as a Graphic File

Your Avid system allows you to choose from a number of graphic format options.

743

To export as a graphic file: 1. Mark an IN point to export the marked frame from a bin or a monitor, or move the position indicator to the frame you want to export. 2. Select a clip or sequence in one of two ways: t t Click the monitor that displays the clip or sequence you want to export. Click the clip or sequence in a bin.

3. Choose Export from the File menu. The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears. 4. Choose a setting from the Export pop-up menu. If you do not have a preset graphic template, click the Options button. The Export Settings dialog box appears.

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Graphic Format pop-up menu Format Options button

5. Choose Graphic from the Export As pop-up menu. 6. Select options as described in Table 19-11. 7. Make sure Use Marks is selected. 8. Choose a format from the Graphic Format pop-up menu. Use Table 19-12 to make your selection. 9. Click Save. The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears with the graphic file name extension in the File Name text box. 10. (Option) Change the file name. In most cases, keep the file name extension. 11. Select the destination folder for the file.
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12. Click Save. The file is exported and appears at the chosen destination. When you are working with the Format Options settings, you can click Default to return the settings to their default values. Table 19-12 describes the additional Graphic Format options.

Table 19-11

Export Settings Dialog Box (Graphic Options)

Option Use Marks

Suboption

Description When this option is selected, the system uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option. When this option is selected, the system uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option.

Use Enabled Tracks

Graphic Format

Format Options

This option allows you to select a graphic format for export. The Format Option button allows you to set export parameters. This option allows you to set the width of the clip; at this time you can only select a height of 486. Scale to Fit: This option will size to fit the specified width and height. Crop/Pad: Crop/Pad never scales or resizes frames. If necessary, the system adds black lines to the top and bottom to achieve the correct size.

Width x Height

Color Levels Sequential Files

This option allows you to set color to RGB or ITU-R 601. This option produces a series of still images, numbered sequentially. The fps rate of the source file determines the number of still image files that are produced.

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Table 19-11

Export Settings Dialog Box (Graphic Options) (Continued)

Option File Field Order

Suboption

Description This option allows you to choose the field that will be the upper field during export. For 24p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames. Odd: Select this option if you are in a PAL project. In forming the export frame, Field 1 becomes the upper field, that is, field 1s lines become the odd-numbered lines in the frame (counted starting from 1). Field 2s lines become the even-numbered lines. Even: Select this option if you are in an NTSC project. In forming the export frame, Field 1 becomes the lower field, that is, Field 1s lines become the even-numbered lines in the frame. Field 2s lines become the odd-numbered lines. Single Field: Select this option if you want the output file to consist of only field 1. In this case, the single field of 243 lines for NTSC (288 lines for PAL) will be resized to fit the frame as specified in the width and height selection.

Table 19-12 Graphic Format Options Settings

File Type Alias Parameters Description This option creates files that are compatible with Alias/Wavefront systems. Windows This option creates files that are compatible with systems running the Microsoft Windows operating system. This option creates files that are compatible with systems running the IBM OS/2 operating system. Developed by Chyron Corporation for use with video frame buffers of Chyron character generator titles.

BMP

OS/2

Chyron

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Table 19-12 Graphic Format Options Settings (Continued)

File Type Cineon Parameters Blackpoint (Windows) Black Point (Macintosh) Whitepoint (Windows) White Point (Macintosh) Description This option allows you to adjust a film exposure value that corresponds to filming a 2% black card. Values can be between 0 and 1022. The default value of 0 is adequate for most uses. This option allows you to adjust a film exposure value that corresponds to filming a 90% white card. Values can be between 1 and 1023. If the files came from and will be transferred back to a Cineon system, use a white point of 1023. The default value of 685 is appropriate if the final destination is not a Cineon system for example, a video display. This option specifies an adjustment to correct for any gamma inconsistencies in the output display. Values can be between 0.01 and 100.0. Use a value of 1.0 (the default) for images displayed on a PC monitor. Use a value of 0.59 for a Silicon Graphics or a Macintosh monitor. Use a value of 0.45 for ITU-R 601 (CCIR 601) video. ERIMovie Pack 24 bits This option controls whether the image data is packed into 24-bit color depth (compressed) or is saved as 32-bit (raw) color depth. The Framestore format is a 16-bit video image format used on the Amiga in conjunction with Newteks Video Toaster hardware. HIIP supports both compressed and uncompressed Framestore formats. Developed by Electronic Arts. IFF (Interchange File Format), or more specifically IFF-ILBM (InterLeaved BitMap), is the standard file format by which applications on the Amiga platform transfer image files.

Gamma

Framestore

IFF

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Table 19-12 Graphic Format Options Settings (Continued)

File Type JPEG Parameters Quality Description This option controls the output file size and quality. Higher values produce better images but larger file sizes. Conversely, lower values reduce the image quality but result in smaller file sizes. This option is selected by default. To see if this option is required, see the documentation that came with your JPEG-supported applications. This option allows you to save progressive JPEG files, which divide the file into a series of scans of the image that increase in quality. Each scan progressively improves the recognizability of the image. Progressive JPEG files can be recognized only by applications with progressive JPEG support, such as some Web browsers. OMF Compression This option controls the compression ratio and, therefore, the size of the file. You can choose from all the compression ratio options used by the Avid system when digitizing. For more information on Avid compression ratios, see Compression Resolutions and Storage Requirements on page 223. These options appear when you select a compression ratio that allows you to select either NTSC or PAL. When you select an option, the system displays the required image size and the default frame rate. Developed by Zsoft Corporation for use with their PC PaintBrush paint software. Compression This option controls the size of the file on disk. Disabling compression creates larger files on disk.

Baseline

Progressive

Frame Rate NTSC/PAL

PCX

Photoshop

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Table 19-12 Graphic Format Options Settings (Continued)

File Type PICT (Windows only) Parameters Create MacBinary header Description This option creates a file with a MacBinary header. MacBinary is a file format for representing all the information in a Macintosh file in one binary file. It is a compact file format, useful for storing a Macintosh file on a non-Macintosh system for later retrieval. Use a file expander utility to decode a MacBinary file once it is back on a Macintosh system. This option allows you to save the file in the Pixar format. Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image. This option allows you to save the file for progressive display, similar to progressive JPEG files. As the file is transmitted, the recognizability of the image improves. Interlaced PNG files can be recognized only by applications with interlaced PNG support, such as some Web browsers. QRT Developed on the Amiga personal computer to run on several operating systems. Used by many ray tracing programs, such as DKB Ray Trace and the QRT ray tracer. Developed by Numerical Design, Ltd. Developed by Softimage, Inc. for use in their Softimage software. Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image. Developed by Sun Microsystems, Inc. and supported mainly in Sun applications.

Pixar PNG

Interlaced

Rendition Softimage

SGI

Sun Raster

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Table 19-12 Graphic Format Options Settings (Continued)

File Type TARGA Parameters Color Depth Description This option controls how images are saved. The 5-bit option saves data in Targa 16 format. The 8-bit option saves data in Targa 24/32 format. This setting controls the size of the file on disk. Disabling compression creates larger files on disk. The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image. This setting controls the size of the file on disk. With None, image data is not compressed and can produce large file sizes. RLE (Run Length Encoded) produces relatively small and fairly portable files. JPEG produces files that can vary in size, depending on the quality you have set using the JPEG quality slider. The higher the quality setting, the larger the file size. This option adjusts the image quality of the JPEG file on a sliding scale from 0 to 100. The higher the number you set, the higher the image quality of the JPEG file. This option specifies one of two output file formats supported by Wavefront (either RLA or RLB). The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image. This option specifies an adjustment to correct for gamma differences between Macintosh and Windows PC output display. This option is intended for cross-platform applications that require adjustment. adjust this value, check the n To see if you need to came with your Wavefront documentation that application. Usually, you can use the default setting.

Compression

TIFF

Color Depth

Compression

JPEG Quality

Wavefront

Format Type

Color Depth

Gamma

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Table 19-12 Graphic Format Options Settings (Continued)

File Type XWindows Parameters Description Developed by the MIT X Consortium, and is supported by many X Window System applications on workstations and some personal computers. Format This option controls the video format of saved images. If set to NTSC, NTSC video format (720 x 486) is used. If set to PAL, PAL video format (720 x 576) is used. Images are either padded with black or cropped. This option enhances the fidelity of images saved in YUV color space (if originating in RGB color space).

YUV

Smooth YUV

Exporting as an MPEG-2 File

MPEG-2 files are used by DVD authoring packages such as DVDit! by Sonic Solutions. If you want to take your sequence directly to a DVD-R burner without first using a DVD authoring package, see Creating Files for a DVD on page 695. To export a clip or sequence as an MPEG-2 file: 1. Select the material you want to export in one of the following ways: t t t To export specific tracks in a sequence, enable those tracks in the Track Selector panel, and disable all others. To export part of a sequence, mark IN and OUT points to export the marked range from a bin or a monitor. To export the entire sequence, make sure the topmost track is monitored.

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2. Select a sequence in one of two ways: t t Click the monitor that displays the sequence you want to export. Click the sequence in a bin. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple clips or sequences.

For more information, see Preparing to Export a Sequence on page 683. 3. Choose Export from the File menu. The Export As dialog box (Windows) or a destination dialog box (Macintosh) dialog box appears. 4. Select the Export settings by doing one of the following: t t If you have created a setting in advance, go to step 12 and choose a setting from the Export Setting pop-up menu. If you want to create or edit a setting, go to step 5.

5. Click Options. The Export Settings dialog box appears. 6. Choose MPEG-2 from the Export As pop-up menu. The Export Settings dialog box displays the MPEG-2 options.

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7. Do one of the following: t t t Select Use Marks if you are exporting a marked sequence. Select Use Enabled Tracks if you are exporting specific tracks in a sequence. Deselect Use Enabled Tracks and Use Marks if you are exporting an entire sequence.

Use Enabled Tracks is selected by default. 8. Drag the Bit Rate slider to select a bit rate between 4 and 8.5 megabits per second. 9. Select the aspect ratio.
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10. Click Save As to name the Export Setting you have created. The Save Export Setting dialog box appears.

11. Name the setting by typing a name of your choice in the Setting Name text box, and click OK. This setting will appear in the settings scroll list. The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears with a default file name in the File Name text box. 12. Select the destination folder for the file. 13. (Option) Change the file name. Keep the .mov file name extension. 14. Click Save. The system process the sequence and creates the following file in the destination folder filename.mov.m2v for video. You can use the generated video file with a DVD authoring packages such as DVDit! by Sonic Solutions.

n c

To obtain the audio from the sequence, perform a separate audio export using the WAVE format. See Exporting Tracks as Audio Files on page 742. Your Avid system allows a maximum exported file size of 2 GB. If you exceed this limit, the file is unusable and an error message is displayed.

755

If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process. The only exception is a sequential file sequence, where all frames up to the point of failure are usable.

Exchanging Files with QuickTime Macintosh Applications

Your Avid system includes software that you can use to exchange files with QuickTime applications on Macintosh systems. This software is shipped on a Macintosh disk that accompanies the installation CD. For more information, insert the disk in a Macintosh system and open the readme file.

Transferring a Project Between Avid Systems

This section describes how to move projects and media folders between Avid systems. If you plan to transfer the files to a different Avid system or to a third-party application, see the Avid Products Collaboration Guide. There are two basic methods for transferring projects between Windows or Macintosh systems: Moving project folders, settings, and media files between the systems Moving project folders and settings between the systems, and then redigitizing the media (for information on redigitizing, see Redigitizing Your Material on page 260).

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If you are using your Avid editing system in an Avid Unity workgroup environment, you can use Avid MediaManager to share media files between systems. You can also use Avid TransferManager to share files between workgroups. For more information, see the Avid MediaManager Users Guide and the Avid TransferManager Users Guide.

Methods for Transferring Files Between Avid Systems

The type of transfer device you use depends on which method of transfer you choose. Moving project folders, settings, and media files requires large amounts of storage space because of the size of media files. Transferring only the project folders and settings files requires minimal storage space.

Table 19-13 lists the recommended devices for transferring files between systems. For more information on transfer options and instructions for transferring, see the Avid Products Collaboration Guide.

Table 19-13 Devices for Transferring Files

Transfer Device Floppy drive or equivalent device Removable storage device, such as a hard drive A network storage device, such as a file server. For Transferring Project and settings files Media, project, and settings files Media, projects, and settings

If you are using your Avid editing system in an Avid Unity workgroup environment, you can use Avid MediaManager to share media files between systems. You can also use Avid TransferManager to share files between workgroups. For more information, see the Avid MediaManager Users Guide and the Avid TransferManager Users Guide.
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Compatibility Requirements for Transfer

When you transfer a project between Avid systems, make sure: Both systems have the same release or a compatible release of the application. (Macintosh only) The memory allocation of the application is similar in both systems. The resolutions are compatible if you are transferring media files. The fonts used in the project are installed on both systems.

For more information about compatibility between Avid editing applications, see the Avid Products Collaboration Guide and the Avid Xpress Release Notes.

Transferring a Project and Associated Media Files

There are two basic methods for transferring projects with their media files between Avid systems: Back up the project files and transport the media files on a removable storage device. Send sequences, clips, or entire projects to a network storage device.

To transfer a work in progress and associated media files to another Avid system: 1. (Option) Consolidate the media for the project onto an appropriate drive for transfer to the other system. For more information on consolidating, see Consolidating Media on page 358. For more information on transferring files by using removable storage devices, see the Avid Products Collaboration Guide.

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Do not rename the folders named OMFI MediaFiles located on the media drive. The target system uses the folder names to locate the media files. 2. Copy the project folder and any settings files you want to maintain at the new location onto a floppy disk or a location on a server. For more information, see Transferring Projects, User Profiles, and Site Settings on page 760. Alternatively, create a folder at the top level of the media drive and copy the project folder and any settings files to that folder. 3. Close the Avid application and shut down your system. 4. Remove the drives containing the media files, and take them and the floppy disk to the new location.

For more information on moving hard drives, removable drives, and striped sets from one system to another, see the Avid MediaDrive Utilities Users Guide (Windows) or the AVIDdrive Utility 2 Users Guide (Macintosh). 5. With the system at the new location turned off, insert or connect the drives and start the system. 6. Copy the project folder and any settings files to the appropriate folder on the C drive (Windows) or the Avid drive (Macintosh). For more information, see Transferring Projects, User Profiles, and Site Settings on page 760. 7. Start the Avid application, open the project, and resume work.

The Avid system reconstructs the MediaFiles database the first time you start the application to incorporate the new media into the systems internal directory.

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Transferring Projects, User Profiles, and Site Settings

For information about these files and folders, see Chapter 2.

To open projects, bins, and user profiles created with another Avid system, you must transfer specific folders directly into the Avid Projects or Avid Users folder before starting the application. You can also transfer a Site Settings file between systems. When moving a project with titles, make sure that both systems have the same fonts that were used to create the titles. For information on adding fonts, see the Windows NT Help or Macintosh OS Help. For more information on compatibility requirements when working with title effects, see the Avid Products Collaboration Guide.

Adding a project folder from another system does not transfer accompanying media files. To transfer project files, user profiles, and site settings to another Avid system: 1. On the source system, select the project folder, user folder, or Site Settings file you want to transfer. The default locations are listed in Table 19-14.

Table 19-14 Default Folder and File Locations

Folder or File Project folder Location drive:\Avid\AvidXpress\Avid Projects (Windows) or Avid drive:Avid:AvidXpress:Avid Projects (Macintosh) drive:\Avid\AvidXpress\Avid Users (Windows) or Avid drive:Avid:AvidXpress:Avid Users (Macintosh) drive:\Avid\AvidXpress\Settings (Windows) or Avid drive:Avid:AvidXpress:Settings (Macintosh)

User folder

Site Settings file

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The exact location depends on how the Avid application was installed on your system. 2. Copy the files to a floppy disk or a location on a server. 3. On the destination system, copy the project folder, user folder, or Site Settings file to the appropriate location, as listed in step 1.

Do not rename the project folder. The project settings will not link to the project if you rename the project folder. The next time you view the Open Project dialog box, the new project will appear in the Projects scroll list. New user settings will appear in the Users scroll list. Site settings are active for all projects at the new location.

Do not open a project directly from the transfer device. You must copy the folder to the system drive first.

Transferring Media to and from a Video Server

A video server is an optional component used with your Avid system as part of a workgroup environment.

Setting Up a Video Server

You can transfer media to and from a video server, such as the Grass Valley Group Profile, through audio, video, and serial RS-422 connections. The Avid system controls the video server in much the same way as it controls a video deck. For information on connecting a video server, see the setup guide for your Avid system.

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Configuring the Video Server

To configure the video server: t Select the following general settings from the video servers user interface: Select BVW as the deck protocol. Select the video server port used for the serial connection. Select the video I/O settings to match your hardware connections. Select the audio I/O settings to match your hardware connections.

For complete information, see the documentation for your video server.

Configuring the Video Server as a Deck

Before transferring media from the video server to the Avid system, you must configure the video server as a deck on the Avid system. For complete information on configuring a deck, see Configuring Decks on page 166. To configure the video server as a deck: 1. Click the Settings button in the Project window. The Settings Scroll list appears. 2. Double-click Deck Configuration. The Deck Configuration dialog box appears. 3. Click Add Channel. The Channel dialog box appears. 4. Choose Direct from the Channel Type pop-up menu. 5. Choose a port from the Ports pop-up menu.

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Make sure that this port corresponds to the port selected for the video servers serial connection. 6. Click OK. A message appears, asking if you want to Autoconfigure the channel. 7. Click No.

Your Avid system does not currently support the Autoconfigure function for the video server. 8. In the Deck Configuration dialog box, click Add Deck. The Deck Settings dialog box appears. 9. Choose the appropriate video server from the Deck Type pop-up menus, and then click OK. The dialog box closes and returns you to the Deck Configuration dialog box. 10. Click Apply.

Transferring from the Avid System to the Video Server

To transfer a sequence from the Avid system to the video server: 1. Add the TapeID heading to the bin that includes the sequence as follows: a. Click the Fast Menu button in the left corner of the bin window and choose Headings. The Bin Column Selection dialog box appears. b. Select TapeID and click OK. The Avid system adds the TapeID column to the bin columns.

For information on saving the TapeID column as a default setting or as a site setting, see Working with Settings on page 93.
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2. In the TapeID column, type the name of the sequence on which you want to perform a digital cut to the video server. The name on the video server is restricted to 15 characters when using the BVW controller setup. The video server will truncate any names longer than 15 characters. For seamless integration, you should not use special characters or spaces when naming the sequence. 3. Choose Digital Cut from the Clip menu. The Digital Cut Tool window opens.
Play Digital Cut button

Record to Tape pop-up menu Mark IN text box

4. Select Entire Sequence. 5. Select Remote 6. Choose Mark In Time from the Record to Tape pop-up menu. 7. Choose a tape name as follows: a. Click the Tape Name display. The Select Tape dialog box opens. b. Click the New button. A New Tape name line appears in the dialog box.

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c.

Type a new name, press Enter (Windows) or Return (Macintosh), and click OK.

8. Establish time for the IN point in the Mark IN text box. The time for the IN point must be equal to the preroll time. The default preroll time for the video server is 1 second. For a preroll time of 1 second, type 01:00. 9. Click the Play Digital Cut button. For complete information on creating a digital cut, see Using the Digital Cut Tool on page 668.

Transferring from the Video Server to the Avid System

After you connect the video server and select the appropriate settings, you can record media from the video server to the Avid system. Some video servers allow you to drag clips from the video servers user interface into the Digitize tool in the Avid system.

Not all functionality is the same in each video servers user interface. For details on how to transfer media, see the documentation provided with the video server. When the video server is playing media, click the Digitize button in the Digitize tool to record from the video server to the Avid system. For complete information on digitizing, see Chapter 7.

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APPENDIX A
Using AudioSuite Plug-Ins
This appendix describes how to access and use the AudioSuite plug-ins, including the set of core plug-ins that comes with your Avid system. It also provides a list of other plug-ins that are supported by this release. These topics are covered in the following sections: Accessing the AudioSuite Plug-Ins Core AudioSuite Plug-Ins Additional Supported Plug-Ins Description of Core AudioSuite Plug-Ins

For details on installing and accessing the plug-ins, see Chapter 16.

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Accessing the AudioSuite Plug-Ins

To access the plug-ins: t Choose AudioSuite from the Tools menu. The AudioSuite window opens.

Core AudioSuite Plug-Ins

The following basic plug-ins are installed automatically as part of the Avid system software installation: Invert Inverts the polarity (phase of the audio file). Duplicate Creates a new master clip from a selected audio clip. The plug-in uses the IN and OUT points on the selected clip to define the boundaries of the new clip. Normalize Finds the peak value in the source audio file and scales the entire file proportionally to that maximum value. Gain Same as Normalize, but allows positive or negative gain adjustment. Reverse Rewrites the selected audio in reverse. Signal Generator Produces audio test tones in a variety of frequencies, waveforms, and amplitudes. DC Offset Removal Removes an audio artifact that is common in digital audio files. A DC offset is caused by poorly calibrated analog-to-digital converters (A/Ds), and can produce clicks and pops on clip edit transitions if not removed. Time Compression Expansion Allows you to adjust the duration of a selected clip by creating a new master clip. This increases or decreases the selections length without changing pitch. Pitch Shift Changes pitch with or without changing length.
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EQ Allows you to adjust frequency equalization on individual audio clips. Compressor Reduces the dynamic range of signals that exceed a selected threshold by a specific amount. Limiter Prevents signal peaks from exceeding a chosen level so that they dont overload amplifiers or recording devices. Gate Reduces noise by decreasing the gain of signals that fall below a user-selectable threshold. Expander/Gate Performs the same function as the Gate plug-in with the addition of expander features. Expanders are particularly useful for reducing noise or signal leakage that creeps into recorded material as the signal level falls, which often occurs with headphone leakage. Mod Delay Provides time-delay-based effects. Effects obtained through the use of Mod Delay include slap echo, doubling, chorusing, and flanging.

For a brief overview of each plug-in and, where appropriate, a description of how to use the plug-in, see Description of Core AudioSuite Plug-Ins on page 771.

Additional Supported Plug-Ins

The following AudioSuite plug-ins can be purchased separately and have been qualified for this release: Broadband Noise Reduction (BNR) Focusrite D3 Maxim Digidesign D-Fi Digidesign D-FX

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These plug-ins come with their own documentation. For more information, see the following Web page: http://www.digidesign.com

Broadband Noise Reduction (BNR)

The BNR plug-in provides broadband and narrow-band noise reduction for suppressing unwanted elements such as tape hiss, air conditioning rumble, and microphone preamplifier noise.

Focusrite D3
Focusrite D3 is a high-quality, dynamics processor plug-in that contains a compressor and a limiter. The D3 compressor reduces the dynamic range of audio signals that exceed a user-selectable threshold by a specific amount. The D3 does this by reducing output levels when input levels increase above the threshold. The D3 limiter operates as a fast-attack compressor with a high compression ratio. Like the compressor, the limiter is activated when the signal exceeds a user-selectable threshold. The limiter then compresses any signal above the selected threshold to the lower threshold limit that you have set. There are two versions of the plug-in: ff d3 Mono, which operates on channels (tracks) separately ff d3 Stereo, which operates on a composite of the two channels of the stereo signal. It prevents image shift when signal levels differ between the two channels.

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Maxim
The Maxim plug-in performs peak limiting and sound maximizing. Maxim takes advantage of the random-access nature of disk-based recording to anticipate peaks in audio material and preserve their transient attacks when performing reduction. It helps preserve the character of the original audio signal without clipping peaks or introducing distortion.

Digidesign D-Fi
The set of D-Fi plug-ins provides analog synthesizer effects: Lo-Fi adds noise generation, bit-rate reduction, distortion, and saturation to sound. Sci-Fi adds analog synthesizer-type ring modulation, frequency modulation, and variable frequency resonator. Recti-Fi generates new harmonics and subharmonics through waveform rectification. Vari-Fi adds tape and turntable start up and slow down effects.

Digidesign D-FX
The set of D-FX plug-ins contains a selected group of basic effects: Chorus D-Verb Flanger Multi-Tap Delay Ping-Pong Delay

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The D-Fi and D-FX plug-ins come with their own documentation. For more information, see the following Web page: http://www.digidesign.com

Description of Core AudioSuite Plug-Ins

The following sections give a brief overview of each plug-in and, where appropriate, describe how to use the plug-in.

Invert
The Invert plug-in reverses the polarity of the selected audio. All positive sample amplitude values are made negative, and all negative amplitudes are made positive. This process is useful for permanently altering the phase (polarity) relationship of tracks. Inverting can be useful when mixing because it alters frequency response between source tracks recorded with multiple microphones and also allows you to correct for audio that was recorded out of phase.

Duplicate
The Duplicate plug-in creates a new master clip from a selected audio master clip. The plug-in uses the IN and OUT points on the selected clip to define the boundaries of the new clip. This plug-in applies only if you are using the Create New Master Clips features of the AudioSuite plug-ins.

Normalize
In cases where a sound file has been recorded with too little amplitude, the Normalize plug-in ensures that the inherent dynamics
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of the performance remain unchanged while the overall volume level of the passage is raised. In addition to the standard AudioSuite parameters, the Max Peak At controls let you specify how close to maximum level (the clipping threshold) the peak level of your selection or file will be boosted. You can enter this information in one of three ways: t t t Enter a numeric decibel value below the clipping threshold. Enter a percentage of the threshold. Adjust the on-screen slider.

Editing any of these controls automatically calculates the equivalent value in the others. To configure the Normalize parameters: 1. Type the amount of boost you want applied during the Normalize process. 2. To set a specific decibel amount below maximum, double-click and type that value in the Max Peak at: (dB) text box. 3. To set the amount of normalization as a percentage of maximum, type the percentage you want in the Max Peak at: (%) text box. To manually set the amount, click and adjust the Max Peak slider; press and hold the Ctrl key (Windows) or the k key (Macintosh) before clicking and dragging the slider to fine-adjust.

Gain
Gain allows you to boost or lower amplitudes in a file or selection by a specified amount. The Change Gain command is ideal for smoothing out undesirable peaks and other dynamic inconsistencies.

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To configure the Gain parameters, do one of the following: t t Enter the new level as a decibel amount (dB) or percentage (%) by double-clicking in the respective text box and typing a new value. Use the slider to adjust the gain manually; press and hold the Ctrl key (Windows) or the k key (Macintosh) before clicking and dragging the slider to fine-adjust.

Reverse
Reversed sounds are useful effects in many music and film and video projects. The Reverse plug-in lets you perform this type of processing very easily.

Signal Generator
The Signal Generator plug-in produces audio test tones in a variety of frequencies, waveforms, and amplitudes. The plug-in has the following options: Frequency: This option sets the frequency of the signal in hertz. Values range from a low of 20 Hz to a high of 20 kHz. Level: This option sets the amplitude of the signal in decibels. Values range from a low of 95 dB to a high of 0.0 dB. Signal: These buttons allow you to select the waveform. The waveform choices are sine, square, sawtooth, triangle, white noise, and pink noise.

The Signal Generator produces a tone as soon as it is inserted on a track. To mute the tone, use the Bypass button.

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DC Offset Removal
The DC Offset Removal plug-in removes DC offset from your audio files. The term DC offset describes a specific type of audio artifact that might appear in digital audio signals. The DC Offset plug-in can be identified in a waveform overview because it appears to have a near-vertical fade in with a constant or steady-state offset from zero when the file is actually silent (it contains no audible audio). The DC Offset plug-in can help remove (or at least reduce) the DC offset from your source audio files.

Time Compression Expansion

The Time Compression Expansion plug-in allows you to adjust the duration of any selected regions by increasing or decreasing the selections length without changing pitch. This function is particularly important in audio postproduction applications because it allows you to adjust sounds to specific time lengths or timecode durations for synchronization.

To change duration (length) and pitch simultaneously, use the Pitch Shift plug-in.

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Master Clip Mode Parallel Processing

The Time Compression Expansion plug-in allows two tracks to be time-compressed or expanded as a stereo pair, so that the two sides of the stereo signal are processed relative to each other. The Time Compression Expansion plug-in has special parameters that let you enter time compression or expansion values in different formats, as explained below. They are located in the Source and Destination columns, and also include the Ratio slider. Additional controls for fine-tuning the compression and expansion process are also included.

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To use the special control features: Press and hold the Ctrl key (Windows) or the k key (Macintosh) to engage slider fine-tune mode. Alt+click (Windows) or the k key (Macintosh) a field or slider to reset its default value.

Time Compression Expansion Parameters

The Time Compression Expansion plug-in has the following parameters: Source and Destination The Source text boxes display the length of the current selection before processing in each of the listed formats. All the text boxes in both columns are constantly active, and a change made to one value is immediately reflected in the values displayed in the other text boxes. The text boxes in the Destination column display and control the length of the selection after processing by using the current settings. You can enter the length of the Destination file by double-clicking the appropriate text box in the Destination column. Type the number of samples in min:secs:msec format or type timecode values as start and end locations. All the Destination text boxes are constantly updated, and a change made to one value is immediately reflected in the values displayed in the other text boxes. You can also enter a new tempo, bars:beats:ticks length, or time signature for regions that have tempo or Bars & Beats settings. This can be any region associated with a MIDI Metronome value (such as an overdub recorded to a MIDI click) or regions that have been processed with the Pro Tools Identify Beat command. The Ratio slider lets you set the destination length in relation to the source length. Dragging the slider to the right increases the length of the destination file, and dragging the slider to the left decreases its length.
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The controls below the bar line allow you to fine-tune the time compression and expansion process. They include the Crossfade, Min Pitch, and Accuracy sliders. Crossfade The Crossfade slider allows you to manually adjust the crossfade length in milliseconds to optimize performance of the Time Compression Expansion plug-in according to the type of audio material you are processing. The Time Compression Expansion plug-in achieves length modification by replicating or subtracting very small portions of audio material and very quickly crossfading between these alterations in the waveform of the audio material. Crossfade length essentially affects the amount of smoothing performed on audio material to prevent audio artifacts such as clicks. In general, small narrow-range time (length) changes require longer crossfades while larger changes in length require shorter crossfades. The disadvantage of long crossfade times is that they smooth the signal, including any transients. While this can be desirable for audio material such as vocals, it is not appropriate for material with sharp transients such as drums or percussion. The default setting for this parameter is Auto (leftmost position), in which crossfade times are set automatically according to the percentage of change in length for the current process. This setting should be sufficient for most applications; however, you can use this slider to manually adjust and optimize crossfade times, if necessary. For audio material with sharper attack transients, use shorter crossfade times. For audio material with softer attack transients, use longer crossfade times with a range in values of 1 to 200 ms. Min Pitch The Min Pitch slider lets you select the minimum (lowest) pitch that will be used in the plug-ins calculations during the time compression and expansion process. The slider has a range of 40 Hz to 1000 Hz. By controlling the minimum pitch, you can focus the time compression
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and expansion process for maximum efficiency it all depends on the audios spectral shape. This slider should be set lower when you process bass guitar or another instrument with a similarly low range. Set the min pitch higher when processing instruments such as snare drums, violins, and other higher range instruments and sounds. Experiment with combinations of the other fine-tune controls in relation to the Min Pitch slider. Accuracy Use the Accuracy slider to prioritize the processing resources allocated to audio quality (sound) or timing (rhythm). Dragging the slider toward sound generally results in better sonic quality and fewer audio artifacts. Dragging the slider toward rhythm puts the emphasis on keeping the tempo consistent. When working with loops, listen carefully and adjust accuracy until you find the setting that keeps timing solid within the region. Start and end times will be precise, but the perception of beats may be shuffled if the Accuracy sliders rhythm setting is too low.

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Pitch Shift

The smallest time ratio allowed for time compression/expansion is 0.25. The largest time ratio allowed is 4.0. Normalizing a selection before applying the Time Compression Expansion plug-in can sometimes produce better-sounding results.

The Pitch Shift plug-in allows you to adjust the pitch of any source audio file with or without a change in its duration. This powerful function allows sounds to be transposed a maximum of a full octave up or down in pitch with or without altering playback speed.

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Edit the Pitch Shift parameters by double-clicking and typing in any Destination text box or by clicking and dragging the sliders. All Pitch Shift plug-in controls are linked, so that changing one changes the others.

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Pitch Shift Parameters

The Pitch Shift plug-in has the following parameters: Gain The Gain controls set the input level, in tenths of a decibel. The input level should be set so that the plug-in can adequately handle amplitude peaks in the selection. Dragging the slider to the right increases gain, and dragging the slider to the left decreases gain. Coarse and Fine Adjust the pitch by dragging either of the two faders, or by typing values in the Coarse and Fine text boxes. The Coarse slider transposes in semitones (half steps); the Fine slider transposes in cents (hundredths of a semitone). Time Correction Clicking the Time Correction check box allows you to enable or disable time correction.

You can deselect the Time Correction check box if you are using the Create New Master Clips feature of the AudioSuite plug-ins. The Time Correction check box must be selected, however, when you are applying AudioSuite plug-ins to audio clips in the Timeline. If the Time Correction check box is deselected, it will have the effect of permanently varispeeding your audio file. Like working with tape, the files duration will be compressed or extended according to the settings of the Coarse and Fine controls. Playback speed will increase proportionally as the sound file is transposed up in pitch and decrease proportionally as it is transposed down in pitch, just like a tape recorder that is varispeeding.

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Consider that altering a file in this way has little detrimental effect on the fidelity of audio files, whereas time correction can affect fidelity in a pronounced way. Ratio The Ratio slider lets you set the amount of transposition (pitch change). Moving the slider to the right raises the pitch of the processed file, and moving the slider to the left decreases its pitch. Press and hold the Ctrl key (Windows) or the k key (Macintosh) clicking and before dragging the slider to fine-adjust.

For a description of the Crossfade, Min Pitch, and Accuracy sliders, see Crossfade on page 777. Reference Pitch The Reference Pitch feature generates a sine wave tone that you can adjust to match a selected portion of audio material, and then use as an audible reference when pitch-shifting other audio material in your session. To use the Reference Pitch feature: 1. Select the audio material you want to use as a pitch reference. Click the Preview button to begin playback of the selected audio. 2. Click the Reference Pitch button to activate the reference sine wave tone. 3. Adjust the note and detune settings to match the reference tone to the pitch of the audio playback. Adjust the level setting to change the relative volume of the reference tone. It might also be helpful to switch the Reference Pitch on and off to compare pitch. 4. Select the audio material to be pitch shifted. 5. Adjust the Coarse and Fine controls to match the pitch of the audio playback to the reference pitch.

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EQ
There are two EQ plug-ins: 1-Band EQ II 4-Band EQ II

The EQ II plug-ins provide an enhanced British EQ sound that is favored by contemporary audio engineers and producers.

EQ II Parameters
The EQ II plug-ins have the following parameters: Input Allows you to control the input gain of the EQ to prevent the possibility of clipping. Phase Invert Allows you to invert the phase (polarity) of the input signal in order to change frequency response between multi-miked sources (a common technique for miking a guitar amplifier), or to correct for miswired microphone cables. Type Allows you to select an EQ type (High-Pass, Low-Shelf, Peak, High-Shelf or Low-Pass). Gain Allows you to control the amount that the selected frequencies are cut or boosted (for Peak, High-Shelf, and Low-Shelf only).

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Freq Allows you to designate the center of the frequency region to be cut or boosted. Q (Peak only) Allows you to set the bandwidth of the Peak filter. Higher values represent narrower bandwidths. Lower values represent wider bandwidths. Bypass Bypasses the EQ. The 4-Band EQ II has individual Bypass buttons for each band (black buttons with EQ curve icons). High-Pass Attenuates all frequencies below the selected cutoff frequency setting at a rate of 12 dB per octave while allowing all others above the frequency to pass through. For this reason, no gain control is available for this filter. High-pass filters can be useful for removing low-frequency rumble or thinning out the lower end of a sound for special effects, such as a telephone simulation effect. Low-Shelf Produces a lift or a cut below the specified frequency. Peak Boosts or cuts only those frequencies around the selected center frequency. The Q button sets the bandwidth of the Peak filter, which determines the width of the filters overall slope from a broad bell shape to a narrow notch. Broad curves tend to be most useful for musical applications. Narrow curves are useful for special-purpose processing such as hum removal. Higher values represent narrower bandwidths. Lower values represent wider bandwidths.
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High-Shelf Produces a lift or a cut at the specified frequency and above it. Low-Pass Attenuates all frequencies above the selected cutoff frequency setting at a rate of 12 dB per octave while allowing all others below the frequency to pass through. For this reason, no gain control is available for this filter.

Compressor
The Compressor plug-in reduces the dynamic range of signals that exceed a selected threshold by a specific amount. The increase of input signal needed to cause a 1-dB increase in the output signal of the compressor is called the compression ratio. With a ratio of 4:1, for example, an 8-dB increase of input produces a 2-dB increase in the output. Audio material often varies in loudness, and can be above the threshold at one moment and below it the next. The Attack slider sets the Compressors response time, or attack. The Release slider sets the amount of time that it takes for the Compressors gain to return to its original level.

Using Compression Effectively

To use compression most effectively, the attack time should be set so that signals exceed the threshold level long enough to cause an increase in the average level. This helps to ensure that gain reduction doesnt decrease the overall volume. Release times should be set long enough so that if signal levels repeatedly rise above the threshold, they cause gain reduction only once. If the release time is too long, a loud section of the audio material

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could cause gain reduction that persists through a soft section. Of course, compression has many creative uses that break these rules. The Compressor has built-in metering that allows you to monitor the amount of gain reduction taking place. The Gain Reduction meter usually remains at 0 level when the input signal is below the threshold, and falls to the left to show the amount of gain reduction in decibels when the input signal exceeds the threshold.

Compressor Parameters
The Compressor plug-in has the following parameters: Input Meter Indicates the level of the unprocessed input signal to the Compressor. Output Meter Indicates the output level of the Compressor, including any gain compensation added via the Gain parameter. Reduction Indicates the amount of gain reduction in dB. Phase Invert Allows you to invert the phase (polarity) of the input signal in order to change frequency response between multi-miked sources or to correct for miswired microphone cables. Gain Provides overall output gain adjustment. It allows you to compensate for heavily compressed signals.

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Threshold Allows you to set the threshold level. Signals that exceed this level will be compressed. Signals that are below it will be unaffected. A level setting of 0 dB is equivalent to no compression. Unlike scales on analog compressors, metering scales on a digital device reflect a 0-dB value, which indicates full scale (FS)the full-code signal level. There is no headroom above 0 dB. Ratio Allows you to set the compression ratio. The range is based on decibels above the threshold. If this parameter is set to 2:1, for example, it will compress changes in signals above the threshold by one half. Attack Allows you to set the Compressors attack time. The smaller the value, the faster the attack. The faster the attack, the faster the Compressor applies attenuation to the signal. If you use fast attack times and heavy limiting, you should use a proportionally longer release time, particularly with material that contains many peaks in close proximity. Release Allows you to control how long it takes for the Compressor to be fully deactivated after the input signal drops below the threshold level. If you use heavy compression, you should use proportionally longer release times. This will prevent pumping, which may occur when the Compressor is forced to jump back and forth between compressed and uncompressed signal levels. Lengthening the release time will help smooth these changes in level by introducing a lag in the ramp-up and ramp-down times of attenuation. Use shorter release times on material with few peaks that do not occur in close proximity to each other.

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Knee Allows you to set the rate at which the compressor reaches full compression once the threshold has been exceeded. This parameter ranges from 0 (hardest response) to 200 (softest response). Graph Displays the response curve set by the Compressors Threshold, Ratio, and Knee settings. As you adjust these parameters, refer to the graph to see how the shape of this curve changes. It allows you to see the effect of your settings. External Key This parameter has no effect on the AudioSuite plug-ins. Key Listen This parameter has no effect on the AudioSuite plug-ins.

Limiter
The Limiter plug-in is used to prevent signal peaks from exceeding a chosen level so that they dont overload amplifiers or recording devices. Most limiters have ratios of 10:1 or 20:1, although some provide ratios of up to 100:1. Large ratios effectively limit the dynamic range of the signal to a specific value by setting an absolute ceiling for the dynamic range. Limiting is used to prevent short-term peaks from reaching their full amplitude. Used carefully, limiting allows you to achieve higher average levels while avoiding overload (clipping or distortion) by limiting some short-term transients in the source audio. To prevent the ear from hearing the gain changes, use extremely short attack and release times.

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Limiting is used to remove occasional peaks because gain reduction on successive peaks wouldnt be noticeable. If audio material contains many peaks, the threshold should be raised and the gain manually reduced so that only occasional, extreme peaks are limited. The Limiters ratio is internally set to 100:1 and the attack time is automatically set to 0 milliseconds. The Limiter is similar to heavy compression. It can be useful for reducing pops and clicks, or for hard-limiting dynamic range for broadcast or band-limited media such as cassette.

Limiter Parameters
The Limiter plug-in has the following parameters: Input Meter Indicates the level of the unprocessed input signal to the Limiter. Output Meter Indicates the output level of the Limiter, including any gain compensation added via the Gain parameter. Reduction Indicates the amount by which the signal is being attenuated. Phase Invert Allows you to invert the phase (polarity) of the input signal in order to change frequency response between multi-miked sources or to correct for miswired microphone cables. Gain Provides overall output Gain adjustment.

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Threshold Allows you to set the threshold level. Signals that exceed this level will be limited. Signals that are below it will be unaffected. Attack Allows you to set the Limiters attack time. The smaller the value, the faster the attack. The faster the attack, the faster the Limiter applies attenuation to the signal. If you use fast attack times and heavy limiting, you should use a proportionally longer release time, particularly with material that contains many peaks in close proximity. Release Allows you to control how long it takes for the Limiter to be fully deactivated after the input signal drops below the threshold level. If you use heavy limiting, you should use proportionally longer release times.This prevents pumping, which can occur when the Limiter is forced to jump back and forth between limited and unlimited signal levels. Lengthening the release time helps smooth these changes in level by introducing a lag in the ramp-up and ramp-down times of attenuation. Use shorter release times on material with few peaks that do not occur in close proximity to each other. Graph Displays the response curve set by the Limiters Threshold setting. As you adjust this parameter, refer to the graph to see how the shape of this curve changes. It allows you to see the effect of your settings. External Key This parameter has no effect on the AudioSuite plug-ins. Key Listen This parameter has no effect on the AudioSuite plug-ins.
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Gate
The Gate plug-in reduces noise by decreasing the gain of signals that fall below a user-selectable threshold.

Gate Parameters
The Gate plug-in has the following parameters: Phase Invert Allows you to invert the phase (polarity) of the input signal in order to change frequency response between multi-miked sources or to correct for miswired microphone cables. Gating (Reduction Meter) Indicates the amount of reduction in dB. Threshold Allows you to set the threshold level. Signals that exceed this level will pass through. Signals that are below it will be gated, depending on the settings of the Attack, Hold, Decay, and Range parameters (explained below). Attack Allows you to set the attack time of the Gate. Hold Allows you to specify a duration (in seconds or milliseconds) that the Gate will stay open after the initial attack cycle. This parameter can be used as a one-time function to keep the Gate open for longer periods of time with a single crossing of the threshold. It can also be used to prevent gate chatter, which may occur if varying input levels near the threshold cause the Gate to open and close very rapidly.
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Decay Allows you to control how long it takes for the Gate to close after the signal falls below the threshold level. Range Sets the depth of the Gate when closed. This parameter has a maximum depth of 80 dB. Setting the Gate to higher range levels allows more of the gated audio that falls below the threshold to peek through the gate at all times. This is useful for problems such as drum leakage, where you might want to suppress the overall drum kit sound by a specific amount while emphasizing the gated instrument such as a snare. Graph Displays the response curve set by the Gates Threshold and Range settings. As you adjust these parameters, refer to the graph to see how the shape of this curve changes. It allows you to see the effect of your settings. External Key This parameter has no effect on the AudioSuite plug-ins. Key Listen This parameter has no effect on the AudioSuite plug-ins.

Expander/Gate
The Expander/Gate plug-in reduces noise by decreasing the gain of signals that fall below a user-selectable threshold. Expanders are particularly useful for reducing noise or signal leakage that creeps into recorded material as the its level falls, which often occurs with headphone leakage.
791

Expanders can be thought of as soft-noise gates because they provide a gentler way of cutting off noisy low-level signals than the typically abrupt cutoff of a gate. If you want, however, you can use this plug-in as Gate by setting the Ratio to its maximum value and using short Attack, Decay, and Hold settings.

792

Expander/Gate Parameters
The Expander/Gate plug-in has the following parameters: Phase Invert Allows you to invert the phase (polarity) of the input signal in order to change frequency response between multi-miked sources or to correct for miswired microphone cables. Reduction Meter Indicates the amount of signal reduction in dB. Threshold Allows you to set the threshold level. Signals that fall below the threshold will be reduced in gain. Signals that are above it will be unaffected. (When adjusting the Threshold slider, be sure that audio material is playing through the Expander/ Gate to see changes reflected in the Reduction meter.) Ratio Allows you to set the amount of expansion. If this parameter is set to 2:1, for example, it will lower signals below the threshold by one half. At higher ratio levels (30:1 or 40:1, for example) the Expander/Gate functions as a gate by reducing lower level signals dramatically. As you adjust the Ratio parameter, refer to the built-in graph to see how the shape of the expansion curve changes. Attack Allows you to set the Expanders attack time. This parameter determines how quickly a signals level is reduced once it falls below the threshold. This setting, along with the Ratio setting, allows you to control how soft the Expanders gain reduction curve is.

793

Hold Allows you to specify a duration (in seconds or milliseconds) that the Expander/Gate will stay open after the initial attack cycle. This parameter can be used as a one-time function to keep the Expander/Gate open for longer periods of time with a single crossing of the threshold. It can also be used to prevent gate chatter, which may occur if varying input levels near the threshold cause the Gate to open and close very rapidly. Decay Allows you to control how long it takes for the Gate to close after the input signal falls below the threshold level and the hold time has passed. Range Sets the depth of the Gate when closed. This parameter has a maximum depth of 80 dB. Setting the Gate to higher range levels allows more of the gated audio that falls below the threshold to peek through the Gate at all times. Key HPF This parameter has no effect on the AudioSuite plug-ins. Key LPF This parameter has no effect on the AudioSuite plug-ins. Graph Displays the response curve set by the Expander/Gates Threshold, Ratio, and Range settings. As you adjust these parameters, refer to the graph to see how the shape of this curve changes. It allows you to see the effect of your settings.

794

External Key This parameter has no effect on the AudioSuite plug-ins. Key Listen This parameter has no effect on the AudioSuite plug-ins.

Mod Delay
The Mod Delay plug-ins provide time-delay-based effects. Effects obtained through the use of Mod Delay include slap echo, doubling, chorusing, and flanging. There are four Mod Delays, each of which is capable of a different maximum delay time: Short Delay provides 1024 samples of delay (23.2 ms at 44.1 kHz or 21.3 ms at 48 kHz). Slap Delay provides 7186 samples of delay (162 ms at 44.1 kHz or 149 ms at 48 kHz). Medium Delay provides 16384 samples of delay (371 ms at 44.1 kHz or 341 ms at 48 kHz). Long Delay provides 162474 samples of delay (3.68 seconds at 44.1 kHz or 3.38 seconds at 48 kHz).

795

Mod Delay Parameters

The Mod Delay plug-ins have the following parameters: Input Allows you to control the input volume of the delay to prevent clipping. Wet/Dry Allows you to control the balance between the delayed signal and the original signal. If you are using a delay for flanging or chorusing, you can control the depth of the effect somewhat with the Wet/Dry setting. LPF (Low-Pass Filter) Controls the cutoff frequency of the low-pass filter. This parameter allows you to attenuate the high-frequency content of the feedback signal. The lower the setting, the more high frequencies are attenuated. Delay Allows you to set the delay time between the original signal and the delayed signal. Depth Allows you to control the depth of the modulation applied to the delayed signal. Rate Allows you to control the rate of modulation of the delayed signal. Feedback Allows you to control the amount of feedback applied from the output of the delay back into its input. It also controls the number of
796

repetitions of the delayed signal. Negative Feedback settings give a more intense tunnel-like sound to flanging effects.

797

APPENDIX B
File Format Specifications
To be compatible with a variety of imaging standards, your Avid Xpress system accommodates many file types and formats. For import and export procedures, see Chapter 8 and Chapter 19. This appendix contains descriptions, specifications, and notes for importing and exporting specific file formats. To ensure usability and high quality, the files in some formats require preparation before being imported to the Avid Xpress application. Consequently, this appendix contains many more notes for import than for export. When you export a file, you choose a file format from the Export Settings dialog box and select options appropriate to the format. For descriptions of the dialog box options, see Table 19-2.

Graphic (Image) Files

Avid Xpress uses Image Independence to produce usable files from a large number of graphic formats. Once you have imported a format, you can export it, with the exception of Photo CD; you cannot export a file to a Photo CD.

798

The following list briefly describes the supported graphic (image) file formats: Alias: Alias PIX image format, developed by Alias Research, Inc. (now Alias|Wavefront, a division of Silicon Graphics Limited) for use with their animation and visualization software. BMP: Developed by Microsoft Corporation as the standard image file format used by Microsoft Windows. Chyron: Developed by Chyron Corporation for use with video frame buffers of Chyron character-generated titles. Cineon: Developed by Eastman Kodak for use in the Cineon Digital Film System. It is a subset of the SMPTE DPX (Digital Picture Exchange) format. Framestore: Developed by NewTek Incorporated for use with their Video Toaster system. IFF: Developed by Electronic Arts. IFF (Interchange File Format), or more specifically IFF-ILBM (InterLeaved BitMap), is the standard file format by which applications on the Amiga platform transfer image files. JPEG: Developed by the Joint Photographic Experts Group (JPEG). This format is highly suited for image storage and transmission purposes because of its ability to dramatically reduce the storage requirements for a file. JFIF files (JPEG File Interchange Format, the standard for constructing JPEG files) can also be imported and exported. (Windows only) OMFI (import only): Developed by Avid Technology, Inc. and many industry and standards partners for the interchange of digital media data between platforms and applications. PCX: Developed by Zsoft Corporation for use with their PC PaintBrush paint software. (Macintosh only) Photo CD (import only): Developed by Kodak for use with the Kodak Photo CD storage medium. You cannot import this format directly into Avid Xpress. However, you can
799

open the file in an application such as Photoshop and use the Save As feature to save the file in a format that can be imported, such as TARGA, PICT, or TIFF. Photoshop: Developed by Adobe Systems Incorporated for use with their Adobe Photoshop image-editing software. PICT: Developed by Apple Computer, Inc. as the format for Macintosh QuickDraw images. Pixar: Developed by Pixar for stored pictures. PNG: Developed by the PNG Development Group originally as an alternative to the GIFSM image format. PNG is an acronym for Portable Network Graphics and is pronounced ping. QRT: Developed on the Amiga personal computer to run on several operating systems. This format is used by many ray tracing programs, such as DKB Ray Trace and the QRT ray tracer. Rendition: Developed by Numerical Design Ltd. SGI: Developed by Silicon Graphics, Inc. for use as the standard format on their line of workstations. Softimage: Developed by Softimage, Inc. (a division of Avid Technology, Inc.) for use in their Softimage software. Sun Raster: Developed by Sun Microsystems, Inc. and supported mainly in Sun applications. TARGA: Developed by Truevision, Inc. (now Pinnacle Systems) and originally intended for support of the Truevision image-capturing hardware. TIFF: Developed by Aldus Corporation (now Adobe Systems Incorporated) and Microsoft Corporation. TIFF is an acronym for Tag Image File Format. Wavefront: Developed by Wavefront Technologies, Inc. (now Alias|Wavefront, a division of Silicon Graphics Limited) for storing pictures in a machine-independent manner.

800

XWindows: Developed by the MIT X Consortium and supported by many X Window System applications on workstations and some personal computers. YUV: Defined by Abekas Video Systems (now Accom, Inc.), the YUV format is the raw data sent to the Abekas machines.

Preparing Graphic Files for Import

Before you import a graphic file to Avid Xpress, you can use third-party image-editing software, such as Adobe Photoshop, to make adjustments such as the following: Convert the file to the appropriate size, resolution, and bit depth. Crop or color-correct an image. Eliminate jagged edges in an image by using the image-editing applications anti-aliasing or high-quality option. Add transparency (to some formats) by setting the resolution to 32 bits per pixel to add an alpha channel. In some cases, you can convert an image file that does not support an alpha channel to a format that does, in order to add transparency.

You can import and key the image over video using key effects within the Avid Xpress application. However, importing an image with an existing alpha channel provides the best results. For specific procedures and file formats, see the documentation that accompanies the image-editing software.

801

Graphic File Import Specifications

Table B-1 contains graphic file import specifications. The table uses the following terms: Full-screen image size: These numbers describe the recommended width and height, in pixels, to create a source image that will be displayed full-screen after import. Using these dimensions helps minimize distortion after conversion to the Avid application native resolution of 720 x 486 non-square pixels for NTSC or 720 x 576 for PAL. An image with smaller dimensions will take up less of the screen or will be distorted, while an image that exceeds these dimensions might appear distorted. Avid recommends an image resolution of 72 pixels per inch. Bit depth: These numbers refer to color-depth resolution of the image based on the number of bits per pixel. For example, 2-bit images are displayed in black and white; 8-bit images are displayed in 256 colors; 16-bit images are displayed in thousands of colors; 24-bit images are displayed in millions of colors; and 32-bit images are displayed in millions of colors with an alpha channel. Alpha channel: This column states whether or not alpha channel import is supported. An alpha channel determines regions of transparency in the picture when it is keyed over a background. NA: This notation means Not Applicable.

802

Table B-1

Graphic File Import Specifications

Format Alias

Default File Name Recommended Bit Depth Exten- Full-Screen Support sion Size (Pixels) .als 720 x 486 NTSC 24-bit color, 720 x 576 PAL 8-bit grayscale 720 x 486 NTSC 1-, 4-, 8-, and 24-bit 720 x 576 PAL

Alpha Channel Support Notes No

BMP

.bmp

No

Dots-per-inch (dpi) information is preserved. Four-bit BMP files saved with run-length-encoded compression are not supported. Photoshop does not support four-channel BMP files.

Chyron

.chr

720 x 486 NTSC 32-bit 720 x 576 PAL 720 x 486 NTSC 10-bit (logarithmic) 720 x 576 PAL 720 x 486 NTSC 24-bit 720 x 576 PAL

Yes

Cineon

.cin

NA

Dots-per-inch (dpi) information is preserved. Pixel aspect information is saved with image data. When importing files generated from Video Toaster, select the option Force to Fit Screen.

Framestore

.fs

No

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Table B-1

Graphic File Import Specifications (Continued)

Format IFF

Default File Name Recommended Bit Depth Exten- Full-Screen Support sion Size (Pixels) .iff

Alpha Channel Support Notes Dots-per-inch (dpi) information is preserved. Pixel aspect information is saved with image data.

720 x 486 NTSC 1-bit through 24-bit 1-bit 720 x 576 PAL color; alpha 1-bit through 8-bit only grayscale; 64-color EHB; 4096-color HAM; 262,144-color HAM8; SHAM; A-HAM; A-RES 720 x 486 NTSC 24-bit color, 720 x 576 PAL 8-bit grayscale 720 x 486 NTSC 720 x 576 PAL 720 x 486 NTSC Color-mapped and 720 x 576 PAL 24-bit color NA No

JPEG

.jpg

OMFI

.omf

See OMFI Files on page 812. Dots-per-inch (dpi) information is preserved. PCX files with 1-bit color depth or odd-numbered pixel widths are not supported.

PCX

.pcx

804

Table B-1

Graphic File Import Specifications (Continued)

Format Photo CD (Macintosh only)

Default File Name Recommended Bit Depth Exten- Full-Screen Support sion Size (Pixels) 720 x 486 NTSC 720 x 576 PAL

Alpha Channel Support Notes NA (Macintosh only) If you are importing Photo CD files, you must install QuickTime software and a compatible QuickTime Photo CD driver. Most Photo CD files are high resolution; if the photo has a portrait orientation, the image will be automatically rotated upon import. Use a paint or image processing program to crop or resize the image before importing.

Photoshop

.psd

720 x 486 NTSC Grayscale, indexed 720 x 576 PAL color, RGB, and duotone variations

No

Duotone files are loaded as grayscale. Multichannel (more than four channels) files are not supported.

PICT

.pic

720 x 486 NTSC 2-, 4-, 8-, 16-, and 720 x 576 PAL 32-bit

Yes

Dots-per-inch (dpi) information is preserved. If no dpi is specified, 72 dpi is used.

Pixar

.pxr

720 x 486 NTSC 24-bit, 36-bit 720 x 576 PAL 720 x 486 NTSC 1-bit through 32-bit 720 x 576 PAL

Yes

PNG

.png

Yes

805

Table B-1

Graphic File Import Specifications (Continued)

Format QRT

Default File Name Recommended Bit Depth Exten- Full-Screen Support sion Size (Pixels) .dbw 720 x 486 NTSC 24-bit 720 x 576 PAL 720 x 486 NTSC 32-bit 720 x 576 PAL

Alpha Channel Support Notes No

Rendition

.6rn

Yes

SGI

.rgb

720 x 486 NTSC 8-bit or 16-bit Yes 720 x 576 PAL grayscale; 8-bit grayscale plus 8-bit alpha channel; 24- and 48-bit color; 24-bit color plus 8-bit alpha channel; 64-bit (16 bits per component) 720 x 486 NTSC 24-bit plus 720 x 576 PAL 8-bit alpha Yes Pixel aspect information is saved with the image.

Softimage

.pic

c (Windows only) a Double-clicking

Softimage file will start the application associated with PICT files because they use the same extension. Avoid double-clicking Softimage files to view them. Sun Raster .sun 720 x 486 NTSC 1-, 8-, or 24-bit 720 x 576 PAL No

806

Table B-1

Graphic File Import Specifications (Continued)

Format TARGA

Default File Name Recommended Bit Depth Exten- Full-Screen Support sion Size (Pixels) .tga 720 x 486 NTSC 8-, 15-, 16-, or 24-bit; 720 x 576 PAL 32-bit

Alpha Channel Support Notes Yes

TIFF

.tif

720 x 486 NTSC 8-bit color-mapped; Yes 720 x 576 PAL 8-bit or 16-bit grayscale; 24- and 48-bit color; 24-bit color plus 8-bit alpha; 36-bit color plus 12-bit alpha; 42-bit color plus 14-bit alpha; 48-bit color plus 16-bit alpha

Dots-per-inch (dpi) information is preserved. The following types of files are not supported: Multichannel (greater than four channels) files; Group 3-compressed (fax) files; CMYK files with extra channels; and JPEG-compressed files. Four-channel files from Avid Matador are imported as three-channel files.

Wavefront

.rla

720 x 486 NTSC 32-bit and 64-bit 720 x 576 PAL 720 x 486 NTSC 1-, 2-, 4-, 8-, 16, 24-, 720 x 576 PAL and 32-bit 720 x 486 NTSC 24-bit 720 x 576 PAL

Yes

XWindows

.xwd

No

YUV

.yuv

No

Pixel aspect information (based on the video format) is saved with image data. When importing, select the option Force to Fit Screen.

807

Animation Files
Avid Xpress supports the following animation file formats: (Macintosh only) PICS: Developed by Apple Computer, Inc. A PICS file is a sequence of PICT images. Many applications that handle multiple image formats on the Macintosh platform also support PICS files. (Macintosh only) QuickTime: Developed by Apple Computer, Inc. for multimedia on multiple platforms. (Windows only) AVI (Audio Video Interleave): Developed by Microsoft for storing video and audio information as part of its Video for Windows standard. ERIMovie: Developed by Elastic Reality, Inc. (now a division of Avid Technology, Inc.) for quick playback of rendered movies on Silicon Graphics, Inc. platforms.

Table B-2 lists animation file import specifications. AVI (Windows only) and QuickTime import and export information appears in Table B-3.

Avid Xpress assumes a 29.97-fps frame rate (25-fps for PAL). Set the appropriate frame rate for the project when you export from a third-party application.

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Table B-2

Animation File Import Specifications

Format ERIMovie

Default File Alpha Name Exten- Bit Depth Channel Support Support Notes sion .mov or 24-bit Yes .eri packed and 32-bit raw movie files QuickTime for Windows also uses the .mov extension. However, QuickTime does not support ERIMovie, and double-clicking an ERIMovie file will cause an error. player for ERIMovie Macintosh n There is noplatforms; the mviewonprogram or Windows supports ERIMovie on Silicon Graphics systems.

PICS Animation

.pcs

2-, 4-, 8-, 16-, and 32-bit

Yes

Only uncompressed data can be stored in PICS format. PICS export does not allow PICS containers larger than 16 MB. Name each file in the sequence NameN.ext, with Name identifying the animation, N indicating the file order, and .ext indicating the file type (for example, Image1.PIC, Image2.PIC, Image3.PIC). The numbering can start at any number except 0 or use any numbering format (for example, Image010.PIC, Image012.PIC, or Imagef28.PIC, Imagef29.PIC).

Sequenced image Various files

Yes

The information in Table B-3 applies to using QuickTime files with Avid Xpress

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Table B-3

QuickTime File Import and Export Specifications

QuickTime File Import Specifications Notes QuickTime files QuickTime import and export requires QuickTime software, Version 4.0 or later. QuickTime software is installed when you install the Avid Xpress application (Windows) or with the Macintosh operating system (Macintosh).

Avid files for QuickTime Use the Avid Codec for QuickTime for importing QuickTime files into an Avid system when you export from Avid Xpress or a third-party application. To use the codec in a third-party application, see About Avid Codecs on page 730. Resolution Use Export settings to specify the compression ratio of a QuickTime file for export. For more information, see Table 19-7. The resolution of a QuickTime file is set at export time from a third-party application equipped with the Avid Codec for QuickTime. Avid Xpress imports the file at this resolution. For more information on exporting from a third-party application, see About Avid Codecs on page 730. Image Size To import to Avid Xpress: Two-field resolutions 720 x 486 pixels for NTSC images (non-square pixels) 720 x 576 pixels for PAL images (non-square pixels) Single-field resolutions 352 x 243 pixels for NTSC images (non-square pixels) 352 x 288 pixels for PAL images (non-square pixels) File name extension After you import a QuickTime file, the file maintains the .mov file name extension, which is visible in a bin. The .mov file name extension is the default for export.

810

Table B-3

QuickTime File Import and Export Specifications (Continued)

QuickTime File Import Specifications Notes QuickTime alpha To save a QuickTime movie with alpha channel in a third-party QuickTime application, use the Avid Codec for QuickTime or a codec that supports a color depth of millions+. The Avid Xpress application does not support matte key or alpha channel for QuickTime export; it does import alpha channel when one exists.

(Windows only) The information in Table B-4 applies to using AVI files with Avid Xpress.

Table B-4

AVI File Import and Export Specifications (Windows Only)

AVI File Import and Export Specifications Avid Codec for AVI

Notes You can import and export Avid AVI files by using standard AVI conversion or by using the Avid Codec for AVI. Use the Avid Codec for AVI for importing AVI files into a Avid system when you export from Avid Xpress or a third-party application. Files created by the codec are readable within applications also equipped with the codec. For more information on using the codec and making it available to Avid AVI-compatible applications, see Using the Avid Codec for AVI (Windows Only) on page 737.

Resolution

Use Export settings to specify the compression ratio of an AVI file for export. For more information, see Table 19-9. The resolution of an AVI file is set at export time from a third-party application equipped with the Avid Codec for AVI. For more information on exporting from a third-party application, see About Avid Codecs on page 730.

811

Table B-4

AVI File Import and Export Specifications (Windows Only) (Continued)

AVI File Import and Export Specifications File size

Notes Avid AVI files can be quite large, especially at high video resolutions. They require adequate storage and transfer capabilities. After you import an AVI file, the file maintains the .avi file name extension, which is visible in a bin. The .avi file name extension is the default for export. Avid Xpress does not support alpha channel for AVI import or export.

File name extension

AVI alpha

Audio File Formats

The following list briefly describes the supported audio file formats: Audio Interchange File Format (AIFF-C): Format for audio files developed by Apple Computer, Inc. (Macintosh only) Sound Designer II (SD2): Native format of the Sound Designer II application developed by Digidesign, Inc., a division of Avid Technology, Inc. WAVE Format (WAV): Format for audio files developed jointly by Microsoft and IBM. WAV files are playable by nearly all Windows applications that support sound.

n
OMFI Files

You can digitize, render, and edit audio in SD2 (Macintosh only), AIFF-C or WAV file formats.

OMF Interchange (OMFI) was developed by Avid Technology, Inc. and many industry and standards partners for the interchange of
812

digital media data between platforms and applications. For information about creating an OMFI file on a non-Avid application, see the documentation for the application. The information in Table B-5 applies to importing OMFI files.
.

Table B-5
OMFI File Import Specifications Notes Resolution

OMFI File Import Specifications

For optimum import speed and quality, export or render the file from the source application at the resolution you want, and then import the file into the Avid Xpress application at that resolution. To do this, click Options in the Select Files to Import dialog box, and then select Use Source from the OMFI Resolution area of the Import Settings dialog box. The system disregards the resolution setting in the Select Files to Import dialog box and automatically imports at the files existing resolution. For more information on OMFI, see the OMFI Web site: www.omfi.org

Frame or Edit rate

You must import sequences and clips to projects that have the same edit rate (29.97 fps for NTSC, 25 fps for PAL). If the edit rates do not match, you will receive an error message. Xpress an OMFI produced n Avidrate equalcannot importsample rate.audio filetothat was such a filewith an in edit to the audio Trying import results the error message Unrecognized file type. Create the source file with an edit rate at the project edit rate, most likely 29.97.

OMFI version

Avid Xpress recognizes and supports OMFI 1.0 composition and media files and OMFI 2.0 composition files. The following OMFI 2.0 effects are supported generally: Video effects: dissolves, wipes, freeze frame, film pulldown, slow motion, fade to black Audio effects: pan and volume, audio dissolves Other effects can be imported from other Avid applications.

813

Table B-5
OMFI File Import Specifications Notes Audio sample rate

OMFI File Import Specifications (Continued)

Audio media is imported at the sample rate that is set on the Avid Xpress system. Xpress an OMFI produced n Avidrate equalcannot importsample rate.audio filetothat was such a filewith an in edit to the audio Trying import results the error message Unrecognized file type. Set the edit rate to the project edit rate, most likely 29.97.

Avid MCXpress for Windows NT files

If you are importing OMFI compositions from Avid MCXpress for Windows NT, you might receive an error if the sequence includes video or audio effects. If this happens, create a cuts-only version of the sequence in Avid MCXpress and export it again. You cannot import video media from Avid MCXpress for Windows NT; if you import a composition, you must redigitize the media. If you are transferring an OMFI file over a network, transfer it as a binary file. If you import OMFI files containing media that you exported from the same Avid Xpress system, you need to delete the original media. Otherwise, the new media will not overwrite the original media. To learn how to locate the original media for a sequence, see Chapter 10.

File transfer

Reimporting Avid media files

Field Ordering in Graphic Imports and Exports

Graphic images are composed of one or more image files, each of which contains a full frame. These frames contain fields (formed from the odd-numbered and even-numbered lines of the image frame) that have three basic arrangements: Progressive or still frame: The upper and lower fields in the frame originated at the same instant of time, or are coherent with each other, as shown in the following illustration.

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f1

f2

Dashed lines = field 1 Solid lines = field 2

Field 1 & Field 2

Time

Frame Unit
Upper field is first: The upper field in the frame (odd-numbered lines, when the frame lines are numbered starting from 1) occurs temporally before the lower field, as shown in the following illustration. This arrangement can be termed upper field first (or lower field second).

f1

f2

Field 1

Field 2

Time

Frame Unit

815

Lower field is first: The lower field in the frame (even-numbered lines) occurs temporally first, as shown in the following illustration. This arrangement is termed lower field first (or upper field second).

f1

f2

Field 1

Field 2

Time

Frame Unit

Preventing a Spatial Field Mismatch on Import Table B-6 shows the proper spatial field position for each of the common video formats in Avid systems.

Table B-6

Recommended Field Settings for Two-Field Import and Export

Upper/Lower Field Spatial Setting Upper field is first. Upper field is first. Lower field is first. Upper field is first. Field Setting for Import and Export a Odd Field Odd Field Even Field Odd Field

Avid Video Format AVR NTSC AVR PAL Meridien NTSC Meridien PAL

Import/Export Frame Size 720 x 243 x 2 720 x 288 x 2 720 x 243 x 2 720 x 288 x 2

a. Odd Field or Even Field specifies whether the temporally first field in the frame has the odd or even numbered lines, starting from 1. 816

Graphics utilities, such as Adobe After Effects, permit selection of either spatial relation for the fields when rendering a sequence of interlaced fields. If the rendering is performed as shown in Table B-6, then the import will be correct. If the spatial positions of the two fields are reversed (for example, the upper field should be a lower field), the import cannot be done without correcting the spatial relationship. In this spatial mismatch situation, the Avid system will convert the upper field to a lower field by deleting the top line of the upper field and replicating the bottom line. The field will thus be converted to a lower field relative to the other field. The import operation can now proceed. Spatial Field Relationship on Export The default export operation is automatically carried out as shown in Table B-6. The fields will be properly interleaved in the export frames (one frame per file). If an import comes in mismatched and the dropping of the top line and repeating of the bottom line is performed, you might choose to have the export operation performed to prevent a shift up or down by a line. The Export Settings dialog box permits you to select the spatial arrangement that is the opposite of what is otherwise recommended. This option should rarely be used. 24p and 25p Import and Export The spatial field selection options do not apply for 24p and 25p projects because the frames in these projects are already in progressive or still-image form. Field Dominance Editing in Avid systems is frame based. All timecode is expressed in frame numbers, and all cuts are at frame boundaries. A raw video stream has no concept of frames (ignoring color framing) until the

817

frame unit is defined. Defining the dominant field for the system defines the frameness of the video stream, as shown in the following figure.

f2 f1 f2 f1 f2
Field-1 Dominant Frame

(Time)

f1 f2 f1 f2 f1
Field-2 Dominant Frame

Avid editing systems all use field 1 as the dominant field. This means that the first field temporally in the edit frame will always be field 1. Field 2 will always be the second frame in the edit frame. Cuts will always precede field 1. Fields in Video In the video signal, fields have a temporal position that is unambiguously and uniquely tied to the details of the video signal, regardless of whether the signal is analog or digital (SDI). This means that working around a field spatial mismatch should be done by correcting the spatial relation between the two fields rather than the temporal position. In some cases, it is possible to modify the field dominance of the input image files, but this is cumbersome, results in the loss of two fields, and is more difficult to carry out than either the workaround provided in Avid systems or rerendering properly to the other spatial relationship.

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APPENDIX C
Avid Log Specifications
This section explains the Avid log file format. The Avid Xpress application can import logs that meet Avid log specifications. These logs must follow the formatting requirements described here. Log Formats Understanding Avid Log Specifications Describing an Avid Log File Sample Avid Log

Log Formats
Table C-1 lists the log formats that can be imported directly into the Avid Xpress application. You can use Avid Log Exchange to adapt other log formats so that they meet Avid log specifications.

819

Table C-1
Log Avid logs Log right

Compatible Log Formats

File Name Extension .ale .ale

Understanding Avid Log Specifications

This section contains tables that show how to enter headings and data to create an Avid log. The tables use the following conventions: <A supported value> is surrounded by angle brackets. <Alternative supported values> appear underneath, also in angle brackets. You must enter exactly one of these values. For example, <29.97> is one of the supported values for the FPS heading; to specify that value, type 29.97. <A variable data value> is also surrounded by angle brackets. For example, <time code> is the data entry for the Start heading; type the correct timecode, in the format 08:19:10:00 (or 08;19;10;00, for drop-frame timecode). [Tab] and [Enter] (Windows) or [Return] (Macintosh) keys are surrounded by brackets. The fifth column contains the word Required if the heading must be included in the log. The final column contains notes about the heading or values.

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The following is a sample heading from the format table:

FPS

[Tab]

<25> <29.97> [Enter] (Windows) or [Return] (Macintosh) Required Capture rate is 25 fps for PAL and 29.97 fps for NTSC video.

FPS is a required heading. To make a log entry for the FPS heading: 1. Type FPS. 2. Press the Tab key. 3. Type one of the supported values (25 or 29.97). 4. Press Enter (Windows) or Return (Macintosh).

Describing an Avid Log File

An Avid log is composed of three or four sections, in this order: Global headings Standard column headings Custom column headings (optional) Data headings

The tables in this section adhere to this order. When you create an Avid log, you must follow the order precisely. You might choose not to display a defined heading (including a required heading), except for Name. Name must always be displayed.

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The maximum number of combined global, standard, and custom headings in a log file is 64.

Global Headings
The global headings must come first in an Avid log file, and you must enter one value for each heading. Table C-2 shows the format for the global headings and the supported values for each heading.

Table C-2

Avid Log Global Headings

GLOBAL HEADINGS: Global headings are case sensitive and must be spelled exactly as shown. Include all required headings. Other headings are optional but might be necessary for your project. The maximum number of combined global, standard, and custom headings in a log file is 64. Heading [Enter] (Windows) or [Return] (Macintosh) [Tab] <TABS> [Enter] (Windows) or [Return] (Macintosh) Required This marks the start of the global headings.

FIELD_DELIM

Required

Enter TABS to show that the file is Tab delimited.

VIDEO_FORMAT

[Tab]

<NTSC> <PAL> [Enter] (Windows) or [Return] (Macintosh) Required

AUDIO_FORMAT

[Tab]

<22 kHz> <24 kHz> <44.1 kHz> 822

Table C-2

Avid Log Global Headings (Continued)

[Enter] (Windows) or [Return] (Macintosh) [Enter] (Windows) or [Return] (Macintosh) Required Audio sample rate for digitizing. You can override this for individual clips. Name of the videotape reel you are logging. If you omit this heading, the file name becomes the global tape name. You can override this for individual clips.

<48 kHz>

TAPE

[Tab]

<Tape Name>

FPS

[Tab]

<25> <29.97> [Enter] (Windows) or [Return] (Macintosh) [Enter] (Windows) or [Return] (Macintosh) Required Capture rate is 25 fps for PAL and 29.97 fps for NTSC video.

Press Enter (Windows) or Return (Macintosh) a second time after entering the FPS value. This marks the end of the global headings.

Column Headings
The standard column headings come after the global headings in the Avid log file.

You do not enter the data for a column heading along with the heading. You will enter the data later, in a separate data section. You must include the five required standard column headings; they are listed in the top five rows of Table C-3.

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You can create your own custom column headings. Enter them after the standard headings (see the last heading in this table). To create a custom heading, substitute the custom heading name for <Your_heading>. You can create several custom headings, as long as the total number of global, standard, and custom headings does not exceed 64.

Table C-3

Avid Log Column Headings

COLUMN HEADINGS: Column headings are case sensitive and must be spelled exactly as shown. Note that the first five headings are required. Other headings are optional but might be necessary for your project. The maximum number of combined global, standard, and custom headings in a log file is 64. Column [Enter] (Windows) or [Return] (Macintosh) [Tab] [Tab] [Tab] Required Indicates the start of the column headings.

Name Tracks Start

Required Required Required

Heading for clip name. Heading for tracks you select for digitizing. Heading for video timecode of sync point the timecode IN for clip (from address track of video). Heading for timecode OUT for clip (from address track of video). Heading for audio sample rate for digitizing the individual clip. If omitted, the global entry for AUDIO_FORMAT applies. Heading for auxiliary timecode. Heading for auxiliary timecode. Heading for auxiliary timecode. Heading for auxiliary timecode. 824

End

[Tab]

Required

AUDIO_FORMAT

[Tab]

Auxiliary TC1 Auxiliary TC2 Auxiliary TC3 Auxiliary TC4

[Tab] [Tab] [Tab] [Tab]

Table C-3
Auxiliary TC5 CFPS [Tab] [Tab]

Avid Log Column Headings (Continued)

Heading for auxiliary timecode. Heading for video capture rate for digitizing the individual clip. If omitted, the global entry applies. Heading for color. Heading for date of clip creation. Heading for target disk ID. Heading for timecode Start to timecode End, the length of the video clip. Heading for video frames per second rate for digitizing the individual clip (NTSC = 29.97, PAL = 25). If omitted, the global entry applies. Heading for duration between clips IN point and OUT point (if present). Heading for timecode of clips IN point (if present). Heading for timecode of clips OUT point (if present). Heading for tracks currently without digitized media files online. Heading for source tape ID for the individual clip. If omitted, the global entry applies. Heading for video resolution. Heading for lab roll ID for clip. Lab rolls are a combination of several camera rolls. Heading for camera roll ID for clip.

Color Creation Date Disk Duration

[Tab] [Tab] [Tab] [Tab]

FPS

[Tab]

IN-OUT

[Tab]

Mark IN

[Tab]

Mark OUT

[Tab]

Offline

[Tab]

Tape

[Tab]

Video Labroll

[Tab] [Tab]

Camroll

[Tab]

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Table C-3
Sound TC [Tab]

Avid Log Column Headings (Continued)

Heading for Nagra time code, Aaton code, Arri code, and so on, at the sync point. Syncs with the Start timecode. Required if tracking the sync sound. Capture rate can be 25 or 30 fps. Heading for sound roll ID for clip. Heading for scene ID for clip. Heading for take ID for clip. Heading for description of clip. Heading for comments about clip. Press the Tab key between each heading. Do not press the Tab key 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 file. [Enter] (Windows) or [Return] (Macintosh) Press Enter (Windows) or Return (Macintosh) twice (not Tab) after the last heading.

Soundroll Scene Take DESCRIPT COMMENTS <Your_heading>

[Tab] [Tab] [Tab] [Tab] [Tab] [Tab]

[Enter] (Windows) or [Return] (Macintosh)

Data Headings
Some data, such as Creation Date, is gathered by the system. Table C-4 does not include entries for such data.

The data headings come after the Custom column headings. Table C-4 shows the format for entering data. Enter a line of data in this format for every clip. Be sure to start the data section for each clip with the word Data [Enter] (Windows) or [Return] (Macintosh). You must enter data so that it aligns with its column heading. For example, the data that goes with the ninth column heading must be the ninth data entry.

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Be sure to enter data for all the required values. To leave a data position unfilled, press the Tab key instead of typing data. Press Enter (Windows) or Return (Macintosh) at the end of each line.

Table C-4

Avid Log Data Headings

DATA HEADINGS: The word Data marks the start of the data for each clip. Data [Enter] Required (Windows) or [Return] (Macintosh) Enter the word Data to mark the start of the logged clip entries.

DATA FOR EACH CLIP: Enter a line of data for each clip. Enter the data so that it aligns with its column heading. (The data that goes with the ninth column heading must be the ninth data entry.) Be sure to enter data for all the required values. To leave a data position unfilled, press the Tab key instead of typing data. Press [Enter] (Windows) or [Return] (Macintosh) at the end of each line. Note that Avid Xpress supports up to four audio tracks in imported and exported logs. <clip name> [Tab] Required Under Name heading. Enter a clip identifier (32 characters maximum).

<V> <VA1> <VA2> <VA1A2> <A1A2> <A1> <A2> [Tab] Required Under Tracks heading. Enter the tracks you want digitized for the clip. Enter V for MOS takes. Enter A1, A2, or A1A2 for wild sound.

<32 kHz> <24 kHz>

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Table C-4
<44.1 kHz> <48 kHz> [Tab]

Avid Log Data Headings (Continued)

Under AUDIO_FORMAT heading. Enter the audio sample rate for this clip only. If omitted, global entry applies. Under Tape heading. Enter the source videotape ID for this clip only.

<Source tape ID>

[Tab]

<25> <29.97> [Tab] Under FPS heading. Enter the video capture rate for this clip only. If omitted, global entry applies. Use 25 fps for PAL video or 29.97 fps for NTSC video. Required Under Start heading. Enter the video timecode for sync point, the first 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). Under End heading. Enter the video timecode for the last frame of clip. Under Duration heading. Enter the length of the video clip, Start to End. Under Labroll heading. Identify the lab roll using letters and numbers. Under Camroll heading. Identify the camera roll using letters and numbers. Under Auxiliary TC heading. Enter a Nagra timecode, Aaton code, Arri code, and so on, for the sync point. Syncs with the Start timecode. Under Soundroll heading. Identify the sound roll using letters and numbers.

<time code>

[Tab]

<time code>

[Tab]

Required

<time code>

[Tab]

<lab roll ID>

[Tab]

<camera roll ID>

[Tab]

<time code>

[Tab]

<Sound roll ID>

[Tab]

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Table C-4
<scene ID> [Tab]

Avid Log Data Headings (Continued)

Under Scene heading. Identify the scene using letters and numbers. Under Take heading. Identify the take using letters and numbers. Under DESCRIPT heading. Describe the clip. Under COMMENTS heading. Comment on the clip. Press the Tab key between each heading. Do not press the Tab key after last heading. Under the headings you created yourself, type the appropriate information. Press Enter (Windows) or Return (Macintosh) (not Tab) after the last entry for the clip.

<take ID>

[Tab]

<clip description> <clip comments> <information>

[Tab] [Tab] [Tab]

[Enter] (Windows) or [Return] (Macintosh)

Enter an additional line of data for each remaining clip.

Sample Avid Log

This section contains a sample Avid log for an NTSC video project. Formatting keys, such as [Tab] and [Enter] (Windows) or [Return] (Macintosh), are shown in brackets.

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Heading [Enter] (Windows) or [Return] (Macintosh) FIELD_DELIM [Tab] TABS [Enter] (Windows) or [Return] (Macintosh) VIDEO_FORMAT [Tab] NTSC [Enter] (Windows) or [Return] (Macintosh) AUDIO_FORMAT [Tab] 44.1 kHz [Enter] (Windows) or [Return] (Macintosh) TAPE [Tab] 001 [Enter] (Windows) or [Return] (Macintosh) [Enter] (Windows) or [Return] (Macintosh) Column [Enter] (Windows) or [Return] (Macintosh) Name [Tab] Tracks [Tab] Start [Tab] End [Tab] [Enter] (Windows) or [Return] (Macintosh) Data [Enter] (Windows) or [Return] (Macintosh) CU Josh & Mary [Tab] V [Tab] 01:00:00:00 [Tab] 01:15:05:00 [Enter] (Windows) or [Return] (Macintosh) CU Josh [Tab] VA1 [Tab] 01:15:06:00 [Tab] 01:20:00:00 [Enter] (Windows) or [Return] (Macintosh)

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APPENDIX D
Connecting an External Fader to Your Avid Xpress System
For information on external faders and how to connect them to your Avid Xpress system, see the following sections: Supported Faders Using the FaderMaster Pro and MCS-3000X Using the Yamaha 01v Digital Mixing Console

Supported Faders
Your Avid Xpress system supports the following external faders for Automation Gain recording: JL Cooper FaderMaster Pro MIDI Automation controller. This low-cost unit allows you to make fine adjustments to audio clips. This unit does not support flying faders, which means that the faders dont move automatically as you record audio gain information and they must be manually zeroed prior to recording.

831

JL Cooper MCS-3000X MIDI Automation controller. This unit supports touch-sensitive flying faders. While you are recording gain, the faders automatically move. You can grab a fader and move it during an automation gain recording to quickly punch in a small change in volume. Yamaha 01v Digital Mixing Console. This unit is a full-feature digital mixer that also supports audio gain automation with flying faders. The faders are not touch sensitive (see Table D-1).

An external fader is optional. It is not required to perform Audio Gain Automation recording. Table D-1 compares the three units.

Table D-1
Feature Record gain Flying faders

Fader Features
FaderMaster Pro Yes No No Yes No No MCS-3000X Yes Yes Yes Yes No Yes 127 Yamaha 01v Yes Yes No Yesa Yes No 551

Touch-sensitive faders Solo/Mute Supports audio mixing Snap mode

Number of steps of 127 accuracy between 0 and max

a. Solo works only if you dont use the unit for audio mixing.

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The following provide additional information on touch sensitivity and snap mode: Touch sensitivity: As soon as you touch a moving fader on the MCS-3000X, the unit passes control of the fader to you. See MCS-3000X Buttons on page 834. On the Yamaha 01v, you must press the faders On button to gain control of a moving fader. For a description of how to control the faders on the Yamaha 01v, see Operational Notes for the Yamaha 01v Mixer on page 841. Snap mode: In Snap mode, the fader automatically stops recording as soon as you release the fader. In addition, the fader continues to display the volume information in the Timeline. See Using the Snap Mode Feature on the MCS-3000X Fader on page 835.

For more information on using these external fader boxes, see Recording Automation Gain Information on page 589.

Using the FaderMaster Pro and MCS-3000X

The setup procedure is similar for both units. To connect and initialize the fader, see the Avid Composer Products Setup Guide.

For the MCS-3000X to recognize the Avid Xpress application software, you must set the rear DIP switch #4 down (ON).

Testing the External Fader

To test the external fader: 1. Choose Automation Gain from the Tools menu. The Automation Gain tool opens.

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2. Choose Calibrate Hardware Sliders from the Automation Gain tool fast menu. The box changes to blue.
Position indicator lights

3. Check the color of the position indicator lights. If the external fader box is connected, at least one of the lights should be on (blue). If the external fader box is not connected properly, the lights will probably appear gray. 4. Move the faders on the external fader box. The corresponding fader should move in the Automation Gain tool.

The external fader is optional. It is not required to perform Audio Gain Automation recording.

MCS-3000X Buttons
There are four rows of unlabeled buttons at the top of the MCS-3000X fader. The following illustration labels each row of buttons:

Select Snap Mode

Solo Mute

Select buttons: The green light next to the Select button for a track is on when you are recording audio gain automation on
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the track. The green light is off when you are listening to the volume level in the Timeline. If the track is in Snap mode, as soon as you touch the fader, the Select button light turns on to indicate that you are recording. When you release the fader, the Select button light turns off, and the fader begins moving with the Timeline volume. When the track is not in Snap mode, as soon as you touch the fader, the Select button light turns on to indicate that you are recording. However, when you release the fader, the Select button light stays on, indicating that you are still recording. To stop recording, press the Select button. Snap Mode buttons: For information on these buttons, see Using the Snap Mode Feature on the MCS-3000X Fader on page 835. Solo buttons: These buttons solo the selected tracks. Mute buttons: These buttons mute the selected tracks.

Using the Snap Mode Feature on the MCS-3000X Fader

For each track, the MCS-3000X has a Snap Mode button that allows you to easily punch in and punch out small sections of automation gain information. The second row from the top contains the Snap Mode buttons. For more information on button location, see Using Audio Gain Automation on page 575. In Snap mode, the fader automatically stops recording as soon as you release it. In addition, the fader continues to display the volume information in the Timeline. To use Snap mode: 1. Click the Snap Mode button for the appropriate tracks on the external fader. You can click the button before or during a recording session.

835

2. Mark your IN and OUT points, and click the Record button. The system begins playing the section, and the faders move accordingly. 3. When you want to make an adjustment, move the fader to change the volume. The system immediately begins recording. 4. When you have finished adjusting the section, release the fader. The system stops recording (but keeps playing) and the fader snaps back to the level that is in the Timeline. When the track is not in Snap mode, the system continues to record audio volume information after you release the fader. Press the Select button (top row) to stop recording and snap the button back to its current Timeline position. The green light next to the Select button for a track is on when you are recording audio gain automation on the track. The green light is off when you are listening to the volume level in the Timeline.

Ganging Faders on the FaderMaster Pro Fader

You can use the features available on the FaderMaster Pro to gang faders. When the faders for two tracks are ganged, both faders send identical volume messages for both tracks when you move one fader. This can be useful when you have stereo tracks. Note that the ganged faders do not move together physically. For example, if you have two stereo tracks and want to gang faders 1 and 2 to respond to movement on fader 1: 1. On the FaderMaster Pro, press the PROG button to light the Fader LED. 2. Press the Group button, and move fader 2 until 1 is displayed. 3. Press the PROG button to turn off the Fader LED.
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Now, when you move fader 1, the Avid Xpress system will receive identical volume information for fader 2. To turn off the group feature: t Repeat steps 1 to 3, but assign fader 2 to 0.

For additional information on ganging the faders, see the FaderMaster Pro users manual.

You cannot gang faders on the MCS-3000X or Yamaha 01v fader boxes.

Using the Yamaha 01v Digital Mixing Console

The Avid Xpress system supports the Yamaha 01v digital mixing console. The Yamaha 01v is a fully functional digital audio mixer that also supports automation gain recording. The following illustration shows 01v controls. The exploded view shows the buttons that you use to operate the unit for automation gain recording. For a comparison with other external faders, see Adjusting the Volume of Individual Keyframes on page 581.

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UTILITY

MIDI

SETUP

VIEW

DYNAMICS

EQ/ATT

O/DELAY

PAN/ ROUTING

FADER MODE EFFECT 1 EFFECT 2 OPTION 1/0 REMOTE

AUX 1

AUX 2

AUX 3

AUX 4

PHANTOM +48V

OFF

ON

PHANTOM +48V INPUT (BAL)

OFF

ON

HOME

10

11

12

13/14 15/16

HIGH
UTILITY MIDI SETUP VIEW

L STEREO R

HI-MID
DYNAMICS EQ/ATT O/DELAY PAN/ ROUTING

LO-MID
FADER MODE EFFECT 1 EFFECT 2 OPTION 1/0 REMOTE

LOW

AUX 1

AUX 2

AUX 3

AUX 4

NONE

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5

CURSOR
10 20

ENTER

1 17

2 18

3 19

4 20

5 21

6 22

7 23

8 24

10

11

12

13/14 15/16 STEREO

MASTER

Setting Up the Yamaha 01v Digital Mixer

This section describes how to set up the Yamaha 01v digital mixer. For instructions on connecting the Yamaha 01v to your Avid Xpress system, see the Avid Composer Products Setup Guide.

838

Initializing the Yamaha 01v

This section describes how to initialize the Yamaha 01v digital mixer. These steps should have to be done only once and repeated only if the mixers operational parameters have been manually changed to something that is incompatible with the Avid Xpress system. You should perform these steps when you first set up the unit. You might also find it necessary to perform the steps if the unit stops working correctly with your Avid Xpress system. Because you can perform a wide variety of mixing tasks with the Yamaha 01v, some changes you make to the unit might cause it to stop working with the Avid Xpress system. If this happens, use these steps to reinitialize the mixer to the factory defaults. To return to factory defaults: 1. Power on the mixer while pressing and holding the red Memory button.

Memory button
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 0 5 10 20 0 5 10 20 0 5 10 20 0 5 10 20 0 5 10 20 0 5 10 20 0 5 10 20 0 5 10 20 0 5 10 20 0 5 10 20 0 5 10 20 0 5 10 20 0 5 10 20 0 5 10 20 0 5

CURSOR
10 20

+1/inc button
ENTER

1 17

2 18

3 19

4 20

5 21

6 22

7 23

8 24

10

11

12

13/14 15/16 STEREO

MASTER

The LCD panel displays a message asking if you want to reset the system. 2. Answer yes by pressing the +1/inc button.

Configuring the Mixer

After you initialize the mixer, you must configure it to receive and transmit MIDI messages.

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To configure the mixer to recognize MIDI control messages: 1. Press the MIDI button. The system displays the first pane of the MIDI Options window. 2. Set the following controls on the MIDI Options window: Set Control Change TX to ON. Set Control Change RX to ON.

Starting Avid Xpress with the Yamaha 01v Attached

When you start your Avid Xpress system with the Yamaha 01v attached, you can use the faders for mixing audio channels or for performing automation gain recording. You use the Home and Option I/O buttons to switch between the two modes. This section describes how the Yamaha 01v utilizes the faders. The Yamaha 01v digital mixer allows you to work with 24 input channels as follows: 12 mono input channels (1 through 12) 2 stereo input channels (13/14 and 15/16) 8 digital inputs (17 through 24)

Channels 17 through 24 use the same physical controls as channels 1 through 8 as shown in the following illustration. You use the Home and Option I/O buttons to switch the assignments from 1 through 8 to 17 through 24.

840

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5 10 20

0 5

CURSOR
10 20

ENTER

1 17

2 18

3 19

4 20

5 21

6 22

7 23

8 24

10

11

12

13/14 15/16 STEREO

MASTER

Channels 112 (mono) Channels 1724 Channels 1316 (two stereo inputs)

When you start the Avid Xpress system, it automatically configures the Yamaha 01v to use channels 17 through 24 for automation gain control. Use the Home and Option I/O buttons to switch between audio mixing (Home) and audio gain recording (Option I/O).

The Yamaha 01v supports a digital I/O option that uses channels 17 through 24. If you intend to use the digital I/O option, you should move these to channels 1 through 8 using the SWAP mode. You can access SWAP mode from pane 5 of the Option I/O screen. For more information, see the Yamaha documentation.

Operational Notes for the Yamaha 01v Mixer

To access the audio mix (channels 1 through 16): t Press the Home button. When the Home button is lit, you can use the faders for audio mixing.

For information on audio mixing, see the Yamaha 01v documentation. You must be in Option I/O mode to record gains in the Automation Gain tool. To record automation gain: 1. Press the Option I/O button. The faders move into the correct position for recording automation gain.
841

2. When recording automation gain, use the On button on each channel to switch from Timeline control of audio gain to user control of audio gain. You can punch in and out of gain recording as many times as you want. The Yamaha 01v faders are not touch sensitive in the same way as the JL Cooper MCS-3000X MIDI Automation controller. As soon as you touch a moving fader on the MCS-3000X, the unit passes control of the fader to you. On the Yamaha 01v, you must press the faders On button to gain control of a moving fader.

n c

If a fader is not moving, you can move the fader to take control without pressing the On button. If you attempt to catch a moving fader, the mixer will fight you for control. Press the On button to take control of the fader.

Soloing Avid Xpress System Channels

If you are not using the Yamaha 01v to mix the audio outputs of the Avid Xpress system, you can use the Solo button on the Yamaha 01v to solo audio channels during automation gain recording. To enable Solo mode: 1. Press the MIDI button. The mixer displays pane 1 of the MIDI Options window in the LCD display. 2. Set the following controls on the MIDI Options window: Set Param Change TX to ON. Set Param Change RX to ON.

However, if this mode is on when you are mixing audio, it interferes with the normal operation of the mixing board functions. If the
842

Avid Xpress system audio outputs are connected to the 01v, it is best to leave Param Change TX and Param Change RX set to OFF.

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APPENDIX E
Using the JL Cooper Media Control Station3
The JL Cooper Media Control Station3 (MCS3) provides an alternative to using the keyboard and mouse to edit footage. While you need to use the keyboard and mouse for naming and digitizing functions, you can program and use the MCS3 for navigation and frequently used editing functions. Your Avid system documentation explains the editing process in detail. For hardware installation instructions, see the setup guide for your Avid system. This appendix explains how to configure your MCS3 within the Avid system application. It also explains how to use the MCS3 and troubleshoot problems. This appendix includes the following sections: Overview of the MCS3 Controls Opening the MCS3 Controller Settings Dialog Box Mapping the MCS3 Buttons Customizing Jog and Shuttle Speeds Operating the Jog/Shuttle Wheel

844

Editing Footage with the MCS3 Controller Creating Multiple Controller Settings Troubleshooting

Overview of the MCS3 Controls

The MCS3 controls are as follows: Function buttons Map the Avid system Command palette functions to buttons on the MCS3. Jog/Shuttle wheel Press this wheel to switch between Jog and Shuttle modes. In Jog mode, turn this wheel to the right to increase viewing speed. In Shuttle mode, turn this wheel to the right to fast forward and to the left to rewind. Navigation buttons Use the predefined navigation buttons to rewind, fast forward, stop, and play footage.

845

F1

F2

F3

F4

F5

F6

W4 W3 W5

Function buttons

W2

W6

W1

W7

Jog/Shuttle wheel

Navigation buttons

Opening the MCS3 Controller Settings Dialog Box

Before you can map MCS3 buttons to the Command palette, you must open the Controller Settings dialog box. To open the Controller Settings dialog box: 1. Click the Settings button in the Project window. The Settings scroll list appears.

846

Controller Settings

2. Double-click Controller Settings. The Controller Settings dialog box appears.

Make sure the appropriate port and controller are selected.

3. Choose the appropriate port from the Port pop-up menu: t t (Windows) COM1 or COM2 (Macintosh) Port #1, #2, #3, or #4

4. Choose JL Cooper MCS3 Controller from the Controller pop-up menu. 5. Click the Edit Settings button. The MCS-3 Controller Settings dialog box appears.

847

Mapping the MCS3 Buttons

When the MCS3 is first installed, there is a set of default button mappings (see Using the Default Button Mappings on page 848). Not all of the buttons on the MCS3 are mapped to functions in the Command palette. To add new functions or change the default button assignments, see Custom Mapping MCS3 Buttons on page 850.

Using the Default Button Mappings

When you first open the MCS-3 Controller Settings dialog box, a set of default functions is mapped to the MCS3 buttons.
848

There are two types of buttons on the MCS3: Navigation buttons Function buttons

Default Navigation Buttons

The navigation buttons appear at the bottom of the MCS-3 Controller Settings dialog box. From left to right, they are: Rewind Fast Forward Stop Play

You cannot change the navigation button definitions. The rightmost navigation button (the one without a symbol) is not mapped to a Command palette function. You can map this button. For instructions, see Custom Mapping MCS3 Buttons on page 850.

Unused (Map to the Command palette function of your choice.) Rewind Fast Forward Stop Play

Default Function Buttons

Each function button is labeled with an F or W followed by a number. In an Avid system application, there is no difference between an F and a W function button. Avid provides default button mappings. You can reassign these buttons by following the instructions in Custom Mapping MCS3 Buttons on page 850.

849

Table E-1 shows the MCS3 button numbers and the default button mappings.

Table E-1

Default Button Mappings

Command Palette Function Go to IN Mark IN Mark OUT Go to OUT

MCS 3 Button W1 W2 W6 W7

Custom Mapping MCS3 Buttons

You can map the Command palette editing functions of your choice to the MCS3 buttons. Each button has an additional function activated by the Shift key. To see the shifted function: t Press and hold the Shift key on your keyboard. The alternate function appears on the button in the MCS-3 Controller Settings dialog box. To map the MCS3 buttons to Command palette functions: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Controller Settings. The Controller Settings dialog box appears. 3. Choose the appropriate port from the Port pop-up menu:
850

t t

(Windows) COM1 or COM2 (Macintosh) Port #1, #2, #3, or #4

4. Choose JL Cooper MCS3 Controller from the Controller pop-up menu. 5. Click the Edit Settings button. The MCS-3 Controller Settings dialog box appears. 6. If the Command palette is not already open, choose Command Palette from the Tool menu. The Command palette opens. 7. Select Button to Button Reassignment.

Make sure this radio button is selected

8. To map a function, do one of the following: t Map an unshifted function Click the function in the Command palette and drag it to the button in the MCS-3 Controller Settings dialog box whose function you want to program. Map a shifted function Press and hold the Shift key on your keyboard, click the function in the Command palette, and drag it to the button in the MCS-3 Controller Settings dialog box whose function you want to program.

851

As you drag between the two windows, the pointer changes to the hand pointer. When you release the mouse, the new function appears on the MCS3 button. To change a button assignment: t Drag a new function from the Command palette to the MCS3 button whose function you want to change.

Configuring a Shifted Button

You can use the Shift key on your keyboard to switch between shifted and unshifted functions on the MCS3, or you can program one of the buttons on the MCS3 to function as a Shift key. To configure a shifted button: 1. Open the MCS-3 Controller Settings window. 2. From the Shift Key Button pop-up menu, choose the function button that you want to assign as the Shift key on the MCS3. The default is None. Therefore, you need to use the Shift key on your keyboard to switch between shifted and unshifted functions on the MCS3. 3. Press the assigned button on the MCS3 to display the shifted functions in the Controller Settings dialog box.

If you assign a button on the MCS3 as the Shift key, you cannot use this button for an editing function.

Customizing Jog and Shuttle Speeds

You can customize the maximum jog and shuttle speeds by using the Maximum jog speed and Maximum shuttle speed pop-up menus in
852

the MCS3 Controller Settings dialog box. As you turn the jog/shuttle wheel, the current frames per second (fps) are shown in the Current controller speed display.

Customizing the Maximum Jog Speed

To customize the maximum jog speed: t Choose an option in from the Maximum Jog Speed pop-up menu in the MCS-3 Controller Settings dialog box. The default is Normal. Table E-2 describes the Maximum Jog Speed options.

Table E-2
Option 1/4 speed

Maximum Jog Speed Options

Description The jog speed does not exceed one quarter the recorded speed. The jog speed does not exceed one half the recorded speed. The jog speed corresponds to how fast you turn the wheel (default). The jog speed does not exceed twice the recorded speed. The jog speed does not exceed four times the recorded speed.

1/2 speed Normal

2x speed 4x speed

Customizing the Maximum Shuttle Speed

You can customize the maximum shuttle speed. You view footage at the maximum speed when the jog/shuttle wheel is turned to the farthest right or farthest left position.
853

To customize the maximum shuttle speed: t Choose an option from the Maximum Shuttle Speed pop-up menu in the MCS-3 Controller Settings dialog box. The default is 8x, which is eight times the recorded speed of the film.

The maximum shuttle speed setting applies to the forward or reverse viewing speed. Table E-3 describes the Maximum Shuttle Speed options.

Table E-3

Maximum Shuttle Speed Options

Option Description 1x 2x 4x 8x 16x 32x The recorded frames per second Two times the recorded frames per second Four times the recorded frames per second Eight times the recorded frames per second (default) Sixteen times the recorded frames per second Thirty-two times the recorded frames per second

Operating the Jog/Shuttle Wheel

The jog/shuttle wheel controls how you move through footage. You switch between Jog and Shuttle modes by pressing the wheel. When the two red arrow lights above the wheel are lit, you are in Shuttle mode. Shuttle mode alters the speed of playback by how far you turn the wheel: the more you turn the wheel to the right, the faster the
854

footage moves forward. To move the footage in reverse, turn the wheel to the left of the midpoint position. Use Shuttle mode when you want to quickly scan footage. Jog mode allows for frame-by-frame positioning depending on how fast you turn the wheel in either right (clockwise) or left (counterclockwise). Use Jog mode when you want to locate a specific frame by slowly viewing footage.

Moving Through Footage in Jog Mode

The red arrow lights above the jog/shuttle wheel are off when you are in Jog mode. If they are on, press the wheel to enter Jog mode. When the jog/shuttle wheel is stationary, the footage is paused. Turn the wheel to the right (clockwise) to advance the footage. Turn the wheel to the left (counterclockwise) to rewind the footage.

Moving Through Footage in Shuttle Mode

The red arrow lights above the jog/shuttle wheel are on when you are in shuttle mode. If they are off, press the wheel to enter shuttle mode. When the jog/shuttle wheel is at the midpoint position, both red arrow lights are on and the footage is paused. Turn the jog/shuttle wheel until it stops. Keep the jog/shuttle wheel in this position to view footage at the maximum shuttle speed set in the MCS-3 Controller Settings dialog box. Turn the jog/shuttle wheel to the left (counterclockwise) to move backward through a clip or sequence. The left arrow light is on when you are rewinding.

855

Editing Footage with the MCS3 Controller

Once you map the buttons and set the jog and shuttle speeds, you are ready to edit with the MCS3. To use the MCS3 for editing: 1. Start the Avid system application if it is not already in operation. 2. Close the MCS-3 Controller Settings dialog box.

Because the MSC3 operates in the active window and the MCS-3 Controller Settings window is modal, you must close the MCS-3 Controller Settings window before you can use the MCS3 for editing. 3. Open one of the following windows: Digitize Tool Digital Cut Tool Deck Controller Timeline

The MCS3 controls the active window. 4. Use the jog/shuttle wheel and the navigation buttons to move back and forth between clips and sequences. 5. Use the MCS3 function buttons to perform edits. To view your button mappings, check the mappings in the MCS3 Controller Settings window. See Opening the MCS3 Controller Settings Dialog Box on page 846. Close the MCS-3 Controller Settings dialog box before you use the controller for editing. Use the MCS3 to jog through footage on a deck or DAT player.

856

Creating Multiple Controller Settings

Because you cannot map all of the Command palette functions to the MCS3, you might want to create Controller settings for different sets of editing functions. To create multiple Controller Settings: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Click the Controller settings you want to duplicate. 3. Choose Duplicate from the Edit menu. 4. A copy of the selected Controller settings appears in the Settings scroll list. 5. To rename the duplicate Controller settings, click the space to the right of Controller Settings, type a descriptive name in the text box, and press Enter (Windows) or Return (Macintosh). 6. Select the Controller Settings that you want to make active. A check mark indicates the active Controller Settings.

The active Controller Settings

857

Troubleshooting
When you select Controller Settings from the Settings window, you might see the message No Controller found. This message means one of the following: The MCS3 is not connected. The MCS3 might be malfunctioning. You did not choose JL Cooper MCS3 Controller from the Controller Settings dialog box. You chose the wrong port from the Port pop-up menu of the Controller Settings dialog box.

To identify the problem: 1. Click OK to close the message box. 2. Make sure you chose the appropriate serial port in the Controller Settings dialog box. 3. Make sure you chose JL Cooper MCS3 Controller in the Controller Settings dialog box. 4. Check the cable connections. 5. Press the jog/shuttle wheel. When the controller is in Shuttle mode, the red arrow lights above the wheel are on. 6. Contact Avid Customer Support if you continue to see the message. 7. If you try to edit and the MCS3 does not respond, make sure the MCS-3 Controller Settings window is closed.

858

Index
ABCDEFGHIJKLMNOPQRSTUVWXYZ

Numerics
16:9 display option 427 8-channel audio I/O device adjusting output on 662

A
A2 timecode option 433 Absolute timecode 433 ABVB NuVista Codec for QuickTime 730 Add Channel button (Deck Configuration dialog box) 168 Add Deck button (Deck Configuration dialog box) 170 Add Edit when trimming 650 Add Edit (match framing) described 514 procedure 515 removing 515 Add Locator button 458 Add Page dialog box 399 Add Scene dialog box 399 Adding color indicators (Script window) 414 filler to a sequence 476 859

locators while editing 458 off-screen indicators (Script window) 413 page and scene numbers in the Script window 399 script marks 415 takes in the Script window 410 Adjust Pan/Vols command (Audio Mix Fast menu) 569 Adjust Pan/Vols command (Automation Gain Fast menu) 588 Adjusting digital audio scrub parameters 558 margins in the Script window 393 output on eight-channel audio systems 662 pan defaults 299 pan in the Audio Mix tool 564 take lines in the Script window 412 volume in the Audio Mix tool 564 volume in the Timeline 575 Adjusting reference level in the Audio tool 207 AIFF-C file format brief description of 812 option in General settings 86 ALE (Avid Log Exchange), converting shot log files with 140 Alias file format brief description of 799

import specifications for 803 Alpha channel adding to a graphic image 801 defined 802 in imported animation 809 options in Import settings 275 support in graphic formats 803 Anti-aliased images 801 Archive to Videotape dialog box 375 Archiving media files 372 Arrow keys navigating with 109 ASCII text files importing to a Script window 391 Aspect Ratio options (Import settings) 273 Assemble-edit recording 667 Assigning workspace buttons 105 Attic files setting (Bin settings) 84 Audio adjusting output on two-channel systems

recording from music CD 252 scrub 555, 561 setting pan defaults 299 setup, in the Audio tool 205 storage requirements 231 time compression 619 tracks mixing down 639 voice-over 629 volume adjusting in Audio Mix tool 564 adjusting in the Timeline 575 adjusting while playing 573 waveform plots, displaying 561 Audio clips marking 454 Audio Data command (Timeline Fast menu)

561
Audio effect tools, accessing 553 Audio EQ (Equalization) adjusting while playing 610 templates 608 Audio EQ command (Tools menu) 593 Audio EQ tool EQ effect in 596 examples of uses 604 Fast menu options 599 features of 596 opening 593 saving effects 601 Audio file format for audio input 199 Audio file types brief description of 812 Audio Gain Automation deleting keyframes in 579 enabling and adding keyframes in 577 recording 589 Tool window 582 using an external fader controller 580 Audio I/O device 860

660
AudioSuite plug-ins D-FX and D-Fi plug-ins 770 calibrating global output levels 660 crossfading 636 dipping 638 dissolves 636 eight-channel input 199 EQ templates 606 fading 636 file formats (General settings) 86 format heading in Avid logs 824 input settings described 186 levels fine-tuning with add edit 635 mixdown 639 pan adjusting in Audio Mix tool 564 pitch shift 619 punch-in 629

adjusting output on 662 calibrating described 208 calibrating input channels for 211 calibrating output channels for 213 changing hardware calibration 210 Audio input establishing sync for 201 preparing for 199 Audio leader creating 350 Audio Mix command (Tools menu) 564 Audio Mix tool adjusting volume and pan on a single track 566 on multiple tracks 568 Fast menu options 568 Audio Mixdown command (Special menu) 639 Audio Mixdown Parameters dialog box 640 Audio Project settings adjusting 202 Audio Punch In tool 629 Audio settings Digital Scrub options 559 Audio Settings dialog box 560 Audio Setup display 205 Audio tool Calibrate mode 212 described 205 digital scale, defined 207 features, described 205 reference level, adjusting 207 setup options 205 volume meters, defined 207 volume unit scale, defined 207 Audio Tool command (Tools menu) 205 Audio volume adjusting in Audio Mix tool 568 adjusting in the Timeline 577 adjusting while playing 574 Audio volume rubberbanding 575 AudioSuite plug-ins 611 861

applying 611, 614 BNR (Broadband Noise Reduction) 769 Compressor 784 core plug-ins 767 creating new master clips 619 DC Offset Removal 774 D-FX and D-Fi plug-ins 770 Digidesign D-Fi 770 Digidesign D-FX 770 Duplicate 771 EQ 782 Expander/Gate 791 Focusrite D3 769 Gain 772 Gate 790 installing (Macintosh) 612 installing (Windows) 611 Invert 771 limitations 627 Limiter 787 Maxim 770 Mod Delay 795 Normalize 772 Pitch Shift 778 Reverse 773 supported 767, 768 Time Compression Expansion 774 troubleshooting 627 Autodigitizing procedure 243 Automation Gain connecting a fader 831 Fast menu 587 keyboard shortcuts 590 selecting tracks in 587 Automation Gain tool Fast menu options 587 Auto-Save options (Bin settings) 84 Autosyncing clips 641 Auxiliary timecode 433 Auxiliary timecode headings

in Avid logs 824 AVI file format description 808 import and export specifications for 811 AVI (Avid Codec for AVI) export specifications 811 exporting files with described 737 import specifications 811 installing 740 Avid Calculator using 118 Avid Codec for QuickTime 810 described 730 Avid Controller 126 Avid Log Exchange (ALE) 140 converting log files with (Windows) 140 converting shot log files with (Macintosh)

Avid QuickTime files 810 Avid System Test Pro 124 Avid Unity 757 Avid Xpress application quitting 54 AvidLinks 692 AvidProNet accessing 59 description 59

B
Backing up media files 372 project information, described 52 project information, to a drive or floppy disk

148
converting with drag-and-drop (Macintosh)

52
Backtiming edits 517 Backup options (Bin settings) 84 Bandwidths in Audio EQ tool 596 Bars importing 347 recording 666 Bars and tone, preparing 346 Batch digitizing clips 257 from logged clips 256 preparing for 256 procedure 257 unattended, preparing for 257 Batch Record command 258 Bin Column Selection dialog box 314 Bin Fast menu opening 308 Bin settings 83, 84 Attic files setting 84 Auto-Save options 84 backup options 84 Bin views 862

151
converting with drag-and-drop (Windows)

146
Avid logs audio format heading in 824 clip data in 826 creating 821 custom headings in 824 data headings in 826 formatting guidelines 820 fps (frames per second) heading in 825 global headings in 822 importing 819 Log Right format 820 sample created with text editor 829 shot log files 129 specifications 820 standard headings in 823 timecode headings in 824 Avid MCXpress for Windows NT importing files from 814 Avid Production Network 59

custom 306 customizing 306 described 302 Frame view 304 Script view 305 Text view 303 types of 306 Bins adding customized columns in 329 aligning columns 325 arranging text columns 324 Bin View pop-up menu 306 changing background color 340 changing custom column headings in 329 choosing a target bin 181 closing 70 creating new 69 deleting 70 deleting columns in 327 display view for 302 displaying in Project window 66 duplicating clips and sequences in 310 duplicating columns in 327 finding from the Script window 420 getting information about 121 hiding columns in 326 logging directly into 152 modifying information about 158 opening 69, 70 organizing a project with 298 organizing with 308 preparing for recording 236 printing 345 renaming 69 selecting clips and sequences in 310 selecting offline items in 321 setting clip display in 300 setting the font 309 viewing a list of 63 Bins display in Frame view 65 863

in Project window 66 in Script view 66 in Text view 64 Bit depth defined 802 Black holes in Timeline described 519 finding 519 Blank button, using 115 BMP file format additional export options 747 brief description of 799 import specifications for 803 BNR plug-in 769 Buttons Add Locator 458 Blank 115 In/Out (Audio tool) 206 mapping user-selectable 114 Mark Locator 462 Monochrome/Color Selection 187 Output Control (Audio tool) 206 Reset Peak (Audio tool) 206 Bypass volume settings 573

C
Calculator using 118 Calibrate command (Peak Hold pop-up menu)

212
Calibrate Hardware Sliders command (Automation Gain Fast menu) 588 Calibrating audio I/O device 211 for video output 654 global output levels 660 phase controls 656 table of luminance settings 218 using basic video output 655

using test patterns 655 video input 218 with passthrough signals 657 Calibration tone setting 659 Camera setups in the lined script 384 CCIR video levels Import settings 274 Changing font in the Script window 394 page and scene numbers in the Script window 400 representative frame in takes 411 Channel dialog box 168 Choosing a user 46 Chyron file format brief description of 799 import specifications for 803 Cineon file format additional Export options 748 brief description of 799 import specifications for 803 Clear Menu command (Monitor menus) 438 Clear Monitor command (Monitor menus) 437 Clearing clips from monitors 437 Clip data in Avid logs 826 Clip information in Text view 323 modifications table 160 moving 430 Clip Information window displaying 430 moving 430 opening from a Script window 392 Clip Name menus using 436 Clip names adding during recording 237 setting the font and point size 434 Clipboard 864

copying to 485 preserving contents of 486 recovering material from 486 Clips batch digitizing 257 clearing from monitors 437 consolidated, relinking 370 copying 312, 485 cueing 440 deleting 313 duplicating 310 entire, marking 453 exporting 681 extracting 485 finding 467 group clips 363 highlighting offline media in Timeline 318 lifting 484 linking to script 402 loading in Source pop-up monitor 435 locating using Match Frame 468 logged, batch digitizing from 256 marking IN and OUT points 450 master clips 260 master clips, redigitizing 260 moving 311 playing back 440 rearranging 324 selecting in bin 310 selecting unreferenced 323 sifting 318 slipping or sliding in Trim mode 542 sorting 337 sorting by color 317 subcataloging 112 subclips 260, 457 viewing 440 Codecs Avid AVBV NuVista Codec for QuickTime

730
Avid Codec for AVI 737

Avid Codecs for QuickTime 730 third-party 741 Color 414 applying 414 changing background in bins 340 choices, limited 317 choosing in Digitize tool 187 color column, adding to bin 314 custom source color, assigning 315, 316 removing 414 sifting by 317 sorting by 317 Color bars importing 347 in Dupe Detection 517 Color digitizing 187 Color indicators (script integration) adding to takes 414 described 386 Columns adding customized 329 adding customized in bins 329 aligning in bins 325 arranging in bins 324 changing custom heading 329, 331 deleting in bins 327 duplicating in bins 327 hiding in bins 326 moving within cells 331 multilevel sorting with 339 showing in bins 326 Command palette activating commands from 118 for quick edits in Timeline 528 mapping 116, 851 using 111 Composer monitor changing background color 426 clearing sequences from 437 customizing 426 hiding video in 439 865

resizing 438, 440 setting font for 434 viewing clips in 435 Compression and image quality 223, 224 and resolutions 223, 224 defined 223 mixed 227 ratios 225 specifications 225 Compression ratios defined 224 disk striping requirements 224 mixing 227 single-field 224 specifications 226 storage in minutes per gigabyte 231 two-field 224 Compression resolutions single-field 224 two-field 224 Compressor AudioSuite plug-in 784 Computer turning off 55 Configuring a video server 762 Console window getting information with 121 using 120 Consolidating media files defined 358 group clips 363 procedure 361 Context menus (Macintosh) 58 Context menus (Windows) 58 Converting shot log files with Avid Log Exchange 148 Copy to Clipboard button 486 Copying clips 312 text in the Script window 397 to Clipboard 485

Countdown creating a custom display 671 Crash recording procedure 665 Creating audio leader 350 autosynced subclip 642 instant rough cut 479 video leader 349 Creating a new tape name with a keystroke 264 Creating DVD files 695 Crossfading audio 636 Custom headings in Avid logs 824 Custom Sift command (Bin menu) 318 Customizing bin views 306 Customizing the Timeline 499 Cutaways, marking with locators 459 Cutting text in the Script window 397 Cycling through tracks 509

Preroll option 174 Decks controlling from the keyboard 263 Default Function Buttons 849 Delete Take command (Script menu) 409 Deleting clips and sequences 313 locators 462, 466 page and scene numbers in the Script window 401 script marks 419 slates in the Script window 408 takes in the Script window 410 text in the Script window 398 tracks in Timeline 513 Deselecting segments in Timeline 523 Desktop basics 33 working with 34 Device Code option (VTR Emulation settings)

D
DAE (Digidesign Audio Engine) described 612 starting and quitting 613, 614 Data headings in Avid logs 826 DC Offset Removal AudioSuite plug-in 774 Deck Configuration settings Add Channel options 168 changing 172 deleting 171 in Settings scroll listr 166 Deck control setting ports 125 Deck preferences options 175 settings 174 Deck settings Fast Cue option 174 for configuring decks 170 options 174 866

678
Diagnostic utility (Hardware tool) 124 Dialog boxes AAF export options 706 Add Page 399, 400 Add Scene 399, 400 Archive to Videotape 375 audio export settings 743 Audio Mixdown Parameters 640 Audio Settings 560 AVI export options 726 AVI Video Compression 729 Avid Codec for QuickTime Configuration

736
AvidLinks Export to 694 Batch Import 286, 290 Bin Column Selection 314 Export As 687, 713, 717, 723, 731, 734, 742,

744
Export Settings 698, 699, 723 Export Settings, Quick Time 715

Font Selection 394 Left Margin 394 Movie settings 717 Name of This View (bin) 308 navigating in 109 OMFI Settings 703 Quick Dissolve 636 QuickTime Movie Settings 717 QuickTime Reference Settings 710 Restore from Videotape 379 Save Export Setting 709, 725, 733, 736, 739,

755
Set Bin Display 300 Tape Lengths 376 Video Compression 738 Video Mixdown 685 View Name (bin) 308 Dialog in the lined script 384 Digidesign AudioSuite plug-ins 611 Digidesign D-Fi plug-in 770 Digidesign D-FX plug-in 770 Digital audio scrub adjusting parameters for 558 compared to smooth audio scrub 555 using 558 Digital Audio Scrub options (Audio settings)

559
Digital bars and tone, preparing 346 Digital cut previewing 670 recording to tape 673 Digital scale (Audio tool) defined 207 Digitize settings selecting 166 using 193 Digitize tool choosing a resolution in 180 choosing monochrome or color in 187 Digitizing across timecode breaks 191 867

and logging at the same time 237 autodigitizing 243 batch digitizing 256, 257 described 235 from a non-Avid-controlled deck 248 from an IN point to an OUT point 238 master clips and subclips 260 Monochrome/Color Selection button 187 on-the-fly 241 patching during 255 preparing for 163, 235 Audio Tool setup 205 preparing the hardware for 164 redigitizing 260 selecting drives for 228 to multiple media files 188 to the Timeline 254 using time-of-day 250 with external timecode 250 Digitizing settings described 193 Dipping audio 638 Disk space estimating 230 estimating for audio 231 for rolling titles 232 NTSC/PAL equivalency for estimating 231 planning 230 Disk striping in relation to compression ratios 224 Displaying frames in Locators window 465 locator comments 462 Displaying take numbers in slates 411 Dissolves audio 636 Dominance Import settings options 274 Drag-and-drop method exporting with 689 importing with 280

Drive filtering option (General settings) 86 Drive striping requirements for specific compression ratios 226 Drives Media Creating settings 228 selecting for digitizing 228 single, targeting 182 target, selecting 182 Dupe checking 495 Dupe detection 517 Dupe Detection Handles option (Timeline settings) 495 Duplicate AudioSuite plug-in 771 Duplicate frames detecting 517 Duplicating clips and sequences 310 DVD, creating a 695

E
Edit controller, with VTR play emulation 677 Edit decision list (EDL) 675 Edit session ending 53 Editing with the Script window 421 Edits adding (match-framing) 514 backtiming 517 copying to Clipboard 485 extending 541 Extract 484 first edits, described 471 first, making 477 instant rough cut procedure 479 Lift 484 nesting, defined 531 Overwrite 482 Replace 483 Segment mode 520 splice-in 481 868

undoing or redoing 480 EDL Manager 675 Effects Audio EQ 593 mapping buttons for 113 types of 530 Eight-channel audio board systems adjusting output on 662 Eight-channel audio input 199 Ejecting drives (Macintosh) 57 drives (Windows) 56 Ejecting tapes with a button or key 265 End key 447 Enlarge Frame command (Edit menu) 405 Entering Trim mode 534 EQ AudioSuite plug-ins 782 EQ effect adjusting while playing 610 applying 596 removing 602 templates for 606 ERIMovie file format additional export options 748 brief description of 808 import specifications for 809 Expander/Gate AudioSuite plug-in 791 Export settings options for specific file types 745 Video Compression options 743 Exporting Advanced Authoring Format (AAF) 704 DVD files 695 graphic files 743 graphic files, specifications for 802 MPEG-2 files 752 OMFI files, described 700 OMFI files, methods for 701 preparing for 683 Quick Time Movie files 715 QuickTime Movie 712

QuickTime Reference Movie files 706 Targa files 751 Wavefront files 751 YUV files 752 Exporting Avid AVI files (Windows) 723 Exporting files preparing for 683 preparing for OMFI export 683 procedure for 686 reasons for 682 using drag-and-drop method 689 using OMM 697 with Avid Codec for AVI 724 with Avid Codec for AVI, described 737 with Avid Codec for AVI, procedure for 737 with Avid Codec for QuickTime 713, 717 with Avid Codec for QuickTime, installing

740
with Avid Codecs for QuickTime 730 Exporting shot log files 161 Extending an edit 541 External timecode digitizing with 250 Extract button 485 Extract edits 484

F
Factory presets using for video output 654 Fader, connecting to a system 831, 833 FaderMaster Professional fader controller recording audio gain 591 supported 580 Fading audio 636 Fast Cue option (Deck settings) 174 Fast Menu button 455 Fast menus Locators window 463 Field dominance 869

Import Settings options 274 Field ordering 814 Fields stepping forward and backward by 444 File management 352 Files exporting procedure for 686 reasons for 682 using drag-and-drop method 689 guidelines for importing 267 importing mixed resolutions 267 importing using drag-and-drop method 280 procedure for importing 276 specifications for importing animation 808 specifications for importing graphics 802 specifications for importing OMFI 813 Filler adding during a trim 547 adding to a sequence 476 setting duration of 529 FilmScribe 676 Filter Automation Gain command (Automation Gain Fast menu) 588 Find Bin button in the script window 420 Find command (Edit menu) 402 Find Script button 420 Finding bins from the Script window 420 black holes in Timeline 519 flash frames in Timeline 519 frames with timecode 468 related media files 365 script from marked takes 420 text in the Script window 402 Focusrite D3 plug-in 769 Font changing in the Script window 394 setting for bins 309 setting for clip name 434

Font Selection dialog box 394 Footage clearing marks from 452 displaying current position 427 loading into monitors 435 marking and subcataloging 450 viewing and playing 425 fps (frames per second) and storage requirements 231 heading in Avid logs 825 Frame count total 118 Frame view changing frame size in 341 defined 304 in Media tool 353 rearranging frames 342 using 339 Frame View button 304 Frames accessing in footage 441 arranging in bin 343 changing frame identifying clip 342 cueing by frame offset timecode 467 duplicate, detecting 517 enlarging or reducing 341 exporting 683 flash frames, finding 519 rearranging in Frame view 342 Framestore file format brief description of 799 import specifications for 803 Frequencies (audio), adjusting 593 Full chroma digitizing 187 Full-screen image size defined 802

Ganging multiple tracks in the Audio Mix tool 570 multiple tracks on an external fader 836 Gate AudioSuite plug-in 790 General Digitize settings using 193 General settings 84, 85 audio file formats 86 drive filtering options 86 Global headings in Avid logs 822 Global settings Import 268 Going to scene or page numbers 401 Goto Page command (Script menu) 401 Goto Scene command (Script menu) 401 Graphics (image) files field ordering in 814 recommended field settings 816 Grass Valley Group Profile video server 761 Group clips consolidating 363

H
Hardware command (Tools menu) 122 Hardware tool checking system configuration with 122 displaying 101 using 122 HDTV displaying 16:9 427 Head leader creating audio 350 creating video 349 Headings command (Bin menu) 314 Hiding bin columns 307 slate frames 406 video in Composer monitor 439 High shelf in Audio EQ tool 596 870

G
Gain AudioSuite plug-in 772

Highlighting offline media clips 318 Home key 447

I
IFF file format brief description of 799 import specifications for 804 Ignoring pan settings 572 Ignoring volume settings 573 Image quality for specific compression ratios 226 Import settings alpha channel options 275 aspect ratio options 273 CCIR video levels 274 creating and using 268 dominance options 274 modifying 270 new, creating 268 options for 270 RGB graphics levels 274 Importing a script 391 animation files 808 color bars 347 graphics files 802 OMFI files 804, 813 Targa files 807 TIFF files 807 Wavefront files 807 XWindows files 807 YUV files 807 Importing files batch import 286 creating settings 268 described 266 in mixed-resolution projects 267 modifying settings 270 preparing for 267 871

procedure for 276 reimporting 285, 293 settings options 270 using drag-and-drop method for 280 using OMM 281 In/Out buttons (Audio tool) defined 206 Indicating off-screen dialog 413 Info Display window displaying Hardware 101 displaying Memory 100 displaying project information 99 Inhibit Preloading option (VTR Emulation settings) 679 Installing Avid Codec for QuickTime 740 Interface settings 87 access and brief description 92 Invert AudioSuite plug-in 771

J
JL Cooper fader controllers 580 JL Cooper FaderMaster Pro MIDI automation controller 581 brief description 831 ganging 836 testing 833 using 833 JL Cooper MCS-3000X MIDI automation controller 581, 589 brief description 831 ganging 836 testing 833 using 833 JL Cooper Media Control Station3 126, 844 Jog mode described 855 moving through footage in 855 Jog/shuttle wheel 845

Jogging with the mouse 448 JPEG file format additional Export options for 749 brief description of 799 import specifications for 804

K
Keyboard controlling decks with 263 mapping user-selectable buttons to 114 Keys navigating with 109, 447 Keystroke creating a tape name with 264

L
Layering mapping buttons for 113 L-cut 546 L-edit 546 Left Arrow key 447 Left Margin command (Script menu) 393 Left Margin dialog box 394 Lift button 484 Lifting material 484 Limiter AudioSuite plug-in 787 Linear timecode 250 Lined script described 383 Linking clips to script 402 Load Filler command (Clip Name menus) 476 Loading clips and sequences 435 filler 476 footage 435 Locators accessing in sequence or clip 465 872

adding while editing 460 deleting 462, 466 displaying comments 462 icon, changing color of 465 marking an area with 462 moving to previous or next 461 using 458 Locators Fast menu 463 Locators window displaying frames in 465 printing 466 sorting locators 464 using 463 Locking items in bin 320 Locking tracks described 510 procedure 511 Log Right log format 820 Logging and recording at the same time 237 described 129 directly to a bin 152 preroll 130 timecode 130 tips for 129 with a non-Avid-controlled camera or deck

155
with an Avid-controlled camera or deck 152 Logs adding memory mark to 132 converting with ALE (Avid Log Exchange)

140
converting with drag-and-drop method 146 creating 135 double-checking 132 preparing for import 133 shot log files 129, 136, 140 Low shelf in Audio EQ Tool 596 LTC (longitudinal timecode) digitizing with 250

M
Maintaining sync with Add Edit 650 Managing bins 73 folders 73 media files 352 Mapping menu commands 116 modifier keys 115 shifted function 851 unshifted function 851 user-selectable buttons 114 Mark Locator button 462 Marking audio clips 454 entire clips or segments 450 IN and OUT points 239, 450 segments 453 with locators 458, 462 Marquee importing materials finished with 285 Master clips redigitizing 260 Master shot in the lined script 384 Match Frame edit (Add Edit) using 468, 469 Matchback using 675 Match-Frame edit removing 515 using 515 Maxim plug-in 770 Maximum shuttle speed 854 MCS3 126 MCS3 controls navigation buttons 845 settings 126 supported 844 MCS-3000X fader 833 buttons 834 873

snap mode feature 835 MCS-3000X fader controller recording audio gain 591 supported 580 Media Cleaner 691 Media files archiving and restoring 372 archiving options 377 backing up 364, 372 consolidating defined 358 procedure 361 deleting 356 finding related 365 loading the database 363 managing 352 manipulating with Media tool 353 moving between systems 758 relinking 366 restore from videotape 378 unlinking 371 Media Illusion, importing materials finished with 285 Media offline relinking 366 Media tool basic features of 353 Media Tool Fast menu 353 MediaLog brief description of 134 transferring bins from 134 MediaManager described 380 Memory marks adding to tape locations 132 Menu commands Adjust Pan/Vols (Audio Mix Fast menu)

569
Adjust Pan/Vols (Audio Mix tool) 569 Adjust Pan/Vols (Automation Gain Fast menu) 588

Audio Data (Timeline Fast menu) 561 Audio EQ (Tools menu) 593 Audio Mix (Tools menu) 564 Audio Mixdown (Special menu) 639 Audio Tool (Tools menu) 205 Calibrate (Peak Hold pop-up menu) 212 Calibrate Hardware Sliders (Automation Gain Fast menu) 588 Consolidate (Bin menu) 361 Custom Sift (Bin menu) 318 Filter Automation Gain (Automation Gain Fast menu) 588 Hardware (Tools menu) 122 Headings (Bin menu) 314 Load Filler (Clip Name menus) 476 mapping 116 Modify (Clip menu) 158 Remove Automation Gain (Automation Gain Fast menu) 588 Remove Clip Gain (Audio Mix Fast menu)

570
Remove Clip Gain (Audio Mix tool) 570 Remove Pan (Audio Mix Fast menu) 570 Remove Pan (Audio Mix tool) 570 Remove Pan (Automation Gain Fast menu)

588
Remove Pan/Vols (Audio Mix Fast menu)

570
Remove Pan/Vols (Automation Gain Fast menu) 588 Serial (COM) Ports (Tools menu) 125, 679 Set Font (Edit menu) 394 Set Level (Audio Mix tool) 569 Set Pan (Audio Mix Fast menu) 569 Set Pan (Automation Gain Fast menu) 588 Set Reference Level (Peak Hold pop-up menu) 207 VTR Emulation (Clip menu) 680 www.AvidProNet.com (Help menu) accessing Web site 59 Message No MCS3 found 858 874

Meters, volume 207 Mixed resolutions 267 Mixing compression ratios 227 Mixing down audio 639 Mod Delay AudioSuite plug-ins 795 Modifier keys, mapping 115 Modify command (Clip menu) brief description of 158 using 159 Modifying bin information 158 clip information 332 data directly 333 data with Modify command 335 Monitors clearing 437 resizing 438 Mono option (audio) 640 Motion effects described 530 Mounting drives 57 Mouse jogging with 448 shuttling with 448 Moving clips and sequences 311 projects between systems 758 script marks 419 settings between systems 760 slates in the Script window 408 MPEG-2 Export 752

N
Name of This View dialog box (bin) 308 Navigating in dialog boxes 109 with Home, End, and Arrow keys 447 Navigation buttons

described 849 MCS3 controls 845 Nesting described 531 Normalize AudioSuite plug-in 772 NTSC (National Television Standards Committee) video waveform values 218 NTSC frame resolution for imported files 803 NTSC-EIAJ 86 waveform values 218

O
Offline editing detecting duplicate frames during 517 Offline media highlighting 318 selecting in bins 321 Offline media indicator in Timeline 318 Off-screen dialog in the lined script 384 indicating in the Script window 413 Off-screen indicators (script integration) adding to takes 413 described 386 OMFI file format brief description of 799 OMFI files additional export options for 749 described 700, 701 import specifications for 804, 813 methods for exporting 701 preparing to export 683 OMM described 281 import and export settings 284 importing files with 281 specifying settings 282 Opening the Tool palette 455 Operator pop-up menu (Sift Parameters dialog 875

box) 319 Optional equipment video server 761 Organizing with bins 298 Output options 652 preparing for 652 Output Control button (Audio tool) defined 206 Overlap edits creating 546 Overwrite button 482 Overwrite edits 482

P
Page and scene numbers (Script window) adding 399 changing 400 deleting 401 searching for 401 Page Down keys navigating with 109 Page Up keys navigating with 109 PAL (Phase Alternating Line) video waveform values 218 PAL frame resolution for imported files 803 Palette, tool 455 Pan adjusting defaults 299 adjusting in Audio Mix tool 588 modifying 572 Pan adjustment 566 ignoring 572 Parametric midrange in Audio EQ tool 596 Passthrough signals calibrating with 657 Patching tracks in Timeline 512 PCX file format

brief description of 799 import specifications for 804 Peak Hold pop-up menu (Audio tool) defined 207 Phase controls adjusting for output 656 Photo CD file format brief description of 799 import specifications for 805 Photoshop file format additional export options for 749 brief description of 800 import specifications for 805 PICS sequence import specifications 809 PICT file format additional export options for 750 brief description of 800 import specifications for 805 Pitch Shift AudioSuite plug-in 619, 778 Pixar file format brief description of 800 import specifications for 805 Play Length "In Use" indicator 449 Play tab Play Length Toggle button 449 Playback controlling 440 performance tips 489 with audio scrub 555 Playback loop starting 489 Playing Play Length function 449 Plug-ins AudioSuite 611 dialog box 617 Fast menu 618 PNG file format additional export options for 750 brief description of 800 import specifications for 805 876

Position bar using in the Timeline 441 Position indicator using in the Timeline 441 Preparing sequences for export 683 to digitize 163 Preroll option (Deck settings) 174 Previewing a digital cut 670 Printing bins 345 locators 466 the Timeline 531 Profile video server 761 Project window bins display 62 closing 61 Info display, using 99 opening 61 settings display 80 working with 60 Projects backing up 52 closing 51 creating new 48 moving between systems 758 nesting in folders 49 opening 45, 47 opening in Avid Xpress 49 relinking media files for 371 restoring from backup 53 saving 52 selecting 47 starting 44

Q
QRT file format brief description of 800 import specifications for 806

Quick Dissolve dialog box 636 QuickTime application exchanging files with 756 QuickTime export described 730 QuickTime file format import and export specifications for 810 Quitting the Avid Xpress application 54

Remove Automation Gain command (Automation Gain Fast menu) 588 Remove Clip Gain command (Audio Mix Fast menu) 570 Remove Pan command (Audio Mix Fast menu)

570
Remove Pan command (Automation Gain Fast menu) 588 Remove Pan/Vols command (Audio Mix Fast menu) 570 Remove Pan/Vols command (Automation Gain Fast menu) 588 Removing color indicators (Script window) 414 off-screen indicators (Script window) 413 text from the Script window 398 Renaming bins 69 settings 95 Rendition file format brief description of 800 import specifications for 806 Replacing edits 483 Reset Peak button (Audio tool) defined 206 Resizing Composer monitor 440 monitors 438 slates in the Script window 405 Resolutions and compression 223 choosing in Digitize tool 180 mixing 227 single-field 224 two-field 224 video, setting 228 Resolutions, mixed 267 Restore from Videotape dialog box 379 Restoring media files from videotape 378 projects from backup 53 877

R
Rearranging clips 345 Recording a digital cut 673 and logging at the same time 237 bars and tone 666 frame-accurate digital cuts 667 manually 665 setting only mark IN 240 storage guidelines 230 Recording voice-over narration 629 Redigitizing batch digitizing 260 described 260 master clips and subclips 260 Redigitizing sequences procedure 262 saving two versions 261 Reduce Frame command (Edit menu) 406 Reference level (Audio tool) adjusting 207 Reimporting files described 285 starting (Macintosh) 295 starting (Windows) 293 using Batch Import dialog box 286 Relinking consolidated clips 370 media files 366 moved projects 371

Restricted characters, file names 46 Reveal File command (File menu) 365 Reverse AudioSuite plug-in 773 RGB graphics levels Import settings 274 Right Arrow key 447 Rollers 534 Rough cut creating 479 Rubberbanding in Audio Gain Automation 575 Runup option (VTR Emulation settings) 679

S
Saving custom bin views 307 Scanning for tapes 249 Scene and page numbers (Script window) adding 399 changing 400 deleting 401 searching for 401 Screen resolution 223 Script integration color indicators in 392 described 385 elements of 386 for video projects 387 importing a script for 391 lining conventions in 383 off-screen indicators in 392 workflow 387, 421 Script marks 392 adding 415 adding during automatic screening 416 deleting 419 described 386, 414 moving 419 using to find script 420 Script settings modifying 389 878

options 389 Script view defined 343 entering 344 rearranging clips in 345 Script window 392 adding color indicators to 414 adding takes in 410 adjusting margins in 393 adjusting take lines in 412 basics 388 deleting slates in 408 deleting takes in 410 displaying Clip Information from 392 displaying take numbers in 411 editing with 421 finding bins from 420 hiding slate frames in 406 indicating off-screen dialog in 413 linking clips to 402 moving slates in 408 opening, closing, saving 392 resizing slates in 405 screening and marking in 416 searching through 398 splicing a range of script from 422 Scripts 392 adding page and scene numbers to 399 changing font in 394 changing scene or page numbers in 400 cutting, copying, and pasting text in 397 deleting page or scene numbers in 401 editing, workflow for 421 importing into Script windows 391 interpolating position in 405 linked to loaded clip 420 linking clips to 402 manipulating text in 394 playing marked segments in 418 removing text in 398 revising 423

searching for text in 402 selecting text in 395 Scrubbing (audio) 555, 560 Searching for page and scene numbers in the Script window 401 in the Script window 398 Segment mode deleting segments 526 Extract/Splice-in edits 524 Lift/Overwrite edits 525 Segments cutting, copying, and pasting in Timeline

530
deselecting in Timeline 523 selecting in Timeline 521, 522 Select Tape dialog box 249 returning to previous 265 Selecting projects 47 text in the Script window 395 unreferenced clips 323 Sequenced PICS files import specifications for 809 Sequences adding tracks to 474 changing start timecode for 474 clearing from monitors 437 copying 485 cueing 440 deleting 313 duplicating 310 editing clips into 481 exporting 681 extracting 485 lifting 484 loading in Composer monitor 435 moving 311 new, setting up 471 new, starting 472 output options for 652 879

placing into clipboard 486 playback loop in 489 playing 440, 488 recovering from clipboard 487 redigitizing 260 sifting 318 switching between 436 viewing 440 Serial (COM) Ports tool enabling VTR emulation in 679 opening 125 specifying a controller in 125 Set Bin Display command 300 Set Bin Display dialog box 300 Set Font command (Edit menu) 394 Set Level commands (Audio Mix Fast menu)

569
Set Pan command (Automation Gain Fast menu) 588 Set Pan commands (Audio Mix Fast menu) 569 Set Reference Level command (Peak Hold pop-up menu) 207 Setting up decks 166 Settings AAF export 706 Audio export 743 audio pan default 299 basic 83 bin 83 bin display 300 button 80 copying 97 deck 172 deck configuration 166 deck preferences 174 defined 80 defining 82 deleting 97 digitize 193 displaying 88 duplicating 95

export 699 general 84 import 268, 272 interface 87 keyboard 445 modifying 94 moving between systems 98, 760 naming 95 OMFI export 703 selecting 94 selecting for recording 165 site settings 98 Timeline 494 trim 532 types of 81 video server 762 working with multiple 94 workspace 105 Settings scroll list description of 91 using 81 Settings window 846, 850 Setup Control button (Audio tool) defined 206 SGI file format additional export options for 750 brief description of 800 import specifications for 806 Shifted function, mapping 851 Shot log files 129 converting with Avid Log Exchange 140,

148
exporting 161 importing 136 Shot logs 129 Show All Takes command (Script menu) 407 Show Frames command (Script menu) 406 Shutting down computer 55 Shuttle mode described 854 speed options 854 880

Shuttling with the mouse 448 Sifting by color 317 Single-field compression ratios 224 Single-field step 444 Site settings moving between systems 760 Slates 392 Slates (script integration) creating 403 deleting 408 described 386 hiding frames in 406 manipulating 405 moving 408 resizing 405 selecting 405 showing one take in 407 Slipping and sliding clips in Trim mode 542 Smooth audio scrub compared to digital audio scrub 555 performing 557 Softimage file format brief description of 800 import specifications for 806 Soloing system channels 842 Soloing tracks monitoring in Timeline 509 Sorting clips 337, 338 multilevel with columns 339 Sorting by color 317 Sorting clips 337 Source material loading into monitors 435 Source pop-up monitor resizing 438 viewing clips and sequences in 435 Space bar navigating with 109 Specific File Type options (Export settings) 745

Specifications for Avid log 820 Splice-in button 478 Splice-in edits 481 Splicing a range of script 422 Split edit creating 546 Standard heading in Avid logs 823 Start timecode changing 474 Stepping backward by field 444 forward by field 444 Storage estimates in minutes per gigabyte 231 estimating 230 estimating for audio 231 for rolling titles 232 NTSC/PAL equivalency for estimating 231 planning 230 requirements for 230 Storyboard editing from the Script window 422 Subcataloging footage 450 Subclips creating with Make Subclip button 457 redigitizing 260, 261 Sun Raster file format brief description of 800 import specifications for 806 Supporting Files folder, defined 39 Sync digital signal, checking for 201 for audio-only input 201 maintaining during trim 547 preparing for output 653 Sync breaks avoiding 644 fixing 644 managing 643 Sync lock maintaining 646 using 646 881

Sync locking tracks 510 Syncing with locators 648 with tail leader 647 Sync-locked tracks trimming with 548 System channels, soloing 842 System information displaying 120

T
Tab key navigating with 109 Tail leader creating audio 350 creating video 349 Takes 392 Takes (script integration) adding 410 adjusting lines in 412 applying color indicators to 414 applying off-screen indicators to 413 changing representative frame for 411 deleting 410 described 386 displaying numbers for 411 loading 412 manipulating 409 playing 412 removing color indicators from 414 removing off-screen indicators from 413 selecting 409 showing one per slate 407 Tape deck 152 Avid-controlled, logging with 152 non-Avid-controlled, logging with 155 Tape Lengths dialog box 376 Tape name creating new with a keystroke 264

Tape name, finding 249 Tapes ejecting 265 naming for logs 131 naming from keyboard 264 recording a digital cut to 673 returning to previous tape 265 Targa file format additional Export options 751 brief description of 800 import specifications for 807 Target bin choosing 181 Target drives selecting 182 Tearing off the Tool palette 455 Test patterns, importing 347 Text editor creating Avid logs with 821 Text in the Script window changing font of 394 cutting, copying and pasting 397 linking clips to 402 removing 398 searching through 398 selecting 395 Text search in the Script window 402 Text view arranging bin columns in 324 copying information between columns 337 managing clip information in 331 modifying clip information in 332 using 323 Text view (bin display) defined 303 in Media tool 353 Text View button 303 Tidying up frames 343 TIFF file format additional Export options 751 brief description of 800 882

import specifications for 807 Time Compression Expansion AudioSuite plug-in 619, 774 Timecode changing 474 default starting 85 digitizing with time-of-day 250 displaying 432 external 250 headings in Avid logs 824 table of display options 433 using to find a frame 468 Timeline adding offline media indicator 318 Bin editing into 527 controlling movement in 504 copying in 530 customizing 491, 497 cutting in 530 displaying detail in 503 Dupe Detection Handles option 495 dupe detection in 517 first edit displayed in 479 navigating in 502 pasting in 530 printing 531 saving a custom view 499 setting scroll option 500 settings, Display tab 494 settings, Edit tab 494 Top and Tail commands 528 Track Selector panel, using 505 viewing clips in 435 Timeline Fast menu options 496 using 495 Timeline View setting replacing 499 restoring default 501 Timeline View settings saving custom view 499

Time-of-day timecode external source 251 Tips logging 129 Tone recording 666 setting calibration 659 Tool palette 455 Tools Audio 205 Audio EQ 575, 593 Audio Mix 564 Audio Punch-In 629 Avid Calculator 118 Console 120 Digital Cut 668 Hardware 122 Media 353 Serial (COM) Ports 125 Video Output 654 Tools menu 110 Top and Tail commands in Timeline 528 using 529 Tracking format options 428 Tracking information displaying 427 Tracks adding 474 audio, mixing down 639 changing color in Timeline 498 cycling through 509 deleting 513 enlarging in Timeline 498 ganging in the Audio Mix tool 570 ganging on an external fader 836 locking 510 monitoring in Timeline 507 patching in Timeline 512 reducing in Timeline 498 selecting in Timeline 506 883

solo, monitoring in Timeline 509 source, selecting 179 sync locking 510 sync-locked, trimming with 548 TransferManager described 381 Transferring projects between systems 758, 760 settings between systems 760 Transferring video to a video server 763 to an Avid system 765 Transitions adding in Trim edit 536 audio, fine-tuning 636 Transparency adding to a graphic image 801 Trim maintaining sync during 547 sides, selecting 542 with sync-locked tracks 548 Trim edit adding black during 547 maintaining sync during 549 on-the-fly 540 reviewing with Edit Review button 539 reviewing with Play Loop button 539 selecting additional transitions for 536 selecting transition sides for 536 slip or slide procedures 542 Trim mode basic procedures 533, 538 described 532 entering 534 exiting 535 Trim pots adjusting 212 Trimming edit for video tracks 541 Turning off computer 55 Turnover points in Audio EQ tool 596

Two-field compression ratios 224

U
Unity 757 Unlinking media files 371 Unreferenced clips, selecting 323 Unshifted function, mapping 851 User identifying 46 selecting another 94 User-selectable buttons Add Dissolve 636 Add Edit 635 Add Locator 460 Find Script 420 mapping 114 Mark Locator 462

V
Video hiding in Composer monitor 439 input settings described 186 leader creating 349 using to maintain sync 647 monitoring in Timeline 507 Video compression defined 223 Video Compression options (Export settings)

743
Video deck 152 logging with a non-Avid-controlled 155 logging with an Avid-controlled 152 Video Input tool saving a custom default setting 221 Video levels adjusting without color bars 222 884

Video mixdown 684 Video output calibrating for 654 Video resolutions guidelines for use 223 Video servers configuring 762 described 761 transferring media from 765 transferring media to 763 Video streams defined 225 Video tracks trimming 541 Video transfers with video server 761 Videotape archiving media files with 372 restoring media files from 378 View Name dialog box (bin) 308 Viewing and marking footage described 425 Views Bin 306 Frame 304 saving a custom Timeline 499 Script 343 script, entering 344 Text 303 VITC (vertical interval timecode) NTSC 223 PAL 224 Voice-over narration 629 Volume adjusting in the Audio Mix tool 566 bypassing adjustments 573 in the Timeline 577 recording audio gain 589 while playing an effect 574, 575 Volume meters in the Audio tool, defined 207 in the Timeline 578

Volume unit scale (Audio tool) defined 207 VTR (videotape deck) Avid-controlled, logging with 152 logging with 152 non-Avid-controlled, logging with 155 VTR Emulation setting ports for 679 VTR Emulation command (Clip menu) 680 VTR Emulation settings Device Code option 678 Inhibit Preloading option 679 Runup option 679 VTR play emulation defined 677 setting ports for 679

accessing Web site 59

X
XWindows file format brief description of 801 import specifications for 807

Y
Yamaha 01v digital mixer brief description 831 configuring 839 described 837 ganging 836 initializing 839 operational notes 841 recording audio gain 592 starting Avid Xpress with 840 supported 581 testing 833 using 833 YUV file format additional Export options for 752 brief description of 801 import specifications for 807

W
WAVE file format brief description of 812 option in General settings 86 Waveform plots (audio) 561 Wavefront file format additional Export options 751 brief description of 800 import specifications for 807 Wide screen (16:9) display option 427 Windows NT taskbar, using 35 Workgroup support 380 Workspace assigning buttons to 102, 105 assigning windows to 102 customizing 102 deleting 102 linking to user setting 105, 106 settings 103 switching between workspaces 108 Writing DVD files 695 www.AvidProNet.com command (Help menu) 885

Z
Zooming in the Timeline 503