Avid Media Composer

® ®

User’s Guide

Release 8.0
for the Macintosh® Operating System

a
tools for storytellers™
 © 1990-1996, 1998-1999 Avid Technology, Inc. All rights reserved.

Avid Media Composer User’s Guide • Part 0130-04015-01 Rev. A • May 1999

2
 Contents

Chapter 1 Desktop Basics

About the Media Composer Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Managing Avid Project and Avid User Folders . . . . . . . . . . . . . . . . . 32
About Avid Projects and Avid Users Folders . . . . . . . . . . . . . . . 33
Changing Project and User Names . . . . . . . . . . . . . . . . . . . . . . . . 34
Deleting Projects and User Profiles. . . . . . . . . . . . . . . . . . . . . . . . 35
Retrieving Bin Files from the Attic Folder . . . . . . . . . . . . . . . . . . . . . 35
Starting the Media Composer Application . . . . . . . . . . . . . . . . . . . . . 37

Chapter 2 Starting a Work Session

Opening a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Identifying a User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Setting Up a New User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Selecting an Existing User . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Selecting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Selecting an Existing Project . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Nesting Projects in Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Opening the Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Closing a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Backing Up Your Project Information . . . . . . . . . . . . . . . . . . . . . . . . . 48
Saving Your Project Information . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Restoring from a Backup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Ending a Work Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Quitting the Avid Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

3
 Turning Off Your Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Mounting and Ejecting Media Drives . . . . . . . . . . . . . . . . . . . . . . . . . 52
Ejecting Drives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Mounting All Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Using Context Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Using Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Opening and Closing the Help System . . . . . . . . . . . . . . . . . . . . 54
Getting Help for Windows and Dialog Boxes. . . . . . . . . . . . . . . 54
Getting Help for Screen Objects . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Finding Information with the Help Topics Dialog Box. . . . . . . 56
Using the Contents Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Using the Index Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Using the Find Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
How Help Windows Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Using Buttons in a Help Topic . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Printing Help Topics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Copying from a Help Topic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Changing the Font Size of Help Topics . . . . . . . . . . . . . . . . . . . . 61
Transferring Help to Another Macintosh System. . . . . . . . . . . . 61
Session Check List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Chapter 3 Working with the Project Window

Opening and Closing the Project Window . . . . . . . . . . . . . . . . . . . . . 65
Using the Bins Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Displaying Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Creating a Folder in a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Creating a New Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Renaming a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Opening and Closing a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Opening Selected Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Opening Bins from Other Projects . . . . . . . . . . . . . . . . . . . . . 69
Closing a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Deleting a Bin or Folder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

4
 Viewing Contents in the Trash . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Emptying the Trash in the Bins List . . . . . . . . . . . . . . . . . . . . . . . 71
Managing Folders and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Saving Bins Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Saving Bins Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Using the Settings Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
About Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Defining Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Reviewing Basic Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Bin Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Displaying Project Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Working with Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Selecting Another User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Modifying Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Working with Multiple Settings . . . . . . . . . . . . . . . . . . . . . . . 87
Duplicating Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Naming Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Selecting Among Multiple Settings . . . . . . . . . . . . . . . . . . . . 89
Deleting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Restoring Default Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Copying Settings Between Settings Files . . . . . . . . . . . . . . . 90
Using Site Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Using the Info Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Displaying a Project Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Displaying Usage Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
File Structure and Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Importing the Statistics File into a Spreadsheet . . . . . . . . . 98
Displaying Disk Space Statistics . . . . . . . . . . . . . . . . . . . . . . . . . 100
Viewing Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Accessing the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Customizing Your Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

5
 Creating a New Workspace Setting . . . . . . . . . . . . . . . . . . . . . . . 103
Linking User Settings and Workspaces . . . . . . . . . . . . . . . . . . . 105
Switching Between Workspaces. . . . . . . . . . . . . . . . . . . . . . . . . . 107
Deleting a Workspace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Assigning a Workspace Button. . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Chapter 4 Using Basic Tools

Using the Tools Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Using the Deck Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Using the Command Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
About Button Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Mapping User-Selectable Buttons . . . . . . . . . . . . . . . . . . . . . . . . 115
Using the Blank Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Mapping Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Activating Commands from the Command Palette . . . . . . . . . 118
Using the Avid Calculator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Using the Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Displaying System Information. . . . . . . . . . . . . . . . . . . . . . . . . . 120
Reviewing a Log of Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Getting Information with the Console . . . . . . . . . . . . . . . . . . . . 121
Using the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Using the Serial Ports Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Chapter 5 Logging
Logging Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Logging Preroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Logging Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Naming Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Double-Checking the Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Adding a Memory Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Preparing Logs for Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Transferring Bins from MediaLog for Macintosh. . . . . . . . . . . 129
Converting Logs with Avid Log Exchange. . . . . . . . . . . . . . . . . 130

6
 Drag-and-Drop Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Creating Avid Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Importing Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Logging Directly into a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Logging with an Avid-Controlled Deck . . . . . . . . . . . . . . . . . . . 136
Logging with Non-Avid-Controlled Decks . . . . . . . . . . . . . . . . 140
Modifying Clip Information Before Digitizing. . . . . . . . . . . . . . . . 142
Using the Modify Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Modify Command Options . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Exporting Shot Log Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Chapter 6 Preparing to Digitize

Preparing the Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Selecting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Deck Configuration Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Deleting Deck Configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Setting Deck Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Entering Capture Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Setting Up the Compression Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
About the Color Rate Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Setting Up the Digitize Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Selecting a Deck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Selecting a Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Selecting Source Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Choosing a Resolution in the Digitize Tool. . . . . . . . . . . . . . . . 168
Choosing a Target Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Selecting the Target Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Targeting a Single Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Targeting Separate Drives for Audio and Video . . . . . . . . 170
Interpreting the Time-Remaining Display . . . . . . . . . . . . . . . . 170
Selecting a Custom Preroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Digitizing to Multiple Media Files . . . . . . . . . . . . . . . . . . . . . . . 171

7
 Digitizing Across Timecode Breaks . . . . . . . . . . . . . . . . . . . . . . 175
General Digitize Settings Options . . . . . . . . . . . . . . . . . . . . . . . 176
Preparing for Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Choosing the Audio File Format . . . . . . . . . . . . . . . . . . . . . . . . . 178
Establishing Sync for Audio-Only Input . . . . . . . . . . . . . . . . . . 180
Checking for a Valid Digital Sync Signal . . . . . . . . . . . . . . 181
Adjusting Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Using the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Resizing the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Adjusting the Reference Level . . . . . . . . . . . . . . . . . . . . . . . 186
Choosing a Peak Hold Option. . . . . . . . . . . . . . . . . . . . . . . . 188
Adjusting Audio Input Levels . . . . . . . . . . . . . . . . . . . . . . . 189
Creating Tone Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Using the Console to Check Audio Levels. . . . . . . . . . . . . . . . . 193
Preparing for Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Using the Factory Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
About Video Input Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Before You Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Calibrating Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Saving Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Saving a Custom Default Setting for the Video Input Tool . . 205
Adjusting Video Levels by Eye . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Digitize Preparations Check List . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Chapter 7 Digitizing
Before You Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Special Digitizing Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Logging Errors to the Console . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Creating Subclips On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Adding Locators On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Adding Clip Names and Comments On-the-Fly . . . . . . . . . . . 213
Digitizing and Logging at the Same Time. . . . . . . . . . . . . . . . . . . . . 214
Digitizing from a Mark IN to a Mark OUT . . . . . . . . . . . . . . . . 215

8
 Setting Both Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Setting Only One Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Digitizing On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Autodigitizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Digitizing from a Non-Avid-Controlled Deck . . . . . . . . . . . . . 221
Digitizing with Time-of-Day Timecode . . . . . . . . . . . . . . . . . . . 223
Digitizing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Batch Digitizing from Logged Clips. . . . . . . . . . . . . . . . . . . . . . . . . . 225
Preparing to Batch Digitize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Resizing the Digitize Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Preparing Settings for Unattended Batch Digitizing . . . . 227
Batch Digitizing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Batch Digitize Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . 230
Redigitizing Your Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Redigitizing Master Clips and Subclips . . . . . . . . . . . . . . . . . . 232
Redigitizing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Saving Two Versions of a Sequence When
Redigitizing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Using Decompose When Redigitizing . . . . . . . . . . . . . . . . 233
Redigitizing the Sequence Without Using Decompose. . 235

Chapter 8 Importing Files

Preparing to Import Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Working with Mixed-Resolution Projects . . . . . . . . . . . . . . . . . . . . . 239
Creating and Using Import Settings. . . . . . . . . . . . . . . . . . . . . . . . . . 240
Import Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Importing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Using Drag-and-Drop Method to Import Files . . . . . . . . . . . . . . . . 251
Reimporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
About Reimporting Matte-Key Effects . . . . . . . . . . . . . . . . . . . . 253
Batch Import Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Using Decompose When Reimporting . . . . . . . . . . . . . . . . . . . . 256
Starting the Reimport Process . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

9
Chapter 9 Organizing with Bins
Before You Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Using Audio Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Adjusting Pan Defaults . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Adjusting Default Pan Settings . . . . . . . . . . . . . . . . . . . . . . 264
Using the Center Pan Command. . . . . . . . . . . . . . . . . . . . . . 265
Setting the Bin Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
About Bin Display Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Bin Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Basic Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Setting the Bin Font . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
Selecting Clips and Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . 272
Duplicating Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . 273
Moving Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Copying Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Deleting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Assigning Colors to Bin Objects . . . . . . . . . . . . . . . . . . . . . . . . . 276
Adding a Color Column to a Bin . . . . . . . . . . . . . . . . . . . . . 276
Assigning a Source Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Assigning a Custom Source Color . . . . . . . . . . . . . . . . . . . . 278
Limiting Color Choices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Sifting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Sifting Timecodes or Keycode Ranges . . . . . . . . . . . . . . . . 281
Sifting Within a Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Locking Items in the Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Selecting Offline Items in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Selecting Media Relatives for an Object . . . . . . . . . . . . . . . . . . 286
Selecting Sources Used by an Object . . . . . . . . . . . . . . . . . . . . . 286
Selecting Unreferenced Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Using Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
About Bin Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Customizing Bin Views in Text View . . . . . . . . . . . . . . . . . 289
Arranging Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

10
 Saving a Custom Bin View. . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Managing Clip Information in Text View . . . . . . . . . . . . . . . . . 295
Moving Within Column Cells . . . . . . . . . . . . . . . . . . . . . . . . 295
Modifying Clip Information . . . . . . . . . . . . . . . . . . . . . . . . . 295
Copying Information Between Columns . . . . . . . . . . . . . . 301
Copying Information from Another Cell in a
Custom Column . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Sorting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Bin Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Using Frame View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Changing the Bin Background Color . . . . . . . . . . . . . . . . . . . . . 307
Enlarging or Reducing Frame Size . . . . . . . . . . . . . . . . . . . . . . . 308
Rearranging Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Changing the Frame Identifying the Clip . . . . . . . . . . . . . . . . . 309
Arranging Frames in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Using Script View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Adding Text in Script View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Rearranging Clips in Script View . . . . . . . . . . . . . . . . . . . . . . . . 312
Printing Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Gathering Format Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Preparing Digital Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . 314
Importing Color Bars and Other Test Patterns . . . . . . . . . . . . . 315
Creating Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Creating Video Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Creating Audio Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318
Storyboard Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Chapter 10 Managing Media Files

Using the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Basic Media Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Opening the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Deleting Media Files with the Media Tool . . . . . . . . . . . . . . . . 324
Freeing Storage Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

11
 Consolidating Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
About the Consolidate Feature. . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Using the Consolidate Command . . . . . . . . . . . . . . . . . . . . . . . . 331
Loading the Media Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Backing Up Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
Finding a Related Media File. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
Relinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336
Relinking to Selected Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
Relinking Consolidated Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
Relinking Moved Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339
Unlinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Chapter 11 Using Script Integration

Line Script Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Explanation of Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
Lining in the Digital Realm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
Script Integration Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Using Script Integration in Video Projects . . . . . . . . . . . . . . . . 346
Script Window Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347
Script Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347
Importing a Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348
Opening, Closing, and Saving the Script Window . . . . . . . . . 349
Displaying Clip Information in a Script Window . . . . . . . . . . 350
Navigating in the Script Window . . . . . . . . . . . . . . . . . . . . . . . . 350
Adjusting the Script Margins . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
Manipulating Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
Changing the Font of the Script . . . . . . . . . . . . . . . . . . . . . . . . . . 352
Selecting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
Cutting, Copying, and Pasting Script . . . . . . . . . . . . . . . . . . . . . 354
Removing Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Searching Through Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Using Page and Scene Numbers . . . . . . . . . . . . . . . . . . . . . . . . . 356
Adding a Page or Scene Number . . . . . . . . . . . . . . . . . . . . . 356

12
 Changing a Page or Scene Number . . . . . . . . . . . . . . . . . . . 357
Deleting a Page or Scene Number . . . . . . . . . . . . . . . . . . . . 358
Searching for a Page or Scene Number . . . . . . . . . . . . . . . . 358
Conducting a Text Search . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Linking Clips to the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
Interpolating Position for Script Integration . . . . . . . . . . . . . . . . . . 361
Manipulating Slates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
Selecting Slates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
Resizing a Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
Hiding Slate Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
Showing One Take Per Slate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
Moving a Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Deleting a Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
Manipulating Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
Selecting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
Adding Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
Deleting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Displaying Take Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Changing the Representative Frame for a Take . . . . . . . . . . . . 369
Loading Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Playing Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
Adjusting Take Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
Indicating Off-Screen Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
Using Color Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
Using Script Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
Placing Script Marks Manually . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Automating Screening and Marking. . . . . . . . . . . . . . . . . . . . . . 374
Loading and Playing Marked Segments . . . . . . . . . . . . . . . . . . 375
Moving a Script Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Deleting a Script Mark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Finding Clips and Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
Finding Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
Finding Clips and Bins from the Script Window . . . . . . . . . . . 378

13
 Editing with the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Assembling a Rough Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379
Splicing a Script Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Revising the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Interactive Screenings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

Chapter 12 Viewing and Marking Footage

Customizing the Composer Window . . . . . . . . . . . . . . . . . . . . . . . . . 383
Changing the Composer Window Background Color . . . . . . . 385
Using the 16 x 9 Display Format. . . . . . . . . . . . . . . . . . . . . . . . . . 386
Displaying Tracking Information . . . . . . . . . . . . . . . . . . . . . . . . 387
Tracking Format Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
Setting the Font and Point Size for Monitor Displays . . . . . . 390
Displaying the Clip Information Window. . . . . . . . . . . . . . . . . 390
Copying Text from the Clip Information Window . . . . . . 392
Displaying Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
Setting Multiple Timecode Displays . . . . . . . . . . . . . . . . . . . . . 395
Composer Window Settings Options . . . . . . . . . . . . . . . . . . . . . 395
Color Framing Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
Miscellaneous Composer Options. . . . . . . . . . . . . . . . . . . . . . . . 397
Fast Forward and Rewind . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
Viewing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
Loading and Clearing Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402
Loading into Source, Record, and Pop-up Monitors . . . . . . . . 402
Loading Multiple Clips or Sequences . . . . . . . . . . . . . . . . . . . . 403
Using the Clip Name Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404
Switching Between Loaded Clips. . . . . . . . . . . . . . . . . . . . . 404
Clearing Clips from Monitors . . . . . . . . . . . . . . . . . . . . . . . . 405
Resizing Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406
Hiding the Video in a Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . 406
Resizing a Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
Controlling Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
Using Position Bars and Position Indicators . . . . . . . . . . . . . . . 407

14
 Using Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409
Play Reverse, Play, Pause, Stop, Rewind, and
Fast Forward Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409
Play Standby Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410
Step Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410
Using Single-Field Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411
Using the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
J-K-L Keys (Three-Button Play) . . . . . . . . . . . . . . . . . . . . . . 413
Home, End, and Arrow Keys . . . . . . . . . . . . . . . . . . . . . . . . . 414
Using the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415
Jogging with the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415
Shuttling with the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . 415
Marking and Subcataloging Footage . . . . . . . . . . . . . . . . . . . . . . . . . 416
Marking IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416
Moving IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418
Marking an Entire Clip or Segment . . . . . . . . . . . . . . . . . . . . . . 419
Creating Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419
Marking Audio Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421
Using Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422
Ways to Use Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422
Adding Locators While Editing . . . . . . . . . . . . . . . . . . . . . . 423
Copying Locators from Source Clips . . . . . . . . . . . . . . . . . . 424
Marking Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425
Using the Locators Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425
Features of the Locators Window . . . . . . . . . . . . . . . . . . . . . 426
Locators Window Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . 426
Finding Frames, Clips, and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427
Using Timecode to Find a Frame . . . . . . . . . . . . . . . . . . . . . . . . . 427
Searching a Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429
Using Match Frame. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431
Performing a Reverse Match Frame . . . . . . . . . . . . . . . . . . . . . . 431
Finding a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432
Locating a Master Clip from a Subclip in a Sequence. . . . . . . 433

15
 Finding a Frame. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Chapter 13 Editing in Source/Record Mode

Entering Source/Record Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436
Setting Up a New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437
Changing the Sequence Name and Timecode . . . . . . . . . . . . . . 439
Setting Up Tracks for the New Sequence . . . . . . . . . . . . . . . . . . 440
User Preferences for Creating Tracks . . . . . . . . . . . . . . . . . . 441
Adding Filler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442
Making an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443
Creating an Instant Rough Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . 444
Undoing or Redoing Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446
Editing Additional Shots into the Sequence . . . . . . . . . . . . . . . . . . 447
Performing a Splice-in Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
Performing an Overwrite Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
Performing a Replace Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449
Using Single-Mark Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450
Using Phantom Marks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450
Setting One Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Adding a Second Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Lifting, Extracting, and Copying Material. . . . . . . . . . . . . . . . . . . . . 452
Lifting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Extracting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
Copying Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
Using the Clipboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454
Preserving Clipboard Contents. . . . . . . . . . . . . . . . . . . . . . . 454
Recovering Material from the Clipboard . . . . . . . . . . . . . . 455
Adding Comments to Sequence Clips . . . . . . . . . . . . . . . . . . . . . . . . 456
Playing the New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457
Starting a Playback Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
Playback Performance Tips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
Using the Play Length Toggle Feature . . . . . . . . . . . . . . . . . . . . 459
Changing the Value for the Play Length Toggle Button. . 459

16
 Playing a Sequence Using the Play Length
Toggle Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
How to Fine-Tune the Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Chapter 14 Using the Timeline

Customizing Timeline Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463
Using the Timeline Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . 465
Additional Procedures for Customizing the Timeline . . . . . . 466
Enlarging and Reducing Tracks . . . . . . . . . . . . . . . . . . . . . . 466
Moving a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
Changing the Timeline Background Color . . . . . . . . . . . . . . . . 468
Changing the Timeline Track Color . . . . . . . . . . . . . . . . . . . . . . 468
Assigning Local Colors to Clips in the Timeline . . . . . . . . . . . 468
Displaying Local and Source Colors in the Timeline . . . . . . . 469
Displaying Source Colors. . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Displaying Local Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Highlighting Offline Media Clips. . . . . . . . . . . . . . . . . . . . . . . . 470
Saving a Customized Timeline View . . . . . . . . . . . . . . . . . . . . . 471
Replacing a Timeline View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
Setting the Scroll Option for the Timeline . . . . . . . . . . . . . . . . 472
Timeline Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Restoring the Default Timeline View . . . . . . . . . . . . . . . . . . . . . . . . 475
Navigating in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475
Using the Position Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476
Using the Timeline Scroll Bar/Position Bar . . . . . . . . . . . . . . . . 476
Displaying Detail in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . 479
Zooming In and Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480
Focusing the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Using Full-Screen Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Displaying Source Material in the Timeline . . . . . . . . . . . . . . . 483
Controlling Movement in the Timeline . . . . . . . . . . . . . . . . . . . 484
IN to OUT Highlighting in the Timeline . . . . . . . . . . . . . . . . . . 485
Using Segment Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485

17
 Segment Mode Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486
Selecting and Deselecting Segments. . . . . . . . . . . . . . . . . . . . . . 486
Selecting Segments with the Segment Mode Pointer. . . . 487
Lassoing One or More Segments . . . . . . . . . . . . . . . . . . . . . 487
Deselecting Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488
Performing Segment Mode Edits. . . . . . . . . . . . . . . . . . . . . . . . . 489
About Four-Frame Display . . . . . . . . . . . . . . . . . . . . . . . . . . 489
Maintaining Sync in Segment Mode . . . . . . . . . . . . . . . . . . 492
Extracting/Splicing Segments . . . . . . . . . . . . . . . . . . . . . . . . 493
Lifting/Overwriting Segments . . . . . . . . . . . . . . . . . . . . . . . 494
Deleting Segments with Segment Mode. . . . . . . . . . . . . . . 495
Marking Clips and Sequences with Segment Mode . . . . 496
Using Advanced Timeline Techniques . . . . . . . . . . . . . . . . . . . . . . . 497
Bin Editing into the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497
Cutting, Copying, and Pasting in the Timeline . . . . . . . . . . . . 498
Editing with the Film Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499
Editing in Heads and Tails View . . . . . . . . . . . . . . . . . . . . . . . . . 501
Working with Multiple Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
About Effects Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
About Nesting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504
Using the Track Selector Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . 504
Selecting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506
Monitoring Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
Monitoring Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
Monitoring Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508
Monitoring a Solo Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509
Patching Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509
Locking and Sync Locking Tracks . . . . . . . . . . . . . . . . . . . . . . . . 511
Locking Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
Sync Locking Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512
Adding a Track. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512
Deleting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
Adding an Edit (Match Framing) . . . . . . . . . . . . . . . . . . . . . . . . . 514

18
 Removing Match-Frame Edits . . . . . . . . . . . . . . . . . . . . . . . . 515
Backtiming Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
Additional Offline Aids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Detecting Duplicate Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Tracking Color-Frame Shifts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
Printing the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521

Chapter 15 Working in Trim Mode

Customizing Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
Trim Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525
Using Basic Trim Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526
Entering Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
Exiting Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
Switching Between Big and Small Trim Modes . . . . . . . . . . . . 530
Selecting Between Trim Sides . . . . . . . . . . . . . . . . . . . . . . . . . . . 531
Selecting Additional Transitions . . . . . . . . . . . . . . . . . . . . . . . . . 531
Performing a Basic Trim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
Audio Solo in Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
Reviewing the Trim Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534
Trimming On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535
Dual-Image Playback During Trims . . . . . . . . . . . . . . . . . . . . . . 536
Trimming During a Playback Loop . . . . . . . . . . . . . . . . . . . . . . . 536
Creating Overlap Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537
Extending an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538
Slipping or Sliding Shots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540
Selecting Segments for Slip or Slide Trimming . . . . . . . . . . . . 540
The Slip/Slide Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541
Performing the Slip or Slide Trim . . . . . . . . . . . . . . . . . . . . . . . . 543
Slipping Shots in Source/Record Mode . . . . . . . . . . . . . . . . . . . 544
Maintaining Sync While Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . 545
Adding Black When Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . 545
Trimming with Sync-Locked Tracks . . . . . . . . . . . . . . . . . . . . . . 546
Using the Transition Corner Display . . . . . . . . . . . . . . . . . . . . . . . . . 549

19
Chapter 16 Working with Audio
About Audio Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553
Accessing Audio Effect Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554
Audio Editing Aids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555
Using Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555
Smooth Scrub Versus Digital Scrub. . . . . . . . . . . . . . . . . . . 555
Selecting Tracks for Scrubbing . . . . . . . . . . . . . . . . . . . . . . . 556
Performing Smooth Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . 556
Using the J-K-L Keys to Perform Smooth Scrub . . . . . . . . 556
Using the Mouse to Perform Smooth Scrub . . . . . . . . . . . . 557
Using Digital Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557
Adjusting Digital Scrub Parameters . . . . . . . . . . . . . . . . . . 558
Performing the Digital Scrub Procedure. . . . . . . . . . . . . . . 560
Using Waveform Plots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561
Displaying Audio Waveforms. . . . . . . . . . . . . . . . . . . . . . . . 561
Muting the Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563
Using the Audio Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563
Resizing the Audio Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565
Adjusting One Audio Track at a Time . . . . . . . . . . . . . . . . . . . . 565
Ganging and Adjusting Multiple Tracks . . . . . . . . . . . . . . . . . . 570
Ignoring Existing Volume and Pan Settings . . . . . . . . . . . . . . . 571
Adjusting Volume While Playing an Audio Effect . . . . . . . . . 572
Using Audio Gain Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 573
Automation Gain Values and System Clip Gain Values. . . . . 574
Adjusting Volume in the Timeline . . . . . . . . . . . . . . . . . . . . . . . 574
Deleting Audio Gain Keyframes . . . . . . . . . . . . . . . . . . . . . 576
Moving Audio Gain Keyframes on the Timeline . . . . . . . 576
Using an External Fader Box to Adjust Volume . . . . . . . . . . . . 578
Using an External Fader to Adjust the Volume of
Individual Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
About the Automation Gain Tool Window . . . . . . . . . . . . . . . . 579
Hardware Toggle Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581
Track Solo Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582

20
 Position Indicator Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583
Automation Gain Tool Fast Menu . . . . . . . . . . . . . . . . . . . . 584
Recording Audio Gain Information . . . . . . . . . . . . . . . . . . . . . . 585
Using the Automation Gain Tool Window Sliders to
Record Gain Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585
Using a Keyboard Shortcut . . . . . . . . . . . . . . . . . . . . . . . . . . 587
Using an External Fader Box to Record Audio Gain
Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587
Using the Snap Mode Feature on the MCS-3000X Fader . 588
Connecting an External Fader to Your Avid System . . . . . . . . 589
The MCS-3000X Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
Ganging Sliders on the FaderMaster Pro Fader. . . . . . . . . 591
Using the Automation Gain Tool and Audio Mix Tool
Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592
Using the Audio EQ Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
Audio EQ Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595
Applying Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
Saving Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601
Removing Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
Audio EQ Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
Low Shelf Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
Small Octave Range Example . . . . . . . . . . . . . . . . . . . . . . . . 603
Using Audio EQ Templates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605
Applying an EQ Template . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
Creating Your Own Templates . . . . . . . . . . . . . . . . . . . . . . . 607
Adjusting EQ While Playing an Audio Effect. . . . . . . . . . . . . . 607
Using Digidesign AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . 608
Installing AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . 609
Starting and Quitting the DAE Application . . . . . . . . . . . . . . . 609
Setting Playback Buffer Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610
Using Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . 610
Applying an AudioSuite Plug-In to a Clip in the Timeline . . 612
Using a Plug-In Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613

21
 AudioSuite Plug-In Fast Menu . . . . . . . . . . . . . . . . . . . . . . . 614
Rendering Plug-In Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
Creating New Master Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
Serial Versus Parallel Processing . . . . . . . . . . . . . . . . . . . . . 616
AudioSuite Controls for Creating New Master Clips . . . 616
Using the AudioSuite Plug-Ins to Create New
Master Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619
Using an AudioSuite Effect Template . . . . . . . . . . . . . . . . . 620
Plug-In Limitations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620
Troubleshooting AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . 621
Addressing Memory Allocation Problems . . . . . . . . . . . . . 621
Canceling a Render Operation . . . . . . . . . . . . . . . . . . . . . . . 622
Addressing Error Messages When Rendering a
Plug-in Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623
Recording Voice-Over Narration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623
Using the Audio Punch In Tool . . . . . . . . . . . . . . . . . . . . . . . . . . 625
Connecting the Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625
Creating the Voice-Over. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
Voice-Over Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
Fine-Tuning Audio Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
Fading and Dipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629
Fading Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629
Dipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631
Mixing Down Audio Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632

Chapter 17 Syncing Methods

Autosyncing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635
Managing Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637
Editing to Avoid Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638
Displaying Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638
Fixing Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639
Fixing Sync in Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 640
Fixing Sync in Source/Record Mode . . . . . . . . . . . . . . . . . . 640

22
 Fixing Sync in Segment Mode. . . . . . . . . . . . . . . . . . . . . . . . 641
Managing Sync with Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . . . 641
Using Sync Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 642
Syncing with Tail Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643
Syncing with Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644
Using Add Edit When Trimming . . . . . . . . . . . . . . . . . . . . . . . . . 645
Using Sync Point Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646
Ganging Footage in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 648
Using Match Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649
Performing a Match Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649
Performing a Reverse Match Frame . . . . . . . . . . . . . . . . . . . . . . 650
Matchframing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 650
Using Match Frame to Find Sources . . . . . . . . . . . . . . . . . . . . . . 651

Chapter 18 Multicamera Editing

Developing a Postproduction Model . . . . . . . . . . . . . . . . . . . . . . . . . 652
Tape Classification Schemes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653
Production Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 654
Managing Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655
Digitizing Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 656
Digitizing Methods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657
Logging Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 658
Autodigitizing Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 658
Storage Tips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 659
Checking the Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660
Replacing Missing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660
Deleting Extra Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 661
Checking Audio and Image Quality . . . . . . . . . . . . . . . . . . 661
Additional Offline Editing Aids . . . . . . . . . . . . . . . . . . . . . . . . . 662
Grouping and Multigrouping Clips. . . . . . . . . . . . . . . . . . . . . . . . . . 662
Creating Group Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 663
Creating Multigroup Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 665
Multicamera Edit Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 666

23
 Full-Monitor Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 666
Quad Split. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 668
MultiCamera Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669
Multicamera Editing Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671
Switching Shots with the Arrow Keys . . . . . . . . . . . . . . . . . . . . 672
Cutting On-the-Fly with Quad Keys . . . . . . . . . . . . . . . . . . . . . . 672
Using the Add Edit Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 673
Using the Group Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674
Using the Quad Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 676
Using Match Frame in Multicamera Editing . . . . . . . . . . . . . . . 677
Workflow Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677
Selective Camera Cutting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677
Cutting On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 678
Combination Cutting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 680

Chapter 19 Output Options

Preparing for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 682
Establishing Sync for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 682
Calibrating for Video Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683
Using the Factory Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683
Basic Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . 684
Advanced Video Output Calibration. . . . . . . . . . . . . . . . . . 688
Preparing for Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 693
Setting the Calibration Tone . . . . . . . . . . . . . . . . . . . . . . . . . 693
Calibrating Global Output Levels . . . . . . . . . . . . . . . . . . . . 694
Adjusting Output on Eight-Channel Audio
Board Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 695
Preparing Record Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 696
Frame-Accurate Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . 697
Manual Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697
Recording Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698
Enabling Assemble-Edit Recording . . . . . . . . . . . . . . . . . . . . . . 698
Using the Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700

24
 Selecting a Deck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702
Previewing a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703
Creating a Custom Countdown Display . . . . . . . . . . . . . . . . . . 704
Recording a Digital Cut to Tape (Remote Mode). . . . . . . . . . . . . . . 706
Recording a Digital Cut to Tape (Local Mode) . . . . . . . . . . . . . . . . . 708
Accessing EDL Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710
Using the Matchback Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711
VTR Play Emulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 712

Chapter 20 Exporting and Exchanging Material

About Exporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 716
Creating and Using Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 717
Export Options Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 724
Video Compression Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728
Additional Export Options Settings . . . . . . . . . . . . . . . . . . . . . . 733
Preparing to Export a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 737
Mixing Down Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 738
Exporting Frames, Clips, or Sequences . . . . . . . . . . . . . . . . . . . . . . . 740
Using Drag-and-Drop Method to Export Frames, Clips, and
Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 743
About OMF Interchange . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 744
Choosing an OMFI Transfer Method . . . . . . . . . . . . . . . . . . . . . 745
Using the Avid QuickTime Codec . . . . . . . . . . . . . . . . . . . . . . . . . . . 746
About the Avid QuickTime Codec. . . . . . . . . . . . . . . . . . . . . . . . 746
Installing the Avid QuickTime Codec on Other Systems. . . . 747
Exporting with the Avid QuickTime Codec. . . . . . . . . . . . . . . . 748
Exporting with Other Supported QuickTime Codecs . . . . . . . 756
Exporting from a Third-Party QuickTime Codec
Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 756
Transferring a Project Between Media Composer
(Macintosh) Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757
Methods for Transferring Files Between
Media Composer Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 758

25
 Compatibility Requirements for Transfer . . . . . . . . . . . . . . . . . 759
Transferring a Project and Associated Media Files . . . . . . . . . 759
Transferring Projects, User Profiles, and Site Settings . . . . . . 761

Appendix A Using AudioSuite Plug-Ins

Supported AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 763
Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 764
Additional Supported Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . 765
Digidesign D-FX™ Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . 765
Digidesign D-Fi™ Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . 765
Core Plug-In Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 766
Invert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 766
Duplicate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 766
Normalize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 766
Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 767
Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 768
DC Offset Removal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 768
Time Compression/Expansion . . . . . . . . . . . . . . . . . . . . . . . . . . . 768
Pitch Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 772

Appendix B File Format Specifications

Graphics (Image) Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 776
Preparing Graphics Files for Import . . . . . . . . . . . . . . . . . . . . . . 779
Graphics File Import Specifications . . . . . . . . . . . . . . . . . . . . . . 779
Animation Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 784
Audio File Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 787
OMF Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 787
Two-Field Media Files and Field Dominance. . . . . . . . . . . . . . . . . . 790

Appendix C Compression Ratios and Storage Requirements

Screen Resolution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 793
Compression Ratios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 793
Compression Groups and Image Quality . . . . . . . . . . . . . . . . . 794

26
 Video Streams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 795
Compression Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 795
Mixing Ratios. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 797
Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 798
Estimating Drive Space Requirements . . . . . . . . . . . . . . . . . . . . 798
Maximizing Drive Space. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 804
Managing Storage to Improve Playback Performance . . . . . . 804

Appendix D Avid Log Specifications

Understanding Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . 806
Describing an Avid Log File. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 807
Global Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 808
Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 810
Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 812
Sample Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 816

Index

27
Figures
Figure 3-1 Sample Data File. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Figure 3-2 Sample Spreadsheet Form . . . . . . . . . . . . . . . . . . . . . . . 99
Figure 6-1 Digitize Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Figure 8-1 Batch Import Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . 254
Figure 14-1 Timeline Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475
Figure 14-2 Track Selector Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . 505

28
Tables
Table 2-1 Help Topic Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Table 3-1 Settings Scroll List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Table 3-2 Bin Settings Dialog Box Options . . . . . . . . . . . . . . . . . . 81
Table 3-3 General Settings Dialog Box Options . . . . . . . . . . . . . . 82
Table 3-4 User Interface Settings Dialog Box Options . . . . . . . . 83
Table 3-5 Displaying Groups of Settings . . . . . . . . . . . . . . . . . . . 84
Table 5-1 Modifying Bin Information Options . . . . . . . . . . . . . 145
Table 6-1 Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . 157
Table 6-2 Deck Preferences Options . . . . . . . . . . . . . . . . . . . . . . 160
Table 6-3 General Digitize Settings Options . . . . . . . . . . . . . . . 176
Table 6-4 Luminance Settings for Video Input . . . . . . . . . . . . . 203
Table 7-1 Function Keys Available When Digitizing. . . . . . . . . 210
Table 7-2 Locators Mapped to Function Keys . . . . . . . . . . . . . . 212
Table 7-3 Batch Digitize Settings Options . . . . . . . . . . . . . . . . . . 230
Table 8-1 Import Settings Options . . . . . . . . . . . . . . . . . . . . . . . . 242
Table 9-1 Object Icon Descriptions . . . . . . . . . . . . . . . . . . . . . . . 268
Table 9-2 Range Menu Items for Explicit Ranges . . . . . . . . . . . 282
Table 9-3 Range Menu Items for Implicit Ranges. . . . . . . . . . . . 283
Table 9-4 Direct Modification Headings . . . . . . . . . . . . . . . . . . . 297
Table 9-5 Modify Command Options . . . . . . . . . . . . . . . . . . . . . 299
Table 9-6 Bin Column Selection . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Table 11-1 Script Settings Options . . . . . . . . . . . . . . . . . . . . . . . . 347
Table 12-1 Timecode Display Options . . . . . . . . . . . . . . . . . . . . . 394
Table 12-2 Composer Window Settings Options . . . . . . . . . . . . . 395
Table 12-3 Color Framing Options . . . . . . . . . . . . . . . . . . . . . . . . . 397

29
Table 12-4 Miscellaneous Composer Options . . . . . . . . . . . . . . . 397
Table 12-5 Fast Forward and Rewind Options . . . . . . . . . . . . . . 399
Table 14-1 Timeline Settings Options . . . . . . . . . . . . . . . . . . . . . . 473
Table 15-1 Trim Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . 525
Table 19-1 Video Format Output Parameters . . . . . . . . . . . . . . . 685
Table 19-2 Luminance Settings for Video Output . . . . . . . . . . . . 687
Table 19-3 VTR Emulation Settings Options . . . . . . . . . . . . . . . . 712
Table 20-1 Export Settings Dialog Box Options . . . . . . . . . . . . . . 719
Table 20-2 Export Options Settings . . . . . . . . . . . . . . . . . . . . . . . . 724
Table 20-3 Video Compression Options . . . . . . . . . . . . . . . . . . . . 729
Table 20-4 Additional Export Options Settings . . . . . . . . . . . . . . 733
Table 20-5 Transfer Devices for Transferring Projects. . . . . . . . . 758
Table B-1 Graphics File Import Specifications . . . . . . . . . . . . . . 780
Table B-2 Animation File Import Specifications . . . . . . . . . . . . 785
Table B-3 QuickTime Import and Export Specifications . . . . . 786
Table B-4 OMF File Import Specifications . . . . . . . . . . . . . . . . . 788
Table B-5 Recommended Field Dominance Settings for
Two-Field Import/Export . . . . . . . . . . . . . . . . . . . . . 791
Table C-1 Compression Ratio Specifications . . . . . . . . . . . . . . . . 796
Table C-2 Estimated Storage Requirements . . . . . . . . . . . . . . . . 801
Table D-1 Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . 806
Table D-2 Avid Log Global Headings . . . . . . . . . . . . . . . . . . . . . 809
Table D-3 Avid Log Column Headings . . . . . . . . . . . . . . . . . . . . 810
Table D-4 Avid Log Data Headings . . . . . . . . . . . . . . . . . . . . . . . 813

30
 CHAPTER 1
Desktop Basics

For information on the The Avid drive—the computer’s internal hard drive—contains a num-
System Folder and
ber of files and utilities you can use to organize and optimize your
other Macintosh® fea-
tures, such as the desk- work. The desktop elements directly related to the Media Composer
top and icons, see your system (also referred to at times as the Avid system) are stored in the
Macintosh documenta- Avid Projects, Avid Users, Utilities, and Media Composer folders. The
tion.
System Folder also contains essential extensions and control panels.

This chapter describes the location of the various project files. For
information about moving a project from one Media Composer
(Macintosh) system to another, see “Transferring a Project Between
Media Composer (Macintosh) Systems” on page 757.

For information on moving projects to other Avid systems, see the

Avid Products Collaboration Guide.

The following sections describe basic procedures involving the Avid

Projects, Avid Users, Attic, and Media Composer folders:
• About the Media Composer Folder
• Managing Avid Project and Avid User Folders
• Retrieving Bin Files from the Attic Folder
• Starting the Media Composer Application

31
About the Media Composer Folder
The Media Composer folder contains essential operational files and
supporting files. You should not touch any of these files, except where
noted in the following descriptions.
• Help folder: This folder contains the online help files. For infor-
mation on using the Help, see “Using Help” on page 54.
• Media Composer application: The application icon resides here.
Procedures for starting the application are described in “Starting
the Media Composer Application” on page 37.
• Settings folder: In addition to Project and User settings, the sys-
tem maintains two 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 Media Composer (Macintosh) systems,
using the procedure described in “Transferring Projects, User
Profiles, and Site Settings” on page 761.
• Supporting Files: These are a series of files 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 Media Composer Effects Guide.

Managing Avid Project and Avid User Folders

Managing projects, user profiles, and settings involves moving, copy-
ing, or deleting files and folders, and changing project or user names.

32
About Avid Projects and Avid Users Folders
The Avid Projects and Avid Users folders allow you to move entire
projects or selected project and user settings between systems by copy-
ing and moving files on your desktop. When you copy or move a
project, the bins for that project are also moved or copied. For more
information on transferring projects, see “Transferring a Project
Between Media Composer (Macintosh) Systems” on page 757.

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:
- User profile file
- User settings file
- User folder containing the two files
Each item is given the user name you provide. This new folder is
stored in the Avid Users folder on the top level of the Avid drive.
• When you create a new project, the system creates three items:
- Project file
- Project settings file
- Project folder containing the two files
Each item is given the project name you provide. This new folder
is stored in a location separate from the media files. The default
location is the Avid Projects folder at the top level of the Avid
drive.

Your settings are initially set to the default values. As you work, the
files maintain current settings, and the project folder fills with bin files.

33
Changing Project and User Names
You cannot change project or user names from within the
Media Composer application. You must change the name from your
desktop before starting the application.

c 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.

To change a project or user name:

1. Double-click the Avid drive 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. Change the name of the folder.
5. Double-click the folder with the new name to open it.
The folder contains profiles, settings, and project files with the old
names.
6. Change the old name of each file to the new name.

n Do not change the name of the file MCState in the user folder.

7. Close the windows and restart the Media Composer application.

The new project or user name appears in the Open Project dialog
box.

34
Deleting Projects and User Profiles
Digitized media related You cannot delete projects and user profiles from within the Media
to a deleted project is
Composer application. You must make the change from your desktop
not eliminated with the
project folder. For more before starting the application.
information on delet-
ing media files, see To delete a project or user profile:
“Deleting Clips and
Sequences” on 1. Double-click the Avid drive to open it.
page 275 and“Deleting
Media Files with the 2. Double-click the Avid Users or the Avid Projects folder to open it.
Media Tool” on
page 324. 3. Drag the project or user folder you want to delete to the Trash.
Empty the Trash to remove the files from the system.

c Deleting a project also deletes any bins that are in that project.

4. Close the windows and restart the Media Composer application.

The deleted project or user no longer appears in the Open Project
dialog box.

Retrieving Bin Files from the Attic Folder

The Attic folder, located at the top level of the Avid drive, contains
backup files of each bin in a project. For information on setting auto-
matic save features, see “Reviewing Basic Settings” on page 80.

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 corrupt

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

35
 the latest copy of the bin file. When you view a project folder in the
Attic folder in List view, you can also identify the most recent backup
file based on the name and timestamp of creation displayed in the
Date Modified column.

n The oldest backup file is overwritten only if the second oldest backup file is
more than 2 hours old.

To retrieve a file from the Attic folder:

1. Quit the Media Composer application. See “Quitting the Avid
Application” on page 50.
2. From the desktop, double-click the Attic folder at the top level of
the Avid drive.
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 List from the View menu, if the project folder is not
already in List view.
The project folder displays the file names and their creation dates.
5. Shift+click the bin files you want to retrieve.
6. Option+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. Click a Media Composer window to activate the Media Composer
application.
8. Click the Project window to activate it, and click Bins to display
the Bins list.

n The Avid application does not allow a bin and a copy of a bin to be open at the
same time. You must keep all other bins closed, and open the backup bins one
at a time.

36
 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.
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 bin files you cop-
ied to the desktop.
13. Select and delete the backup bins in the Other Bins folder.
14. Drag the backup bin files on the desktop to the Trash.

Once you have moved the files, modify their creation dates so they are
considered newest by the system. The creation date is modified when-
ever you make a change to an object and then save the bin. Since there
is no conflict with sequences, there is no need to modify the creation
date of a sequence.

Starting the Media Composer Application

The Media Composer application icon is located in the Media
Composer folder on the Avid drive. For most users, the desktop or the
Apple menu is a more convenient location for starting the application.

c The application will not start properly if the application icon is

moved from the Media Composer folder. To start the application
from a convenient location, Avid recommends that you create an
alias and place it in a convenient location.

37
For more information To start the application, do one of the following:
on making an alias and
using the Apple menu, • Double-click the application icon.
see your Macintosh
documentation. • Double-click the alias icon.
• Choose the application from the Apple menu.

After the application starts, the Open Project dialog box appears, as
described in “Opening a Project” on page 40.

n If your system includes the AvidNet™ Transfer Tool, you can prevent
AvidNet from starting automatically by using the AvidNet settings.
See Table 3-1 on page 77.

38
CHAPTER 2
Starting a Work Session

Your work in Media Composer 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 work session. There are also several techniques you can use to safe-
guard and restore your work if necessary. These topics are covered in
the following sections:
• Opening a Project
• Backing Up Your Project Information
• Ending a Work Session
• Mounting and Ejecting Media Drives
• Using Context Menus
• Using Help

This chapter also provides a session check list.

For information about turning on your system, see the Avid Media
Composer Getting Started Guide.

39
Opening a Project
Each time you start the Media Composer application, the Open Project
dialog box appears.

Users scroll list Projects scroll list

Use the procedures described in the following sections to establish

your identity as a user with the system and to select or create a project
to open. You can also create additional folders within which to store
projects, or you can quit the application from the Open Project dialog
box.

Identifying a User
To identify a user for the project, you can either create and identify a
new user or select one from a list of existing users. This user name rep-
resents the user profile, which includes the settings associated with
that user. New users begin with default user settings. When you

40
 customize the user settings in the Avid application, these customized
settings are associated with the user name.

The Avid Users folder, at the top level of the Avid drive, is the default
location for user profile files.

Setting Up a New User

To create a new user profile:

1. Click the New User button.
The New User dialog box appears.

2. Type your name and click OK.

n If you plan to move bins and projects from one platform to another, do not use
the following characters / \ : * ? “ < > |when naming projects, bins, and
users. You can set the Use Windows® compatible File Names option in the
General Settings dialog box to prevent the system from accepting these
restricted characters in a bin, project, or user name.

The Open Project dialog box reappears with your user name high-
lighted in the list of users.
You are ready to select a project. See “Selecting a Project” on
page 43.

41
Selecting an Existing User

To select from the list of existing users, click the user name to highlight
it in the user scroll list on the left side of the Open Project dialog box.
This user profile is used when you open a project.

The Avid Users folder is the default location for user profile files.

Directory pop-up menu

User name

Parent folder

Parent folders containing collections of users appear with a dot pre-

ceding them. If the needed user name is stored inside a parent folder
within the Avid Users folder:
1. Double-click the folder to open it and display the user names.
2. Click a user name to select it.

To change the location If the user profile you want is stored on your system outside the Avid
of user profiles outside
Users folder (in another folder or on a network, for example), you can
the Avid Users folder,
you must use the locate it by using the Open Project dialog box.
Macintosh desktop.

42
 To search for another user profile folder:
1. Click the Directory pop-up menu to display a list of other loca-
tions on the system.

2. Select a drive from the Volumes submenu if necessary, and locate

the folder.
3. Double-click the selected folder to open it. Continue to open any
additional folders until the user scroll list displays the appropriate
user file name.
4. Click the user name to select it.
You are ready to select a project. See “Selecting a Project” on
page 43.

Selecting a Project
To open a project, you can either create and open a new project, or
open an existing project.

Creating a New Project

To create a new project:

1. Click New Project in the Open Project dialog box.

43
 The New Project dialog box appears.

2. Type the name of your new project in the highlighted text box.

n If you plan to move bins and projects from one platform to another, do not use
the following characters / \ : * ? “ < > |when naming projects, bins, and
users. You can set the Use Windows® compatible File Names option in the
General Settings dialog box to prevent the system from accepting these
restricted characters in a bin, project, or user name.

3. Select either NTSC or PAL from the Format pop-up menu.

4. (Option) Click Matchback Options and choose a film format from
the pop-up menu. The Matchback Options item appears only if
your Avid system includes the Matchback option.
For more information about matchback, see “Using the Match-
back Option” on page 711.
5. Click OK.
The system creates the new project files and folder, and returns
you to the Open Project dialog box. The project name is high-

44
 lighted in the projects scroll list. You are ready to open the project.
See “Opening the Project” on page 47.

Selecting an Existing Project

Existing projects appear in the projects scroll list in the Open Project
dialog box.

The Avid Projects folder is the default location for project files.

Directory pop-up menu

Projects scroll list

To select an existing project, do one of the following:

• Click an existing project name to highlight it.
• Press the first letter of the project name on the keyboard to high-
light it. (If there are multiple projects that begin with the same let-
ter, the first project in the list that begins with that letter will be
highlighted.)

45
 If the project is nested in a folder:
1. Double-click the folder name to open it and display the contents in
the project scroll list.
2. Click the project name to select it.

If the project is stored outside the Avid Projects folder (in another
folder or on a network, for example), you can locate it by using the
Directory pop-up menu.

To locate a project in another folder:

1. Click the Directory pop-up menu and choose a drive from the
Volumes submenu.
The Open Project dialog box displays all the stored folders.
2. Double-click a folder name to open it. Continue opening folders
until the project scroll list displays the project folder you want.
3. Click the project name to highlight it.
You are ready to open the project. See “Opening the Project” on
page 47.

Nesting Projects in Folders

You can create folders in the Open Project dialog box for storing
related projects. To nest a folder, you must first create a folder.

To create a folder:
1. Click the New Folder button in the Open Project dialog box.
The New Folder dialog box appears.
2. Type a name for the folder, and click OK.
The folder appears with a dot preceding it in the project scroll list.
3. Double-click the folder name to open the folder.
Any new projects you create now are displayed and stored in this
folder.

46
 You can also nest projects by using the desktop to move existing
projects into folders that display in the Open Project dialog box. For
more information about moving existing projects, see “Transferring
Projects, User Profiles, and Site Settings” on page 761.

Opening the Project

After you select the appropriate user and project names in the scroll
lists of the Open Project dialog box, you can open the project with the
selected user settings in one of the following ways:
• Click OK.
• Double-click the highlighted project name in the project scroll list.
• Double-click the highlighted user name in the user scroll list.

For more information The Composer window opens on the Edit monitor, and the Project
about the Project win-
window opens on the Bin monitor with the selected user settings
dow, see Chapter 3. For
more information about loaded.
the Composer window,
see Chapter 12. The title bar of the Project window contains the project name and user
name you selected in the Open Project dialog box.

Project name User name

Project window

Close box

47
Closing a Project
To close the Project window and return to the Open Project dialog box,
do one of the following:
• Click the close box in the Project window.
• With the Project window active, choose Close Project from the File
menu.

The Project window and all open bins close, and the Open Project dia-
log box appears.

Backing Up Your Project Information

Although the Avid system automatically saves your bins, projects, and
settings, you should back up these items frequently to avoid losing
any of your project information due to a hard drive crash or corrup-
tion of the files. Because the storage requirements are minimal, you
can back up these files easily to a variety of storage devices, such as:
• Floppy disk or equivalent drive
• Removable storage device
• Network storage device

n To back up the larger media files that are created when you digitize footage,
you must use a high-capacity storage device. For information on backing up
media files, see “Backing Up Media Files” on page 334.

Saving Your Project Information

To save your work on a floppy disk or equivalent device:
1. Open a window containing the destination storage folder.

48
 a. Mount the storage drive or insert the floppy disk as
appropriate.
b. Double-click the icon for the destination storage drive or
floppy drive to open it. Double-click any folders to target the
appropriate storage location.
2. Open a window containing the folder you want to save.
a. Double-click the Avid drive to open it.
b. Double-click the appropriate folder to open it:

Folder Contains

Avid Projects Project folders

Avid Users User folders

Media Composer:Settings Site Settings file

3. Drag the project folder, user folder, or site settings file to the desti-
nation storage location.
4. When the system finishes copying the files, eject the floppy disk
and store it as appropriate.

Restoring from a Backup

To restore a project, user profile, or settings from a backup storage
device:
1. Open a window containing the backup files.
a. Mount the storage drive or insert the backup floppy disk as
appropriate.
b. Double-click the icon for the storage drive or floppy disk to
open it.

49
 2. Open a window containing the folder where you want to restore
the files.
a. Double-click the Avid drive to open it.
b. Double-click the appropriate folder to open it.
• Project folders and settings files go in the Avid Projects folder.
• User folders and settings files go in the Avid Users folder.
• Site Settings files go in the Media Composer:Settings folder.
3. Drag the backup copies from the storage device to the appropriate
folder on the Avid drive.

When you start the Avid application, the restored project and user pro-
file appear in the Open Project dialog box.

Ending a Work Session

To end the work session, you must first quit the application, and then
turn off your equipment in the order described in this section.

Quitting the Avid Application

There are two ways to quit the Avid application, depending upon
whether you have a project open or you are between projects:
• If you are working on an open project and want to quit Media
Composer quickly, choose Quit from the File menu.
The project closes and the application quits.
• If you are between projects, from the Open Project dialog box:
a. Click the Quit button. The system asks if you want to leave
the application.

50
 b. Click Leave to quit the application. Click Cancel to return to
the Open Project dialog box and select another project.

Turning Off Your Equipment

When you finish using your system and want to turn it off completely,
follow these steps to avoid damaging your system or media storage
drives:
1. Choose Shut Down from the Special menu. This turns off your
Macintosh system. The screens on the Bin and Edit monitors
become dark.
2. Turn off your speakers and monitors.
3. Turn off each external drive in the chassis, then turn off the chassis
itself.
4. Turn off all other hardware.

c Never remove media drives from your Avid system when it is

turned on. Shut down the computer and then remove the drives.

51
Mounting and Ejecting Media Drives
You can eject one or several drive volumes mounted on the desktop at
any time from within the Avid application. You can also remount all
the drives and return them to the desktop.

This is useful in several circumstances:

• If you work with drives for the backup and retrieval of low-
resolution material, you can eject these 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
can involve many partitions divided among several projects, you
can selectively mount and eject drives as needed.
• If you work with the Avid Unity™ MediaNet, you might have to
eject and remount icons on the desktop. See the Avid Unity
MediaNet documentation for more information.

Ejecting Drives
To eject one or several drive icons from the desktop:
1. With the Avid application active, choose Eject from the File menu.

52
 A dialog box appears.

The scroll list displays all drives and partitions currently mounted.
2. Select one or more drives to eject. Shift+click additional drives.
3. Click Eject. The system removes the drives from the desktop and
can no longer access them.

Mounting All Drives

Because the system cannot interface with ejected drives individually,
you cannot mount selected drives. You can mount all drives connected
to the system, however, including those previously ejected.

To mount all drives, choose Mount All from the File menu.

The system mounts all partitions and drives that are turned on and
connected to the system.

53
Using Context Menus
Your Avid system allows you to access frequently used commands by
using the Ctrl+Shift keys and clicking an object. For example,
Ctrl+Shift+click in a window to access a context menu that shows the
most frequently used commands for that window.

You can also Ctrl+Shift+click a screen object to access What’s This?

Help for the object.

Using Help
You can get help and background information for tasks, windows, dia-
log boxes, and screen objects through the Media Composer Help sys-
tem.

Opening and Closing the Help System

The Help system is also To open the Help system, choose Media Composer Help from the Help
included on the Avid
menu. The Help Topics dialog box appears. Use the Contents, Index,
Media Composer Online
Publications CD-ROM. and Find tabs to access the information you need.

To close the Help system, click the close box in each Help window. The
Help system automatically closes when you close the last open Help
window.

Getting Help for Windows and Dialog Boxes

The Help system provides you with context-sensitive help for win-
dows and dialog boxes, such as tools and settings.

54
 To get help for windows and dialog boxes:
1. Make sure the Avid application is active.
2. Position the mouse pointer in the window or dialog box for which
you want help.
3. Press the Help key on the keyboard.
If there is no information about a window or dialog box, the Help
Topics dialog box appears.

n For most dialog boxes that require an OK or Cancel response, you cannot
move or click in a Help window until you close the dialog box. If you want to
view the Help window while the dialog box is open, move the Help window to
a part of the screen not used by Media Composer. Then open the dialog box
again.

Getting Help for Screen Objects

You can use What’s This? Help to learn about buttons and other screen
objects.

To get help for screen objects:

1. Ctrl+Shift+click the screen object (for example, a button).
A pop-up menu appears.
2. Choose What’s This? from the menu.
The system displays a pop-up window that explains how you use
the item. Many pop-up windows include hypertext links (marked
by underlined text) to more information.

55
Finding Information with the Help Topics Dialog Box

You see the Help Topics dialog box when you open Help from the
Help menu. A topic is a single page of the Help system. The Help
Topics dialog box includes three different methods for finding topics:
• Using the Contents Tab
• Using the Index Tab
• Using the Find Tab

To keep the Help Topics dialog box open and retain your search cate-
gory, make sure the option Close Window When Displaying Topics is
not checked. This option is located at the bottom of the Help Topics
dialog box.

Using the Contents Tab

The Contents tab provides a list of books that contain topics covering
the entire Help system. The list is organized by book. Each book opens
to display a list of topics.

Use the Contents tab as follows:

• To view the Contents, choose Media Composer Help from the
Help menu and click the Contents tab, or click the Contents button
in a Help topic.
• To open a book and display a list of topics, select the book title and
click Open, or double-click the book title.
• To open a Help window, select the topic and click Display, or
double-click the topic title.

Using the Index Tab

The Index tab provides an alphabetized list of entries, like the index of
a printed book.

56
 To find topics by using the Index tab:
1. Choose Media Composer Help from the Help menu and click the
Index tab, or click the Index button in a Help topic.
2. In the text box at the top, type a keyword for the topic that you
want to find (for example, type “audio” to jump to index entries
listed under audio).
3. Open the topic in the list:
• If the typed keyword brings you to the topic you are seeking,
click the Display button, or double-click the index entry.
• If you do not immediately arrive at the topic, scroll through
the list and double-click an entry that makes sense, or try an
alternative keyword in the text box. When you find the subject
you are looking for, click the Display button or double-click
the entry to view the topic.

Using the Find Tab

The Find tab lets you search the entire Help system for words or
phrases and then lists topics that include those words or phrases.

To search for topics by using the Find tab:

1. Choose Media Composer Help from the Help menu and click the
Find tab, or click the Find button in a Help topic.
2. In the text box, type the word or phrase you want to find and click
Search.
To find an exact phrase:
a. Type the first word of the phrase in the text box.
b. Click More Choices.
c. In the new line, choose “followed by” from the first pop-up
menu and type the second word of the phrase in the text box.
d. To add a third word, click More Choices and repeat step c.
e. Click Search.

57
 A list shows the topics that contain the words you searched for.

n Do not type quotation marks or asterisks in the text box.

3. To change the way in which you search for a word or words, click
the Options button and choose your preferences from the Find
Options dialog box.

n Deselect the Word Stemming check box if you want a more complete search.

4. Select a topic in the list and then click the Display button or
double-click the topic. The topic is displayed, and the words you
searched for are highlighted.

How Help Windows Work

The Help system consists of the Help Topics dialog box and four types
of windows:
• The Help Topics dialog box opens in the center of your screen by
default. The Contents tab page contains a list of overview topics
covered in the Help system. Double-click any book icon to see
additional topics. Double-click a topic or select a topic and click
the Display button to open a window containing the information
you seek.
• The Media Composer How To window opens on the right side of
your screen. It displays step-by-step information for completing
tasks. You can close this window, or leave it open as you work.
Each time you click a new How To topic, the window displays the
new information. You can cycle back through the topics by click-
ing the Go Back button. Click on a hypertext link (marked by
underlined text) to open a window with related information.
• The Media Composer Reference window opens on the left side of
your screen. It contains background information, tables of options,
or other information that helps you understand system features
and tools. Each time you click a new Reference topic, the window

58
 displays the new information. You can cycle back through topics
by clicking the Go Back button. Click on a hypertext link (marked
by underlined text) to open a window with related information.
• The Media Composer Illustration window opens on the left cen-
tral part of your screen. It contains a graphic illustration of a fea-
ture that you can view while you read about it. Each time you click
a new Illustration button, the window displays the new informa-
tion.
• The pop-up windows open from screen objects. They also open
from defined terms in the text, and from “hot spots” in illustra-
tions. In illustrations, the pointer changes to a hand pointer when
placed over an area that has a pop-up window associated with it.
You cannot move or resize pop-up windows. Many pop-up win-
dows include a hypertext link (marked by underlined text) to
more information.

Using Buttons in a Help Topic

Each Help topic contains buttons to help you navigate through the
system and perform basic functions. Table 2-1 describes the Help topic
buttons.

Table 2-1 Help Topic Buttons

Button Description

Contents Opens the Contents tab

Index Opens the Index tab

Find Opens the Find tab

Go Back Returns to the topic previously displayed in the window

Print Opens the Printer dialog box, from which you can
print the current topic

Glossary Opens a glossary of terms

59
Printing Help Topics
You can print a single Help topic or a group of topics listed in
the Contents.

To print a Help topic:

1. Open or click the topic to make it active.
2. Click the Print button in the topic window.
3. Select the print options. When you are ready to print the topic,
click Print.

To print a Help topic from the Contents tab, select the topic you want
to print, and click the Print Topics button at the bottom of the tab.

To print a book of related topics from the Contents tab:

1. Select the book you want to print.
2. Click the Print Topics button.

If you select a book, all topics within that book, and all topics in other
books contained in that book, will be printed. The system sends each
topic as a separate print job to the printer, so this method can take a
long time to print. You can more easily print large sections of user
information from the Avid Media Composer Online Publications
CD-ROM.

n Do not use the Print All Topics command from the File menu. Choosing this
command causes the system to print the entire Media Composer Help system,
which consists of more than 2000 topics.

60
Copying from a Help Topic
To copy information from a Help topic into another document:
1. In the topic window, select the text that you want to copy.
To select discontinuous text, press and hold the k key while you
drag the mouse pointer. To extend a selection that you have
already highlighted, press and hold the Shift key while you drag
the mouse pointer.
2. Choose Copy from the Edit menu.
3. Place the mouse pointer in another open application, such as a
word processor.
4. Choose Paste from the Edit menu to paste copied text into a
document.
You can also paste the text into the keyword text box in the Index
tab or into the text box in the Find tab.

n You cannot paste text from one topic into another.

Changing the Font Size of Help Topics

To change the font size of Help topics:
1. Open or click a How To or Reference window to make it active.
2. Choose Small, Normal, or Large from the Font submenu in the
Options menu.

Transferring Help to Another Macintosh System

You can copy the Help files to another Macintosh system, such as a
PowerBook® computer, and then use the Help independently of the

61
 Media Composer system. To do this, you need 12 MB of hard disk
space.

n If colors on your monitor flash or look unusual while viewing Help, choose
Use System Colors from the Options menu. The quality of some illustrations
might be affected, however, when this option is turned on.

To copy Help from the Media Composer system to another Macintosh

system:
1. Create a new folder on the Macintosh system to which you are
copying the Help.

You can also copy these 2. Copy the following files from the Help folder in the Media Com-
files from the Avid
poser folder to the new folder:
Media Composer Online
Publications CD-ROM. • mchelp.hlp
• mchelp.cnt
3. Copy the QuickHelp file from the System folder on the Media
Composer system to the System folder on the other Macintosh
system.
4. Start Help by double-clicking the mchelp.hlp icon.

If you have a problem starting Help:

1. Start QuickHelp by double-clicking the QuickHelp icon.
2. Choose Open from the File menu.
3. Navigate to find mchelp.hlp, then click Open.

62
Session Check List
Turn on your equipment in the proper order: storage first, peripherals
second, system last. For more information, see the Avid Media Composer
Getting Started Guide.

On your desktop, move any settings files, project folders, or user fold-
ers from another system into the Avid folders if necessary before start-
ing the application.

Start the application.

Create new projects or user profiles or select existing ones in the Open
Project dialog box.

After finishing your work for the session, quit the application.

Back up your work before shutting down the equipment.

Turn off your equipment in the opposite order from which you turned
it on: system, peripherals, and finally storage.

63
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 Display
• Using the Info Display
• Customizing Your Workspace

64
Opening and Closing the Project Window
The Project window opens automatically when you select a project in
the Open Project dialog box.

Project window

Close box

To close the Project window and return to the Open Project dialog box,
do one of the following:
• Click the close box in the Project window.
• With the Project window active, choose Close Project from
the File menu.

Because the Project window remains open the entire time you are
working within a project, it might be hidden from view by several
open bins or tools on the Bin monitor.

To locate and redisplay the Project window, do one of the following:

• Choose Project from the Tools menu.
• Click any unobstructed piece of the Project window to bring it
forward.

65
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 con-
tain the sequences, subclips, group clips, and effect clips that you cre-
ate 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.

To view a list of bins associated with the project, click the Bins button
in the Project window.

Bins button

Bin icon

Bins list

Fast Menu button

From the Bins list you can examine the number, names, size, and loca-
tion of bins.

66
Displaying Bins
You can add folders to the Bins list in the Project window to help orga-
nize your project. You can drag bins into folders, or drag folders into
folders. See “Managing Folders and Bins” on page 72.

Open/Close triangle

New folders

Trash icon

Fast Menu button

Click the triangle next to a folder icon to display the folder’s contents
in the Bins list of the Project window. Click the triangle again to close
the display.

To view a list of only the folder contents and not the folders, select Flat
View from the Fast menu.

Creating a Folder in a Project

To create a folder in a project:
1. Click Bins in the Project window.
2. Choose New Folder from the Fast menu.
A new untitled folder appears.
3. Click the untitled folder name in the Bins list and rename it.

67
Creating a New Bin
To create a new bin in a project, with the Project window active, do one
of the following:
• Choose New Bin from the File menu.
• Click the New Bin button in the Project window.

Performing either 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 in the Avid Projects
folder, and a backup copy is placed in the Attic folder.

You can keep the default name of the bin or rename the bin immedi-
ately. For more information, see “Renaming a Bin” on page 68.

Renaming a Bin
Each new bin that you create takes the name of the project that appears
in the title bar of the Project window, numbered incrementally.

To change the name of a bin, click the bin name in the Bins list of the
Project window and type a new name.

Project name

Default bin name

68
Opening and Closing a Bin
To open a bin:
1. Click the Project window to make it active.
2. Click Bins in the Project window.
3. Double-click the Bin icon next to a bin name.

The bin opens in a separate window. The Bin icon becomes dimmed,
indicating the bin is open.

Bin window

Opening Selected Bins

To open several bins at once:

1. Click the name of one of the bins in the Bins list.
2. Shift+click each additional bin you want to open.
3. Choose Open Selected Bins from the File menu.

Opening Bins from Other Projects

To open a bin from another project:

1. Choose Open Bin from the File menu.
The Select a Bin dialog box appears.

69
 2. Find and select the bin you want.

c Never open a bin that is stored on a floppy disk; otherwise, the sys-
tem will not be able to save your work. Always copy the bin to a
project folder on the system drive before you open it. For informa-
tion, see “Transferring a Project Between Media Composer (Macin-
tosh) Systems” on page 757.

3. Click the Open button.

The bin appears in the Bins list in the Project window in a folder called
Other Bins. The name Other Bins appears in italics. You can rename
this folder. This option is especially useful when you want to open a
bin not currently displayed in the Project window.

n The Other Bins folder disappears from the Bins list when you delete all the
bins in the Other Bins folder.

Closing a Bin

To close a bin, do one of the following:

• Click the close box in the upper left corner of the bin.
• Choose Close Bin from the File menu to close the active bin.

Deleting a Bin or Folder

To delete a bin or folder:
1. Select the bin or the folder you want to delete in the Bins list.
2. Press the Delete key.
A Trash icon appears in the Bins list in the Project window. It con-
tains the deleted item.

70
 c 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 from the Trash.

To view items in the Trash:

1. Double-click the Trash icon in the Bins list to list the contents of
the Trash.
2. Click the bins or folders you want to keep (or view) 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 in the Bins List

You can empty the contents in the Trash that is located in the Bins list.

c Emptying the trash permanently removes the bins or folders from

the drive.

n If you change the name of the Trash icon, you cannot empty the Trash.

To empty the Trash in the Bins list:

1. Choose Empty Trash from the Fast menu.

71
 An alert box appears.

2. Click Empty Trash to delete the bins or folders from the Trash and
from your system disk.

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 struc-
ture should provide both simplicity and backup security. Although the
specifics can vary depending upon your production needs and habits,
the following are a few basic principles that can help you get started:
• 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 follows:
- Create a set of bins for the digitizing stage.
For example, you can create one bin for each source tape to be
digitized to avoid slowing the system with large bins and
causing confusion between tapes.
- Create a second set of bins for organizing your project.
For example, you can create a separate bin for each segment of
a video project, depending upon the preferences of the editor.

72
 - Create a third set of bins for the editing stage, including:
A current cut bin for storing each work in progress (sequence)
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

n For information on creating Script windows using scripts for your projects,
see Chapter 11.

• (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 to contain all shot logs to be imported.
• Save these files as a template for future productions of a similar
nature.

This hierarchy allows you to have one set of bins available in the
Project window during the digitizing and organizing phase, and
another set of bins available during editing to reduce clutter.

Saving Bins Automatically

The Avid system automatically saves changes to your work on a regu-
lar basis during each session. You can modify the frequency of the
automatic backups by using the Bin settings in the Settings scroll list in
the Project window.

73
 Two things happen when auto-save occurs:
• Any open bins are updated with changes made since the last auto-
save.
• Copies of these bins are placed in the Attic folder as backup.

The system automatically places copies of all bins into the Attic folder
at regular intervals for backup. The procedure for recovering bin files
from the Attic folder is described in “Retrieving Bin Files from the
Attic Folder” on page 35.

To adjust the frequency of automatic saves:

1. Click the Settings button in the Project window.
The Settings scroll list appears in the Project window.
2. Double-click Bin in the Settings scroll list.
The Bin Settings dialog box appears.
3. Type a number in the minutes text box for the Auto-save interval
option.
4. Click OK.

You can manually save bins for added security — for example, imme-
diately after an important edit. When your work is lost, or when you
want to recover an earlier version of a bin or sequence, you can
retrieve files from the Attic folder.

Saving Bins Manually

n The Save Bin command appears dimmed if there have been no changes since
the last time the active bin was saved.

There are three ways to save bins manually:

• To save a specific bin:
a. Click the bin to activate it.
b. Choose Save Bin from the File menu.

74
 • To save selected bins:
a. Activate the Project window by choosing Project from the
Tools menu or by clicking anywhere in the window.
b. Click a Bin icon to select it. Shift+click any additional bins.
c. Choose Save from the File menu.
The system saves all the selected bins.
• To save all the bins:
a. Click the Project window to activate it but do not select any
individual bins listed in the Bins list.
b. Choose Save All from the File menu.
The system saves all the bins for the project.

Using the Settings Display

From the Settings display 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 display, click the Settings button in the Project
window.

Settings button

Settings scroll list Setting type

75
About Settings
Three types of settings are displayed in the Settings scroll list: 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
Avid application. Individual User settings are stored in each user
folder within the Avid Users folder at the top level of the Avid
drive.
• Project settings are directly related to individual projects. When a
Project setting is changed, it affects all editors working on the
project. Specific Project settings are stored in each project folder
within the Avid Projects folder at the top level of the Avid drive.
• Site settings establish default parameters for all new users and
projects on a particular system. These can apply to particular con-
figurations of equipment installed at the site (for example, specifi-
cation 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 Media Composer:Settings folder on the Avid drive.

Table 3-1 contains a brief description of 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 dia-
log box (or window) that you can access from the Settings scroll list.

76
 Table 3-1 Settings Scroll List

Setting Name Description For More Access to

Information Dialog Box?

Audio Sets the default audio pan; contains See Chapter 16 and Yes
audio scrub options and audio setup “Adjusting Audio
parameters. Settings” on page 181.

AvidNet Sets preference for opening the See AvidNet Transfer Yes
AvidNet Transfer Tool on startup. Tool User’s Guide.

Bin Sets the Auto-save and Double-click See “Bin Settings” on Yes
preferences for bins. page 80.

Bin View Selects and formats the information See “Bin Column Yes
displayed in bins in the Project Headings” on
window. page 303.

Composer Configures the display and behavior See “Composer Win- Yes
of buttons and information in the dow Settings
Source and Record monitors. Options” on page 395.

Deck Configuration Configures channels and decks into See “Deck Configura- Yes
the system. tion Settings” on
page 152.

Deck Preferences Sets preferences that affect all decks See “Setting Deck Yes
configured into the system. Preferences” on
page 159.

Digital Cut Sets parameters for previewing or See “Using the Digi- No; choose Digi-
recording a digital cut to tape. tal Cut Tool” on tal Cut from the
Appears in the Settings scroll list to page 700. Output menu.
facilitate copying settings.

Digitize Defines how the Avid system See “General Digitize Yes
digitizes and batch digitizes in Settings Options” on
specific situations. page 176.

Export Sets parameters for file export. See “Export Options Yes
Settings” on page 724.

77
 Table 3-1 Settings Scroll List (Continued)

Setting Name Description For More Access to

Information Dialog Box?

General Defines several default values such as See “General Set- Yes
the default starting timecode for your tings” on page 82.
project.

Grid Defines the grid to use when you See Media Composer Yes
create effects. Effects Guide.

Import Sets parameters for file import. See “Import Settings Yes
Options” on page 242.

Interface Defines the appearance and function See “Interface Set- Yes
of certain interface elements. tings” on page 83.

Keyboard Maps commands from the Command See “Using the Key- Yes
palette to the keyboard. board” on page 412.

Render Controls the size of imported graphics See Media Composer Yes
and rendered effects to ensure that the Effects Guide.
graphic or effect will be playable.

Script Sets the default display options See “Script Settings Yes
for scripts imported using script Options” on page 347.
integration.

Serial Ports Configures the serial ports on your See “Using the Serial Yes
system for deck control, controllers, Ports Tool” on
and VTR emulation. page 123.

Timecode window Displays various timecodes in an See “Displaying Time- Yes

adjustable window code” on page 393.

Timeline Contains the latest Timeline settings. See “Timeline Set- Yes
tings Options” on
page 473.

78
 Table 3-1 Settings Scroll List (Continued)

Setting Name Description For More Access to

Information Dialog Box?

Timeline View If you save your Timeline settings, See “Customizing No; select saved
Timeline View appears in the Settings Timeline Views” on setting files from
scroll list to facilitate copying settings. page 463. within the
Timeline.

Title Style Sheet If you save a title style while you are See Media Composer Yes
using the Title tool, Title Style appears Effects Guide.
in the Settings scroll list.

Trim Customizes the Trim mode See “Trim Settings Yes

environment. Options” on page 525.

Video Input The Video Input tool enables you to See “Preparing for No; choose
calibrate composite or component Video Input” on Video Input Tool
video when digitizing. Appears in the page 194. from the Tools
Settings scroll list to facilitate copying menu.
settings.

Video Output The Video Output tool enables you to See “Calibrating for No; choose
calibrate output for composite or com- Video Output” on Video Output
ponent video in a digital cut. Appears page 683. Tool from the
in the Settings scroll list to facilitate Tools menu.
copying settings.

VTR Emulation Sets parameters when using the Avid See “VTR Play Emula- Yes
system to emulate a VTR. tion” on page 712.

Workspace Enables you to associate settings and See“Linking User Set- Yes
windows with a workspace. tings and Work-
spaces” on page 105.

Defining Settings
You can use the Settings display to establish a hierarchy of settings
that address the specific needs of each production phase.

79
 For example, you can establish:
• User settings for the assistant editor: Facilitate logging, digitiz-
ing, and organizing projects.
• User settings for the editor: Include editing interface preferences.
• Project settings: Reflect the specific needs of the project.
• Bin View settings: Display useful columns of information for each
of the bins described in “Managing Folders and Bins” on page 72.

By establishing these settings once, and selecting the appropriate set-

ting 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 (as
described in “Managing Folders and Bins” on page 72) for use on
similar projects.

Reviewing Basic Settings

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

Double-click each setting in the Settings scroll list of the Project win-
dow to view the dialog boxes.

Bin Settings

The Bin Settings dialog box controls the Avid system’s automatic save
features, including the number of backups saved in the Attic folder.
Table 3-2 describes the Automatic Save and Backup options, and the
results of double-clicking an object in a bin.

80
 Table 3-2 Bin Settings Dialog Box Options

Option Description

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

Inactivity period Specifies the length of time the Avid system waits while the system is
inactive before automatically saving the project files. The default is 0
seconds.

Force auto-save at 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 15 minutes.

Maximum files in attic Specifies the total number of files stored in the Attic folder. When a bin
is saved, the Avid system copies the previous version of the bin to a spe-
cial 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 set-
tings as Site or Project settings. This will ensure that another user does
not override your settings and delete your backups.

Max versions of any Specifies the total number of single-bin copies stored in the Attic folder.
one bin 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.

The Double-Click options determine what happens when you double-click an object in a bin.

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

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

81
General Settings

Table 3-3 describes the General Settings options.

Table 3-3 General Settings Dialog Box Options

Option Description

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

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

NTSC Has Setup Allows systems using NTSC-EIAJ (used primarily in Japan) to
use the correct color mapping. NTSC-EIAJ users should not select
this box. All other users should select this box.

Project Format Displays the format currently selected for the project (NTSC or
PAL). This option cannot be changed.

Audio File Format Choose the file format for the audio:
• OMF (WAVE): Compatible with Windows applications
• OMF (AIFF-C): Compatible with many third-party
applications, including Pro Tools®
• SDII (Sound Designer II): Compatible with AudioVi-
sion®

Use Windows® compatible Prevents you from using the characters /\:*?<>| in bin, project, or
File Names user names. These characters are not allowed in Windows file
names. This option is useful for moving bins and projects from
Macintosh to Windows NT platforms.

82
Interface Settings

The Interface settings determine the level of basic information dis-

played in the interface. Table 3-4 describes the User Interface Settings
options.

Table 3-4 User Interface Settings Dialog Box Options

Option Description

Show Labels in When this option is selected, the system displays

Tool Palette text labels with the icons in tool palettes. To tear off
the Tool palette, click anywhere on the palette, hold
the mouse button, and drag the palette to the loca-
tion you want.

Show Tool Tips When this option is selected, the system displays
labels for buttons and icons when you position the
pointer over them.

Delay _ seconds If you select Show Tool Tips, you can delay the label
before showing display by entering a value in this field. 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.

Show Graphics on When this option is selected and you have a third,
Client Display full-screen monitor, the system displays graphics
such as grid lines in the third, full-screen monitor as
well as in the Record monitor.

83
Displaying Project Settings
You can display the Settings scroll list of the Project window in differ-
ent groups, depending on what you need to view. Table 3-5 describes
the different settings display groups.

Table 3-5 Displaying Groups of Settings

Option Description

All Settings Displays all settings available in the

Media Composer system

Base Settings Displays Project, User, and Site settings only; no

views are displayed

Bin Views Displays all the Bin View settings you created

Timeline Views Displays all the Timeline View settings you cre-
ated

Title Styles Displays all the templates you created for the Title
tool

Video Tool Settings Displays all the Video Tool settings

Import Settings Displays all the Import settings

Export Settings Displays all the Export settings

Workspaces Displays all the Workspace settings you created

Workspace Links Displays all the workspace links you created

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 in the Project window.

84
 2. Choose a settings display group from the Fast menu or from the
Settings menu.

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.

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.

Selecting Another User

Because User settings are not project or site specific, you can display
another set of User settings within the Project window.

85
 To select another user, choose another name from the User pop-up
menu.

User pop-up menu

The previous user’s settings are saved, and the new user’s settings are
loaded into the Avid system and the Project window.

Modifying Settings

You can alter the default options for various settings to reflect the spe-
cific needs of a project or to customize the system based on personal
preferences.

There are three types of settings you cannot modify. They are:
• Settings that require the presence of standalone peripherals, such
as the Digidesign® 888
• Settings that can be modified only from within the tools in which
they are used, such as Timeline views
• Film settings when you are working in nonfilm projects

To modify available settings:

1. Double-click the name of a chosen setting in the Settings scroll list
to open a settings dialog box.

86
 Settings
scroll list

A dialog box or window opens.

2. Enter new values or select new options for the settings.
3. Click OK, Save, Apply, Cancel, or the close box.
The system saves changes in the appropriate User, Project, or Site
settings file.

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.

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

87
 • Multiple Keyboard and Composer settings to use for various
activities such as digitizing, offline editing, or online effects edit-
ing
• 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 to display a list of
your current settings.
2. Click the setting you want to copy. Shift+click any additional set-
tings 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 add a custom name to a setting to differentiate it among more

than two copies or to indicate a specific use.

To enter a custom setting name:

1. Click the Custom setting name column in the Settings scroll list of
the Project window.

Custom setting
name column

88
 2. Type a new name and press Return.
The new name appears in the list and is saved in the settings file.

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, 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.

Deleting Settings

You can delete settings from the Settings scroll list in the Project win-
dow at any time. For example, you might choose to delete one or more
among multiple versions of a particular setting. Or you might want to
delete all but a few settings to transfer into another Settings window.
For information on transferring settings, see “Copying Settings
Between Settings Files” on page 90.

To delete a setting:
1. Click a setting to highlight it. Shift+click each additional setting
you want to delete.
2. Press the Delete key or choose Delete from the Edit menu.
The selected settings are immediately removed.

c You cannot undo the deletion. You can, however, restore the default
settings, or you can transfer settings from other files, as described in
the following sections.

89
Restoring Default Settings

You can restore your settings to the default values at any time by
doing the following:
1. Click a setting to highlight it. Shift+click each additional setting
you want to select.
2. Choose Restore to Default from the Special menu.
An alert box asks whether you want to save the settings.

3. Click Copy & Restore to copy the current settings before restoring
the default settings, or click Restore to discard the current settings.
The system restores the default values for the selected settings.

Copying Settings Between Settings Files

You can copy selected settings:

• Between existing settings files
• Into a new settings file for use in other projects
• To change one type of setting to another
• Into the Settings folder in the Media Composer folder on the Avid
drive to establish standard system settings for all new projects and
users. See “Using Site Settings” on page 92.

You can also transfer settings files to another Media Composer

(Macintosh) system. See “Transferring Projects, User Profiles, and
Site Settings” on page 761.

90
 To copy settings between files:
1. With the Settings display active, open the destination settings file
in one of the following ways:
• Create and open a new settings file by choosing New Setting
File from the File menu.
An untitled settings window opens.
• Open an existing settings file by choosing Open Setting File
from the File menu.
The Open dialog box appears.
Locate and select a settings file in the Avid Projects or Avid
Users folder and click Open. The settings file window opens.
2. Click the setting you want to copy in the Settings scroll list of the
Project window. Shift+click any additional settings that you want
to copy.
3. Drag the highlighted settings to the new destination Settings win-
dow.

Settings scroll list

New target settings window

91
 4. You can also drag settings from the Settings window into the Set-
tings scroll list in the Project window. When you copy a setting
into the Settings scroll list and the setting is active, an alert box
appears.

5. Do one of the following:

• Click Add to add the new settings to the project without
affecting the project’s current settings.
• Click Replace to replace the current version of each setting
with the new settings. Additional versions of each setting are
not affected.
The copied settings are saved when you close or save the file or
project.

Using Site Settings

When the system opens a new project, it first searches the Site Settings
file in the Media Composer:Settings folder on the Avid drive and loads
any settings placed here. The system then proceeds to load any Project
and User settings not included in the Site Settings file.

This feature is useful if you need to establish global settings for all new
users and projects, such as switcher settings, a specific start timecode
for all sequences, or various customized features of the interface.

92
 To load settings into the SiteSettings file:
1. Open a project with the settings you would like to establish as site
settings. If a project does not already exist with the settings you
want, create a project and make adjustments to the default settings
as needed.
2. Choose Site Settings from the Special menu.
The Site Settings window opens.

3. Click a setting in the Settings scroll list of the Project window or

Shift+click multiple settings and drag them into the Site Settings
window.
Copies appear in the Site Settings window.
4. 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 (NTSC, for example).

93
 To activate Info display, click the Info button in the Project window.

Info button

Fast Menu button

The items listed in this view are for information only and cannot be
changed from the Info list.

The Fast Menu button at the bottom of the Info display in the Project
window displays four menu items: Profile, Usage, Memory, and
Hardware.

Displaying a Project Profile

The Profile displays basic project information, such as the video
format (NTSC or PAL).

To display the Profile information:

1. Click the Info button in the Project window.
2. Click the Fast Menu button.
3. Choose Profile from the Fast menu.
Basic project information is displayed.

94
Displaying Usage Information
The statistics feature gathers and reports information on system usage.
You can use this information to support business functions such as
resource management.

All statistics are gathered and reported by project. The file that con-
tains this information is formatted so that you can use it as input to
software programs such as analysis applications, spreadsheets, or
report generators.

c Do not rely on the statistics feature for billing or other financial

purposes.

To view statistics for an open project:

1. Click the Info button in the Project window.
2. Click the Fast Menu button.
3. Choose Usage from the Fast menu.
You see a display similar to the following:

Fast Menu button

4. Click the Info button again to update the Usage window to reflect
any changes you made to the project.

To print this file, choose Print Usage from the File menu.

95
File Structure and Layout

A new statistics file is created each time you open the project. The files
are stored in a Statistics folder inside each project folder.

The file name has the following format:

Statistics.yymmdd.HHMMSS

where:

Variable Description

yy Indicates the last two digits of the year

mm Indicates the month

dd Indicates the day

HH Indicates the hour

MM Indicates the minutes

SS Indicates the seconds

The statistics file is formatted as comma-separated ASCII text, so it can

be accepted by a variety of software programs. Each line in the file is
tagged with indicators for identifying content and data type to assist
in programming custom applications. Figure 3-1 shows a sample
data file.

96
Figure 3-1 Sample Data File

Description of Data File Values

The values in the first column indicate the content of the line.
Values are:

01 title1
02 title2
03 heading
100 project info
101 Time Project open
102 Digitize tool open
104 Digitize tool active

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 105 Digitized Media bytes used
106 Rendered Effects bytes used
110 Effects rendering time
111 Title tool open
113 Title tool active
114 Title tool rendering
115 Digitize tool digitizing
116 Digitize tool logging
117 user comments

The value in the second column indicates the type of data in the line.
Values are:

01 project info
02 time used
03 bytes used
04 text string

Importing the Statistics File into a Spreadsheet

You can import the statistics file into spreadsheet or other programs as
an ASCII file and use the application to set up the proper format. For
example, to create a statistics file in Microsoft® Excel™:
1. Start Microsoft Excel.
2. Choose Open from the File menu and navigate to the statistics file
you want to import.
3. Click Open.
After you open the file, the Text Import Wizard starts.

To complete the steps for the Text Import Wizard:

1. Choose Delimited for the Original Data Type and click Next.
2. Choose Comma for Delimiters and click Next.

98
 3. Choose General for Column Data Format.
4. Click Finish.
The statistics file appears in spreadsheet format.

Spreadsheet Form of Statistics Data File

Figure 3-2 is the same sample file as it appears when you import into a
spreadsheet.

Figure 3-2 Sample Spreadsheet Form

99
Displaying Disk Space Statistics
To improve system performance, statistics for disk space (digitized
media and rendered effects) are not calculated and are not displayed
in the Usage window, unless you issue a Console command.

To display disk space statistics in the Usage window:

1. Choose Console from the Tools menu.
2. In the command entry text box, type:
toggleStatSpace
3. Press Return.
4. Choose Load Media Database from the File menu.

After the media database is loaded, the Usage window displays the
number of files and disk space used for digitized media and rendered
effects. To update the display, click the Info button on the Project win-
dow. To prevent recalculation, reenter the toggleStatSpace command.

Viewing Memory
To display system memory information:
1. Click the Info button in the Project window.
2. Click the Fast Menu button.
3. Choose Memory from the Fast menu.
The Memory window opens.

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 The Memory window displays the following information:
• Objects: The total number of memory handles currently used by
Media Composer. Objects include memory requirements of the
application, such as windows, as well as clips, sequences, and
other items associated with a project.
• Total Mem: The total number of bytes of RAM (random-access
memory).
• Free Mem: The amount of RAM available for allocation by the
Macintosh system.

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

Accessing the Hardware Tool

To open the Hardware tool from the Info display:
1. Click the Info button in the Project window.
2. Click the Fast Menu button.
3. Choose Hardware from the Fast menu.
The Hardware tool opens.

You can also access the Hardware tool by choosing Hardware from the
Tools menu. For more information about the Hardware tool, see
“Using the Hardware Tool” on page 122.

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Customizing Your Workspace
A workspace is the arrangement and size of tool windows displayed
on your Avid system. If you are accustomed to working with a partic-
ular 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 and Video Input tool in specific locations.
During effects editing, you might want to display the Effect Palette
and Effect Editor in a particular location and size. You can switch
between workspaces by using the workspace buttons available on the
More tab of the Command palette.

While in a workspace, you can move tool windows or open and close
tool windows. The next time you select that workspace, the tool win-
dows 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 can select your preference in the Workspace Settings dialog box.
For more information, see “Creating a New Workspace Setting” on
page 103.

You can assign up to eight buttons that allow you to switch between
user-customized workspaces. This is very useful if there is more than
one user accessing the same Avid system. Each user can assign up to
eight workspaces by using the workspace buttons. The buttons are
assigned to the workspaces in the Settings scroll list of the Project win-
dow 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.

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

n 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
name column and not the setting name.

Custom name column

New workspace

103
 b. Type a name for the new custom workspace; for example,
digitizing.
c. Press Return.
6. Open the windows and tools that you want to associate the work-
space with. Resize and move the windows to the location 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 pref-

erence for the behavior of the workspace:
• Activate Settings Linked by Name: This setting allows you to
link other settings to the workspace. See “Linking User Set-
tings and Workspaces” on page 105.
• Continually Update This Workspace: This setting automati-
cally preserves the workspace in its most recent arrangement.
Future changes to the arrangement of the tool windows are
saved.
• Manually Update This Workspace: This setting saves the
workspace in its current arrangement when you click the Save
Workspace Now button. Future changes to the arrangement of
the tool windows are disregarded.
9. Click OK.

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Linking User Settings and Workspaces
User settings can be linked to a workspace. You can create a custom-
ized 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 cus-
tomized Timeline (with enlarged audio tracks and rubberbanding dis-
plays). Then, you can link this workspace to a Settings dialog box with
customized options selected. You do this by creating a setting and giv-
ing it the same name in the Project window as the name of the work-
space.

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 Timeline view. Adjust the
Timeline to what you want displayed (enlarged tracks, audio
waveform, and so forth).
For information on 4. Name this Timeline view setting with the same name you gave the
naming a Timeline
workspace in step 2.
view, see “Saving a
Customized Timeline 5. Double-click another setting; for example, Interface. Select the
View” on page 471.
new options; for example, Show Tool Tips, and click OK.

105
6. Give this setting the same name you gave the workspace in step 2.

Linked setting

Linked setting

Linked workspace

7. Double-click the workspace you just created.

The Workspace dialog box appears.
8. Click Activate Settings Linked by Name.
9. Click OK.
All the settings and the new workspace you created are activated.

106
Switching Between Workspaces
To switch from one workspace to another:
1. Click the Settings button in the Project window.
The Settings scroll list appears in the Project window.
2. Click to the left of the workspace setting you want to use.
A check mark appears next to the workspace.

You can also switch between workspaces by using the Workspace but-
tons. To assign Workspace buttons, see “Assigning a Workspace But-
ton” on page 108.

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.
2. Press the Delete key.
The selected workspace is removed from the Settings scroll list.

n You cannot delete the active workspace.

107
Assigning a Workspace Button
To assign a Workspace button:
1. If you want to assign a Workspace button to a palette (for example,
the Tool Palette from the Fast Menu), open the palette.
2. Choose Command Palette from the Tools menu.

W1 button More tab

Button-to-Button Reassignment

3. Click the More tab.

4. Select the Button to Button Reassignment radio button.
5. Click a Workspace button (W1 – W8) and drag the button to a loca-
tion on another palette (for example, the Tool palette) or the key-
board.
The buttons are assigned to the workspaces in the Settings scroll
list of the Project window in the order that they appear. For exam-
ple, 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.
The Workspace button appears in the new location.
6. Click the W1 button to display 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.

108
 CHAPTER 4
Using Basic Tools

The Tools menu on the Media Composer 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.
• Using the Tools Menu
• Using the Deck Controller
• Using the Command Palette
• Using the Avid Calculator
• Using the Console
• Using the Hardware Tool
• Using the Serial Ports Tool

Using the Tools Menu

You can open any of the most frequently used system tools from the
Tools menu located on the Media Composer menu bar.

109
To open a tool, choose its name from the Tools menu.

The Tools menu also allows you to activate or open windows that have
been closed or are covered by other windows. These include any open
tools, plus the Composer, Timeline, and Project windows.

The following sections describe several basic tools that you can use at
any time during a project. For information about each tool listed in the
Tools menu, open the window, move the pointer to the window, and
press the Help key.

110
Using the Deck Controller
The deck controller provides direct serial or VLXi® V-LAN® control of
an Avid-compatible tape deck at any time during editing. This allows
you to cue and screen footage from source tapes in various edit modes
or when recording a digital cut, without entering Capture mode.

To open a deck controller, choose New Deck Controller from the Tools
menu.

The Avid Deck Manager program is initialized, and a new Deck

Controller window opens.

Timecode indicator
Logging controls

Close box Resize box

Timecode display
Status indicator
Clear IN

Deck controls Clear OUT

Deck Selection
pop-up menu Clear Memory

Source Tape display Eject Mark IN Go To Memory

Mark OUT

For information on Each deck controller includes the following elements:

compatible decks and
cabling, see the Avid • The Status indicator provides information about the control status
Media Composer Setup of the tape deck, as follows:
Guide.
- If the deck is properly connected and power is on, the deck
controller displays timecode when a tape is mounted.
- If a deck is not properly connected to the system or power is
off when you open the controller, the indicator shows the mes-
sage “NO DECK.”

111
 - If you turn the deck power off with the deck controller already
open, the indicator shows the message “Power Off.”
- If you switch the deck control to Local on the VTR, the indica-
tor shows the message “Local.”
• The Timecode indicator flashes green during playback or digitiz-
ing to indicate that the system is receiving valid timecode from the
source tape. If the indicator remains unlit, the system is not receiv-
ing timecode.
• The deck controls provide a standard range of playback capabili-
ties, including fast forward and rewind, stop and play, step back-
ward and step forward, pause, and eject.
• The Deck Selection pop-up menu allows you to specify a deck
with deck control parameters that you can customize in the Deck
Settings dialog box. For more information, see “Deck Settings
Options” on page 157.
• The deck controller allows you to associate a tape name with the
controller by clicking the Tape Name button and selecting a tape
in the Selection Tape dialog box. For more information, see “Log-
ging with an Avid-Controlled Deck” on page 136.
• Logging controls allow you to log IN and OUT marks while cue-
ing your tape.

For more information Marks you set with the deck controller are temporary, and allow
on logging with the
you to return to timecode locations entered in the window while
Digitize tool, see “Digi-
tizing and Logging at screening and cueing a tape. If the Digitize tool is open, however,
the Same Time” on timecodes logged here also appear in the Digitize tool, and can be
page 214. entered into an open bin.

112
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
functions are displayed within each tab. The functions are: Move, Play,
Edit, Trim, FX, 3D, MCam, Other, and More.

You can use the Command palette to:

• Map buttons to any Tool palette in a pop-up, Source, or Record
monitor and reconfigure the keyboard. See “Mapping User-
Selectable Buttons” on page 115.
• 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 118.

n For information about each button on the Command palette, Ctrl+Shift+click

on a button and choose What’s This? from the context menu.

113
About Button Mapping
Mapping user-selectable buttons allows you to reconfigure Command
palettes or the keyboard in various combinations to suit different edit-
ing needs. The following are a few examples:
• Subcataloging clips: You can map the Make Subclip button and
other clip management buttons.

Make Subclip Find Bin Add Locator

• Complex layering and effects editing: You can map buttons such
as Motion Effect, Remove Effect, Transition Corner Display, Fade
Effect, Render Effect, Cycle Picture/Sound, Add Dissolve, and
Grid (which displays Safe Title overlays).

Motion Effect Remove Effect Transition Corner Display

Fade Effect Render Effect Cycle Picture/Sound

Add Dissolve Grid

• Multicamera editing: You can map the Quad Split and Gang
buttons.

Quad Split Gang

For more information When you remap buttons or commands, the system immediately
on multiple settings, see
saves your new configuration in one of the default settings that you
“Working with Multi-
ple Settings” on can open from the Project window. You can also save, rename, and
page 87. recall multiple versions of any of these settings to serve various pur-
poses.

114
 The Avid application saves button configurations as follows:
• Changes to the keyboard are saved in the Keyboard setting.
• Changes to the pop-up monitor Command palettes, monitor Com-
mand palettes, and Tool palette in the Composer window are
saved with the Composer settings.
• Changes to Command palettes in Trim mode are saved with Trim
settings.

You can change the appearance of the buttons on the Tool palettes by
using the Interface settings from the Settings scroll list in the Project
window. You can choose to identify a button’s function with only an
icon or with an icon and letters.

Mapping User-Selectable Buttons

To remap buttons or keys on the keyboard by using the Command pal-
ette:
1. Open a window that has a user-selectable button palette by doing
one of the following:
• Activate the Source or Record monitor in the Composer win-
dow.
• Tear off the Tool palette by clicking a Fast Menu button and
dragging the palette.
• Open a clip in a pop-up monitor.
• Enter Trim mode in the Composer window.
• Open the Keyboard palette from the Settings scroll list in the
Project window.
2. Choose Command Palette from the Tools menu.
The Command palette appears.

115
 3. Select Button to Button Reassignment at the bottom of the Com-
mand palette.

4. Select the tab from which you want to choose a user-selectable

button.
5. Drag the button from the Command palette to a button location on
the other palette.

Using the Blank Button

The Blank button allows you to replace a defined button with an unde-
fined button. If you do not need or use a specific button within the
Source or Record monitor, a pop-up monitor, or Tool palette, you can
replace these buttons with a blank button.

To map the Blank button to a new location, see “Mapping User-Select-

able Buttons” on page 115.

Mapping Menu Commands

You can map menu commands displayed in the pull-down menus on
the Media Composer menu bar directly onto buttons in any of the
Command palettes or onto the keyboard. This is especially useful if
you frequently use the keyboard or Command palettes during editing.
In some cases, you can avoid using the menus altogether.

116
To map menu commands:
1. Open a window that has user-selectable buttons by doing one of
the following:
• Activate a monitor in the Composer window.
• Tear off the Tool palette by clicking a Fast Menu button and
dragging the palette.

• Open a clip in a pop-up monitor.

• Enter Trim mode in the Composer window.
• Open the Keyboard palette from the Settings scroll list in the
Project window.
2. Choose Command Palette from the Tools menu.
The Command palette appears.
3. Select Menu to Button Reassignment at the bottom of the
Command palette.

4. Click a target button on the Keyboard palette or other palette (for

example, the Command palette under a monitor).
The pointer changes to a small white menu.

117
 5. Click a menu and choose the menu command you want to map to
the target button.
The initials for the menu command appear on the target button.

Menu command
mapped to a button

Activating Commands from the Command Palette

You can perform a command function directly from the Command
palette; for example, click the Play button in the Command palette to
play the material in the Source window.

To activate a command from the Command palette:

1. Choose Command Palette from the Tools menu.
The Command palette appears.
2. Select Active Palette at the bottom of the Command palette.
3. Select the tab from which you want to choose a command
function.
4. Click the Command button in the Command palette for the func-
tion 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.

118
For example, you can:
• Convert drop-frame to non-drop-frame timecode values
• Convert timecode durations between 30-fps and 25-fps projects
• Convert a duration in video to the corresponding length in footage
and frames for measuring 35mm film

To use the Avid Calculator:

1. Choose Calculator from the Tools menu.
The Avid Calculator opens.

Format pop-up menu

2. Choose a format from the Format pop-up menu.

3. Make calculations in the selected format. Click numbers and func-
tions in the Avid Calculator, or enter numbers and functions with
the numeric keypad or the top row of numbers on the keyboard.
You do not need to enter leading zeroes, colons, or semicolons for
timecode.
4. To convert your totals at any time to another format, choose a dif-
ferent frame code or key number format from the pop-up menu.

119
Using the Console
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 sequence segments in the Timeline or
about objects in a bin
• Information after you digitize or import

c Do not use the programming features of the Console without guid-

ance from Avid professionals. Contact your local Avid Reseller (in
North America, you may contact Avid Customer Support).

Displaying System Information

To display current system information:
1. Choose Console from the Tools menu to open the Console win-
dow.
2. Scroll to the top of the Console window to view your system infor-
mation and ID. This feature is especially useful for finding the sys-
tem ID before you contact your Avid Reseller or Avid Customer
Support.

Reviewing a Log of Errors

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

120
Getting Information with the Console
This function 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 this procedure 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.
2. Select the item about which you want information, for example:
• In the Timeline, place the position indicator in the chosen shot
or segment.
• In the bin, select an object or Shift+click multiple objects.
3. Choose Get Bin Info or Get Position Info from the File menu.
Information about the shot appears in the Console window.

121
Using the Hardware Tool
The Hardware tool provides the following information about the sys-
tem’s hardware configuration:
• The Disks 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.

To check the hardware configuration of your Avid system, do one of

the following:
• Choose Hardware from the Tools menu.
• Click the Info button in the Project window and choose Hardware
from the Project window Fast menu.

The Hardware tool opens.

Online drives

122
 • Each online drive is listed on the left side of the tool. 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.
• The name of the operating system and version number appear on
the System tab. The total physical memory is also listed in the
same location.

For information about the boards included in your Avid system, use
the Avid System Test Pro diagnostic utility.
1. In the Finder, open the Utilities:AvidSystemTest folder on the Avid
drive and locate the Avid System Test Pro utility.
2. Double-click the Avid System Test Pro icon.
3. Click OK in the opening dialog box.
4. Choose Board Information from the Window menu.

Using the Serial Ports Tool

The Serial 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 application or shutting
down the computer.

n Although you can use the Serial Ports tool to reassign ports, you still need to
reconnect the appropriate cables to the newly assigned ports.

123
 To access the Serial Ports tool:
1. Choose Serial Ports from the Tools menu.
The Serial Ports tool opens.

Close box

Appear only after you

add a deck using the
Deck Configuration
dialog box.

2. Assign ports for deck control and other devices, as necessary, by

choosing a port or no port from any of the pop-up menus.
3. Close the Serial Ports tool.

124
 CHAPTER 5
Logging

When you log with a deck or import shot log files, you provide the
Avid system with frame-accurate clip information used to digitize the
source footage. The logs you create form the foundation for organiz-
ing, tracking, storing, retrieving, and generating lists of edit informa-
tion 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
• Logging Directly into a Bin
• Modifying Clip Information Before Digitizing
• Exporting Shot Log Files

Logging Tips
Observe the following important guidelines for preroll, timecode for-
mats, and naming of tapes when logging prior to digitizing.

125
Logging Preroll
Be sure to leave adequate preroll with continuous timecode prior to IN
points when logging your tapes. The recommended minimum preroll
is 2 seconds for Betacam playback, and 5 seconds for 3/4-inch U-matic
playback.

n You set the default preroll for tape playback by using Deck Settings. For more
information, see Table 6-1 on page 157.

Logging Timecode
Within an NTSC project, check the timecode format of each tape (drop-
frame versus non-drop-frame timecode) when you are logging with-
out a tape in the deck. Log drop-frame timecode by using
semicolons (;) between the hours, minutes, seconds, and frames. Log
non-drop-frame timecode with colons (:).

n To change the logged timecode format, choose Modify from the Clip menu.
For information, see “Modifying Clip Information Before Digitizing” on
page 142.

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

126
 an EDL. Choose a case convention and maintain it throughout a
project.

n If you want your Avid system to consider master clips as coming from the
exact same tape, you should try to choose that tape name from the Select Tape
dialog box. If you do not see the tape you are looking for, but know you have
online media from that tape, you should click the Scan for Tapes button. For
more information, see “Logging with an Avid-Controlled Deck” on
page 136.

• It is important that you devise a naming scheme for your tapes.

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

Double-Checking the Logs

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

If the system detects a discrepancy, it reports the error to the console

and does not bring the clip into the bin. For more information on using
the console, see “Using the Console” on page 120. The best way to
ensure that clips are not discarded on import is to double-check the
logs for discrepancies in duration and marks.

127
Adding a Memory Mark

You can add a memory mark to a particular location on a tape. The

Mark Memory button on 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 and insert another tape into the decks, the mark is
cleared.

Clear Memory button

Mark Memory button Go to Memory button

Preparing Logs for Import

Preparing log files for importing into a bin can involve one or more of
the following methods, which are described in this section:
• To log the material on any Macintosh, use the MediaLog applica-
tion, and transfer the bins directly into the Avid system with mini-
mum effort, as described in “Transferring Bins from MediaLog
for Macintosh” on page 129.
• Use a word processor or standard text editor to create and import
logs, as described in “Creating Avid Logs” on page 133.

128
Transferring Bins from MediaLog for Macintosh
For information on spe- MediaLog for Macintosh systems is a standalone application that
cific MediaLog proce-
speeds the process of creating and importing log information from any
dures, see the Avid
MediaLog for Macintosh Macintosh computer. MediaLog mirrors the Avid system interface for
User’s Guide. creating projects, bins, and clip information in the bin, and includes
serial deck control for logging directly from tape.

n To purchase MediaLog for Macintosh, contact your Avid sales representative.

If you log your source footage by using MediaLog, you can transfer
the bins directly to the Avid system for batch digitizing by moving the
bin files. You can also import the logs by using the same procedure as
you would for other Avid-compatible log formats, as described in
“Importing Shot Log Files” on page 134.

To transfer bins from MediaLog:

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

129
 8. Associate the imported bins with your project by doing the
following:
a. Choose Open Bin from the File menu.
b. Locate the new bin by using the Open Bin dialog box.
c. Double-click the bin to open it within your project.
The new bin appears in the Bins scroll list in the Project window.

The bins you have imported contain master clips only with no associ-
ated media files. Before you can view or manipulate these clips, you
must create the associated media files by batch digitizing the source
material. For information about batch digitizing, see “Batch Digitiz-
ing from Logged Clips” on page 225.

Converting Logs with Avid Log Exchange

You can use the Avid Log Exchange (ALE) utility included with your
system to quickly convert shot logs that are created by other sources.
You can then import the files directly into bins, as described in
“Importing Shot Log Files” on page 134.

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.

130
 The Avid Log Exchange dialog box appears.

Files you can convert Files you can generate

Clean
option

Track
selection

Convert button Quit button

For specific informa- 3. Make selections for Input and Output.

tion on the various file
types shown here, see The default output selection is the Avid Log Exchange (.ALE) for-
Appendix D. mat. 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.

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 7. Open the drive and folder that contain the files you want to
convert.

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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Drag-and-Drop Conversion

Use this shortcut 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, posi-
tioning 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
extension to the new file names.

Creating Avid Logs

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

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

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 To create Avid Logs, using a word processor:
1. Enter shot log information according to the specifications
described in Appendix D.
2. Save your file as a text file in the Save As dialog box.

c The Avid system only accepts text files (ASCII format).

When logging manually, you should document the following

information:
• Identify the source tape for each shot.
• Document each clip’s name, start timecode, and end timecode.

This is the minimum information required to digitize successfully. You

can also add other information such as comments, auxiliary time-
codes, or key numbers for film projects. You can make a separate log
file for each videotape, or log clips from several different videotapes in
one log.

Importing Shot Log Files

You can also import an You can import any log created or converted to meet Avid log specifi-
EDL to a bin for use in
cations. You can also combine or merge events while importing a log
digitizing. For more
information, see the so that fewer master tapes require digitizing, as described in this sec-
Avid EDL Manager tion.
User’s Guide.

To import shot log files into a bin:

1. If you have created Import settings for importing shot log files,
select the Import setting that you want to use from the Settings
scroll list. See “Creating and Using Import Settings” on page 240.
2. Open the bin in which you want to store the imported files. Click
anywhere in an open bin to select it, or create a new bin for the
shot log import.
3. Choose Import from the File menu.

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 The Select Files to Import dialog box appears.

Directory pop-up menu

Source file list

File Type
pop-up menu

4. Choose Shot Log from the File Type pop-up menu.

5. Click the Options button to open the Import Settings dialog box, if
you want to select options for combining events on import.
For information on Import settings, see Table 8-1 on page 242.
6. After selecting the appropriate options, click OK to close the
Import Settings dialog box and return to the Select Files to Import
dialog box.
7. Use the Directory pop-up menu to locate the folder containing the
source file.
8. Select the source file from the list and click the Done button.
When the system finishes importing the file, the clips appear in
the selected bin.

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

For complete informa- • Log directly into a bin with an Avid-controlled deck for semiauto-
tion on working with
mated data entry.
bin columns and clip
information, see “Using • Log manually during or after viewing of footage offline with a
Text View” on
page 287. non-Avid-controlled deck or other source.

Logging with an Avid-Controlled Deck

For information about When you log with a compatible tape deck controlled from within
connecting a compati-
your Avid system, you can automate part of the logging process by
ble deck to your system,
see the Avid Media using buttons to enter frame-accurate timecode information from the
Composer Products Setup deck. This method is more accurate than manual entry because time-
Guide. codes are transferred directly from tape to the bin.

To log clips to a bin by using the Digitize tool:

1. Make sure the deck is properly connected and turn on power to
the tape deck.
2. Open the bin where you want to store the clips.
3. Choose Digitize from the Tools menu. The Digitize tool opens
and playback from the deck is displayed in the third, full-screen
monitor.

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 Digitize/Log Mode button

Log button

Channel Selection

Message bar

Timecode
display
Deck controls

Deck Selection pop-up menu

Source Tape display

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

4. If the Digitize tool is not currently in Log mode, click the Digitize/
Log Mode button until the LOG icon appears.
5. Insert your tape into the deck. The Select Tape dialog box appears.
You can select the option “Show other project’s tapes” to display
the tape names and associated project names for all bins that have
been opened in the current session.

n Because the media file database does not open when you start your Avid sys-
tem, tape names of all online media files do not appear automatically.

If the tape name you are searching for does not appear in the Select Tape dia-
log box, click the Scan for tapes button. Tape and project names are listed.

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 New tape name

List of tapes

Show Tapes
option

For guidelines when 6. Provide the system with a tape name in one of the following ways:
naming tapes, see “Log-
ging Tips” on page 125. • Select the name of the tape from the list in the Select Tape dia-
log 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
mark.
7. Set either an IN mark or an OUT mark for the clip you want to log,
using one of the following methods:
• Use the deck controls in the Digitize tool to cue your source
Mark IN
tape to the start or end point, and click the Mark IN or Mark
Mark OUT OUT button.

• Click the Log button in the upper left corner of the Digitize
tool to enter the mark.

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Go To IN
• 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
Go To OUT IN or Mark OUT buttons, press the Go To IN or Go To OUT
button to scan the tape forward to the mark, or press Return to
enter it.
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 but-
ton.
8. To finish logging the clip, do one of the following:
• Set the remaining IN or OUT mark on-the-fly by using the
buttons.
• Type a timecode for the clip’s IN, OUT, or duration in the
timecode text boxes next to the corresponding icon and press
Return.
The system automatically calculates the appropriate timecode for
the remaining mark IN, mark OUT, 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.

c You must enter at least two of the three timecode marks (IN mark,
OUT mark, or duration) to complete the log entry.

9. Name the clip by typing a new name before clicking any of the
buttons in the Digitize tool.

n 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 change the clip
names in the bin at a later time.

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 Mark OUT button repeatedly
before entering the second mark.

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Logging with Non-Avid-Controlled Decks
You can use the Digitize tool to log clips directly into a bin from a
source that is not Avid-controlled. For example, you can log clips from
a deck that is not connected to the system, or from handwritten or
printed log information for a tape that was previously logged but is
not currently available.
1. If there is a deck connected to the system, eject the tape from the
deck.

n For NTSC projects, when you are logging within the Digitize tool, you
should leave the deck empty. If a tape remains in the deck, the system will
determine drop-frame or non-drop-frame from that tape whether or not it
matches your tape’s timecode format.

2. Double-click Deck Preferences in the Settings scroll list of the

Project window to open the Deck Preferences dialog box.
3. For NTSC projects, 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.

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 The Digitize tool opens.

Digitize/Log Mode button

Log button

Channel
Selection
Message
bar

Timecode
display
Deck controls Erase
Mark
button
Deck Selection
pop-up menu

Source Tape display 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 in the Digitize tool.
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 into the bin.

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Modifying Clip Information Before Digitizing
For complete informa- You can change or modify the information logged in the bin. This is
tion on working with
especially useful if you find that some of the data is incorrect, or if you
bin columns and clip
information, see “Using need to update the information based on technical needs, such as vary-
Text View” on ing timecode formats.
page 287.

There are two ways to modify clip information prior to digitizing:

• You can modify the information directly by clicking in a column
and entering the new information one field at a time.
• You can use the Modify command to change selected groups of
clips all at once.

Using 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 only perform modifications that alter the end timecodes or the
tracks before digitizing.

142
 To modify selected clips:
1. Open the bin.
2. Click a Clip icon to select it. Shift+click each additional clip you
want to modify.

Selected clip is
highlighted.

3. Choose Modify from the Clip menu.

The Modify dialog box appears.

Modification Type
pop-up menu

143
 4. Choose an option, such as Set Timecode By Field, from the Modifi-
cation Type pop-up menu.

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 5-1 on page 145.
5. After choosing the type of modification, select an option or enter
information into the text boxes (timecode values, for example)
when they appear.
6. Click OK. The modification takes effect.

Modify Command Options

The Modify command allows you to modify bin information.

Table 5-1 describes the Modify command options.

144
 Table 5-1 Modifying Bin Information Options

Type of Modification Options Description

Set Timecode Drop/ Drop, Nondrop Changes the timecode format between
Nondrop drop-frame and non-drop-frame. Setting
must match the timecode format of the tape.

Set Timecode By Field Start or End Changes either the start or end timecode.
Only start timecode can be altered after
digitizing.

Hour, Minutes, Second, Allows you to enter custom timecode.

Frame

Increment Timecode Start or End Changes either the start or end timecode.
Incrementing the start timecode automati-
cally modifies the ending timecode by the
same amount. Only start timecode can be
incremented after digitizing.

Timecode text box Allows you to enter custom incremental

timecode.

Decrement Timecode Start or End Changes either the start or end timecode.
Decrementing the start timecode automati-
cally modifies the ending timecode by the
same amount. Only start timecode can be
decremented after digitizing.

Timecode text box Allows you to enter new decremental

timecode.

Set Key Number Key Number text box Allows you to enter a custom generic key
Generic (Prefix) number (film projects only).

Set Pullin Punch frame timecode Sets the timecode location of the punch
text box frame for pullin (film projects only).

A, B, C, or D Selects the pulldown frame to match to the

timecode entry (film projects only).

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 Table 5-1 Modifying Bin Information Options (Continued)

Type of Modification Options Description

Set Tracks V, A1, A2, A3, A4, A5, Changes the clip’s configuration of tracks
A6, A7, A8 track selector (film projects only).
buttons

Set Source None Opens the Select Tape dialog box. Selects
another source tape name for the clips.
Should match the original source tape name.

Exporting Shot Log Files

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

To export a shot log based on clip information in a bin:

1. Open the bin containing the clips you want to export and change
to Text view.
2. Click a Clip icon to select it. Shift+click each additional clip you
want to export.
3. Choose Export from the File menu.
The Export dialog box appears.

146
4. Choose the Export setting by doing one of the following:
• If you have previously created an Export setting for exporting
shot log files, choose the setting from the Export pop-up
menu. Then, go to step 9.
For information on creating Export settings, see “Creating and
Using Export Settings” on page 717.
• If you want to review or edit Export settings, go to step 5.
5. Click Customize.
The Export Settings dialog box appears.

6. Select either Avid Log Exchange or Tab Delimited as the file type.

147
 7. Type a name in the text box at the top of the dialog box to name
the Export setting. The Export Setting name is added to the list of
formats available from the Export dialog box.
8. Click OK to close the Export Settings dialog box.
9. Click OK to close the Export dialog box.
A Destination dialog box appears with a default file name in the
Export As text box, based on the file type.
10. (Option) Change the file name. In most cases, keep the default file
name extension.
11. Select the destination folder for the file and click Save.
The file is exported and appears at the chosen destination.

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 CHAPTER 6
Preparing to Digitize

Digitizing is the process of converting source material from analog vid-

eotape to digital form. Before you begin this process — described in
Chapter 7 — you need to complete the following preparations:
• Preparing the Hardware
• Selecting Settings
• Entering Capture Mode
• Setting Up the Compression Tool
• Setting Up the Digitize Tool
• Preparing for Audio Input
• Preparing for Video Input

This chapter also provides a digitize preparations check list.

Preparing the Hardware

Your source material can originate from a videotape, a digital audio-
tape (DAT), a compact disc (CD), an in-house router, a tuner, or
straight off-the-air, with the proper hardware configuration.

149
 n For information on connecting your equipment, see the Avid
Media Composer Products Setup Guide.

You should check the following items prior to digitizing:

• Third, full-screen monitor. Before you begin digitizing and edit-
ing, set up your NTSC or PAL full-screen monitor by using a color
bar generator (or house pattern) and lock in those settings, if you
have not done so already.
For more information • 16 x 9 format. You can edit with video in the 16 x 9 aspect ratio for
on the 16 x 9 format
display of wide-screen images used in the high-definition televi-
option, see “Using the
16 x 9 Display Format” sion (HDTV) format. To digitize footage shot in the 16 x 9 format,
on page 386. you must have a compatible playback deck. To view the footage
on a full screen monitor, you must have a 16 x 9 compatible full-
screen NTSC or PAL monitor.
• Remote switch. The deck control switch on the front of the source
deck must be set to remote rather than local to control the deck
with the Digitize tool.
• Striped drives. If your footage contains complex images that you
digitize at high resolution, you must use striped drives, as
described in the AVIDdrive Utility User’s Guide. In addition, vari-
ous models and resolutions have different striping requirements.
For more information, see Appendix C.
• DAT (digital audiotape). To digitize music or audio from a DAT
machine, check the Avid Media Composer Products Setup Guide to
determine whether your model requires VLXi for deck control.
Also, when digitizing from DAT, you must choose Digital from the
Sync Mode pop-up menu in the Audio Settings dialog box. For
more information, see “Preparing for Audio Input” on page 177.

150
Selecting Settings
For a complete descrip- Several settings have a direct bearing on the digitizing process. Before
tion of procedures for
digitizing, review the following options:
locating and changing
settings, see “Using the • General Settings include options for NTSC tape formats and
Settings Display” on
page 75. drive filtering:
- Drive Filtering Based on Resolution causes the system to dim all
drives for which speed capabilities are unknown or untested
in a particular resolution. The drives are inadequate for play-
back. This is the default setting in the General Settings dialog
box.

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

- NTSC Has Setup applies to standard NTSC format. This is the

default setting in the General Settings dialog box. If the source
footage is in the NTSC-EIAJ format standard (used primarily
in Japan), deselect NTSC Has Setup.
- The Audio File Format pop-up menu allows you to choose
either SDII, AIFF-C, or Wave as the default audio media for
the project. For more information, see “Choosing the Audio
File Format” on page 178.
• Digitize Settings include essential options for digitizing, batch
digitizing, autodigitizing, and digitizing to multiple media files.
For more information about General Digitize Settings, see “Gen-
eral Digitize Settings Options” on page 176.
- Digitize to multiple files allows you to create longer clips whose
media files would otherwise exceed the file size limitation of
2 GB. For more information, see “Digitizing to Multiple
Media Files” on page 171.
- Digitize across timecode breaks causes the system to begin digi-
tizing a new master clip at each timecode break. Select this
option when you are performing unattended batch digitizing
or autodigitizing. Deselect this option if you plan to digitize
151
 the entire tape as a single clip by digitizing to multiple media
files.
- The with outpoint set option allows you to mark an OUT point
to stop digitizing when you are performing unattended batch
digitizing or autodigitizing.

Deck Configuration Settings

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

Deck control settings

Deck Configuration settings allow you to establish deck control

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

For information on setting Deck Preferences, see “Setting Deck Pref-

erences” on page 159.

c You must manually configure the appropriate hardware connections

before Deck Configuration settings can take effect. For more infor-
mation, see the Avid Media Composer Products Setup Guide.

152
To configure a deck or multiple decks:
1. Double-click Deck Configuration in the Settings scroll list.
The Deck Configuration dialog box appears.

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

153
n Channel refers to the signal path for deck control, whether directly through a
serial port or through a V-LAN VLXi system connected to a serial port.
Direct serial port connection allows one deck for each channel, while a V-LAN
VLXi system provides multiple decks.

3. Choose one of the following from the Channel Type pop-up menu,
depending upon your system configuration.
• Direct if you are connecting a deck directly to the serial port.
• VLAN VLX if you are connecting a deck via a V-LAN VLXi.
4. Choose the port to which you are connecting the deck from the
Port pop-up menu.

n 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 docu-
mentation supplied with your system.

5. Click OK to close the Channel dialog box.

A dialog box appears with a question asking if you want to auto-
matically configure the channel now.
6. Click Yes if you want to automatically configure the channel.
A new channel appears in the display area of the Deck Configura-
tion dialog box.

154
Channel boxes
appear on the
left side.

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

7. Click the channel box to select it.

8. Click Add Deck to open the Deck Settings dialog box.

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

9. Configure Deck settings based on your deck.

n For information on Deck settings, see “Deck Settings Options” on

page 157.

10. Click OK to close the Deck Settings dialog box and return to the
Deck Configuration dialog box.

155
 Decks appear on the right side.

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

11. Repeat steps 2 to 10 for each additional channel or deck you want
to configure.
12. (Option) Select the “Verify configuration against actual decks”
option if you want to check the deck configuration against the
decks physically connected to the system.
The deck configuration is checked after you click Apply on the
Deck Configuration dialog box and when you start the Avid appli-
cation.
13. Type a name in the Configuration Name text box to name the deck
configuration. The new deck configuration will appear in the Set-
tings scroll list of the Project window.

156
 14. Click Apply to complete the configurations and close the Deck
Configuration dialog box.
15. If necessary, double-click Deck Preferences in the Settings scroll
list of the Project window to adjust global deck control options.
See “Setting Deck Preferences” on page 159.

Deck Settings Options

You can access the Deck Settings dialog box by doing one of the fol-
lowing:
• Click the Add Deck button on the Deck Configuration dialog box.
• After you create a deck configuration, choosing Adjust Deck from
the Deck Selection pop-up menu on the deck controller.

Table 6-1 describes the Deck Settings options.

Table 6-1 Deck Settings Options

Option Description

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

Description Enter notes about the deck.

Deck Type Choose your manufacturer and model from the menus.

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

Preroll Specifies how many seconds the tape rolls before a digi-
tize or digital cut starts. The default is based on the type
of VTR.

157
 Table 6-1 Deck Settings Options (Continued)

Option Description

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

Switch to ff/rew When this option is selected, the sys-

(seconds) tem switches to fast forward or
rewind if the target timecode is
beyond the specified number of sec-
onds 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 sys-

(seconds) tem switches out of fast forward or
rewind when it is within the speci-
fied number of seconds of the target
timecode. By default, the system
switches to search mode when it is
14 seconds from the target timecode.

Deleting Deck Configurations

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

To delete deck configuration elements in the Avid system:

1. Double-click Deck Configuration in the Settings scroll list of the
Project window.
The Deck Configuration dialog box appears.

158
 2. Click a channel box, a deck box, or the entire configuration to
select it.
3. Click the Delete button in the dialog box to delete the element.
4. Click Apply to complete the changes and close the dialog box.

Setting Deck Preferences

Deck preferences are global settings for basic deck control. These set-
tings 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.

Table 6-2 describes the Deck Preferences options.

159
 Table 6-2 Deck Preferences Options

Option Description

When no tape in You choose the timecode format (Drop Frame or Non-drop Frame) for log-
deck log as ging clips when no tape is in the deck. When a tape is in the deck, the sys-
tem automatically uses the existing timecode format on the tape.

Allow assemble edit You can use the assemble-edit features in the Digital Cut tool along with
for digital cut the assemble-editing capabilities of your record deck. Select this option to
record frame-accurate digital cuts quickly and without striping entire tapes
in advance. For more information about digital cuts and assemble editing,
see Chapter 19.

Stop key pauses deck This option defines the function of the stop key (space bar) on the key-
board. 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 on the Digitize tool and Deck Controller tool always stops
the decks. (Choose New Deck Controller from the Tools menu to access the
Deck Controller tool.)

Shuttle holds speed The Shuttle button continues shuttling at a constant speed instead of stop-
ping when you release it.

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

Entering Capture Mode

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

160
 To enter Capture mode:
1. Make sure the playback deck is properly connected to the system
and is turned on.
2. Open your project and the bin in which you want to store your
master clips.
3. With the bin active, choose Go To Capture Mode from the Bin
menu. The Digitize tool appears.

Digitize/Log Mode button

Active bin

161
 4. Make sure you are in Digitize mode. If the Digitize tool is in Log
mode, click the Digitize/Log Mode button until the DIG icon
appears.

n In Capture mode, the full-screen monitor displays the playback footage at all
times when the video track is selected in the Digitize tool.

Setting Up the Compression Tool

You can choose various compression parameters in the Compression
tool.

To choose Compression settings:

1. Choose Compression from the Tools menu.

Audio settings

Video compression settings

2. Make sure the proper audio sample rate is indicated under Audio
Rate. The audio sample rate shown cannot be adjusted within the
Compression tool. To change the audio rate, choose either
44.1 kHz or 48 kHz from the Sample Rate pop-up menu on the
Audio Settings dialog box. For more information see “Adjusting
Audio Settings” on page 181.

162
 n Settings in both the Compression tool and the audio interface do not affect the
sample rate of digital audio signals.

3. Choose a video resolution and color rate from the pop-up menus.
The Resolution pop-up menu contains a list of the available com-
pression ratios. For uncompressed media, choose 1:1 from the
menu.

About the Color Rate Option

In addition to the video resolution, the Color pop-up menu allows you
to choose to filter out all of the color from each frame of video with the
monochrome option.

If you are digitizing black-and-white images, storage space will not be

affected by these settings.

Choose the Full Chroma option if you intend to record

professional-quality digital cuts.

c If you choose the Monochrome setting and you intend to record pro-
fessional-quality digital cuts, you will need to redigitize at Full
Chroma before recording.

Setting Up the Digitize Tool

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

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 Setting up the Digitize tool involves the following steps:
• Selecting a deck
• Selecting a tape
• Selecting source tracks
• Choosing a video resolution in the Digitize tool
• Choosing a target bin
• Selecting the target drives
• Checking the time remaining display
• Selecting a custom preroll

These steps are described in this section.

Digitize/Log Mode button

Digitize indicator Trash
Toggle Source button

Record button
Channel selection
buttons
Subclip indicators
Message bar

One/Two Disk Mode Resolution

button pop-up menu
Target Drive
pop-up menu Time remaining
on target drive
Deck controls

Deck Selection
pop-up menu

Source Tape display

Figure 6-1 Digitize Tool

164
Selecting a Deck
The Deck Selection pop-up menu in the Digitize tool contains a list of
any decks that were connected to the system, powered up, and initial-
ized when you entered Capture mode. For information about Capture
mode, see “Entering Capture Mode” on page 160.

You must have V-LAN To activate playback from an available deck, choose the deck from the
VLXi hardware to con-
Deck Selection pop-up menu.
trol more than one deck
at a time. For more
information on V-LAN The Deck Selection pop-up menu also lists three commands:
equipment, contact
your Avid sales repre- • Adjust Deck opens the Deck Settings dialog box. Changes you
sentative. make apply to the selected deck. For information on Deck settings,
see “Deck Settings Options” on page 157.
• Auto-configure allows you to automatically configure the deck
configuration for the selected deck.
• Check Decks helps to reestablish deck control if the power on
your decks was turned off or the decks were disconnected when
you first entered Capture mode.

n Once deck control has been properly initialized, it will remain active for all
deck controllers throughout the session until you quit the application.

165
Selecting a Tape
To select a source tape:
1. Insert a tape into your deck. The Select Tape dialog box appears.

For information about 2. In an NTSC project, play the tape briefly so that the system can
deck preferences, see detect the timecode format of the tape (drop-frame or non-drop-
“Setting Deck Prefer-
ences” on page 159.
frame). Otherwise, the system maintains the timecode format set
in the Deck Preferences dialog box, regardless of the format on the
tape, and you might receive a message indicating a wrong tape.

n Drop-frame timecode appears in the Timecode indicator with semicolons

between hours, minutes, and seconds, and frames. Non-drop-frame timecode
appears with colons.

For information on tape 3. Provide the system with a tape name in one of the following ways:
naming conventions,
see “Naming Tapes” on • Select the name of the tape from the list in the Select Tape dia-
page 126. log 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.

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Selecting Source Tracks
You can choose the tracks to digitize from the source tape. Click the
channel selection buttons in the Digitize tool to select only those tracks
that you want to digitize.

Channel selection
buttons

n When using an Avid-controlled deck, the TC (timecode) track will be selected

by default, and the system will digitize the timecode from the source tape. If
you deselect the TC button, the system will digitize with time-of-day time-
code. For more information, see “Digitizing with Time-of-Day Timecode”
on page 223.

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

n When batch digitizing, if the tracks are already logged into the bin, this selec-
tion will be made automatically, unless you deselect the option “Digitize the
tracks logged for each clip” in the Digitize Settings dialog box. For more
information on Batch Digitize settings, see “Batch Digitizing Clips” on
page 227.

167
Choosing a Resolution in the Digitize Tool
If you did not already choose a resolution in the Compression tool, or
the Compression tool is closed, you can use the Res (Resolution) pop-
up menu in the Digitize tool.

To choose a resolution, click the Res pop-up menu in the Digitize tool
and make a selection.

The resolution list contains a list of the available compression ratios.

Choose 1:1 from the Res pop-up menu for uncompressed media.

n For more information on the video resolutions, see Appendix C.

Choosing a Target Bin

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

To choose a target bin, click the Bin pop-up menu in the Digitize tool
and make a selection. Only opened bins appear in the Bin pop-up
menu.

To open a bin, do one of the following:

• Activate a previously created bin by choosing Open Bin from the
File menu, and then by locating and opening the bin in the Select a
Bin dialog box.
• Create a new bin by choosing New Bin from the File menu.

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Selecting the Target Drives
Targeting drives for the digitized media is a three-step process:
1. Make sure you are in Digitize mode. If the Digitize tool is in Log
mode, click the Digitize/Log Mode button until the DIG icon
appears.
For tips on targeting 2. Decide whether to digitize audio and video to a single drive, or
media drives for effec-
separate drives, as described in the following sections. When digi-
tive storage and play-
back, see Appendix C. tizing using the uncompressed resolution, you must select sepa-
rate drives for audio and video. See “Targeting Separate Drives
for Audio and Video” on page 170.
3. Choose the specific target drives from the pop-up menus, as
described in the following sections.

Targeting a Single Drive

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

n If you choose the uncompressed resolution, you must target separate drives
for audio and video.

To target a single drive:

1. Click the One/Two Disk Mode button to display a single Drive
icon.
2. Choose a drive volume from the Target Drive pop-up menu.
The name shown in bold in the menu has the most storage avail-
able. Time remaining on the selected drive, displayed at the right
of the menu, is calculated based on your resolution selection.

169
Targeting Separate Drives for Audio and Video

To achieve optimal per- You can target separate drives for video and audio tracks. If you
formance, stripe two or
choose the uncompressed resolution, you must target the audio to the
more drives. For more
information, see the audio drives and target the video to the video drives. This improves
AVIDdrive Utility User’s performance because the system is not required to address all the
Guide. information in separate locations on a single drive. You can also digi-
tize for the longest continuous amount of time because the system is
storing material on two drives rather than one.

To target separate drives for audio and video:

1. Click the One/Two Disk Mode button to display a two-drive icon.
2. Choose separate drive volumes for audio and video from each
Target Drive pop-up menu.
Names shown in bold in the menus have the most storage avail-
able. Time remaining on each selected drive, displayed to the right
of each menu, is calculated based on your video resolution selec-
tion.

Interpreting the Time-Remaining Display

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

Time remaining on
the chosen drive

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 You can interpret this display based on the following factors:
• Each digitized clip has a maximum file size limit of 2 GB
(gigabytes). Any video clip whose media exceeds the 2-GB limit
will have more than one media file associated with it.
• When adequate space exists on the chosen drive, the time remain-
ing displayed in the Digitize tool is based on 2 GB per clip at the
chosen resolution. This number will reappear for each clip digi-
tized, 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 will begin to decrease for each clip digitized, until
the drive is full.

Selecting a Custom Preroll

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

Digitizing to Multiple Media Files

You can digitize video or audio to multiple media files across multiple
drive volumes, with the following advantages:
• You can create longer clips whose media files would otherwise
exceed file size limitation of 2 GB.
• You can group all drive volumes with the multiple file options,
enabling the system to record continuously during digitizing of
long clips — such as satellite feeds or program airchecks.
• The system makes more efficient use of drive space, particularly
when digitizing long clips.

171
 To digitize video or audio to multiple media files:
1. Double-click Digitize in the Settings scroll list of the Project win-
dow.
The Digitize Settings dialog box appears.

Multiple file
options

2. Select the option “Digitize to multiple files.”

3. Select the option “Prepare multiple files for (minutes).” You can
accept the default or enter a different time limit in the text box,
based on the following explanation:
Prior to digitizing, the system goes through a process of preparing
the drive volumes. This process is called preallocation. With the
“Digitize to multiple files” option selected, the allocation process
can take a long period of time in preparation for potentially unlim-
ited clip lengths. This option instructs the system to preallocate
according to an estimated maximum clip length. The default is
30 minutes.

c If you think that any of your digitized clips might exceed

30 minutes, make sure you enter a higher estimate in this field;
otherwise, the system will stop digitizing at 30 minutes.

4. Click OK to close the dialog box and apply the options.

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 5. Enter Capture mode or open the Digitize tool.

Target Drive
pop-up menu

6. To digitize to multiple files across drive volumes, choose Change

Group from the Target Drive pop-up menu in the Digitize tool.

Change Group

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 The Volumes dialog box appears.

7. Shift+click to select multiple volumes to include in the digitizing

session, or click the All button to select all volumes.
8. Click OK to close the dialog box and apply the changes.
When you digitize, any clip that exceeds the capacity of a volume
(whether that volume is empty or already contains media files)
will continue digitizing onto another volume in the group.

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

n For more information on managing media files, see Chapter 10.

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Digitizing Across Timecode Breaks
When digitizing across timecode breaks, you can use control track
instead of timecode for VTR preroll.

For more information Control track preroll allows you to capture all the footage following a
on settings options, see
timecode break. Otherwise, the system uses approximately 1 to
Table 6-3 on page 176.
For a complete descrip- 6 seconds of unbroken timecode following the break to perform the
tion of procedures for preroll before digitizing begins.
locating and changing
settings, see “Using the
Settings Display” on This option is especially useful when you are batch digitizing across
page 75. timecode breaks, but you can also select this option when you are
manually digitizing one clip at a time.

To digitize across timecode breaks:

1. Double-click Digitize in the Settings scroll list of the Project win-
dow.
The Digitize Settings dialog box appears.

Preroll option

2. Select the option “Use control track instead of timecode for

preroll.”
3. Click OK to close the dialog box and apply the option.

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General Digitize Settings Options
The Digitize settings specify how to digitize video clips. Table 6-3
describes the General Digitize Settings options. For information on the
batch digitize settings, see “Batch Digitize Settings Options” on
page 230.

Table 6-3 General Digitize Settings Options

Option Description

Digitize to multiple files 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 2-GB file size limit.

Prepare multiple files When this option is selected, the system preallocates space on the drive
for (minutes) partitions to accommodate the specified number of minutes. (The preal-
location can take a long time.)
The system digitizes for only the specified number of minutes; be care-
ful not to underestimate. The default is 30 minutes.

Always display incoming When this option is selected, incoming video displays in the client
video in the client monitor (third, full-screen) monitor as soon as you open the Digitize tool.
If you do not select this option, you must click the V track in the Digitize
tool to display incoming video in the third, full-screen monitor.

Ask before discarding When this option is selected, the system queries whether you want to
a canceled clip keep or discard the incomplete clip after you click the Trash icon.
If you do not select this option, the system discards canceled clips with-
out querying.

Capture a single video When this option is selected, the system digitizes a single frame, video
frame only only, from your clip. The clip can be used as a freeze frame, or for ani-
mators, single-frame clips can be used as keyframes prior to “in-
betweening.”

176
 Table 6-3 General Digitize Settings Options (Continued)

Option Description

Use control track instead of When this option is selected, the system captures all the footage follow-
timecode for preroll ing a timecode break, instead of using 1–6 seconds of unbroken time-
code following the break to perform the preroll before digitizing. For
complete instructions, see “Digitizing Across Timecode Breaks” on
page 175.
This option is useful when you are batch digitizing across timecode
breaks or manually digitizing one clip at a time.

Digitize across timecode When this option is selected, the system digitizes sections of discontinu-
breaks ous timecode on a tape as separate clips. For more information, see
“Selecting Settings” on page 151.
Deselect this option to make the system stop digitizing and report an
error when it encounters a timecode break.

with outpoint set When this option is selected, the system stops digitizing when an out-
point is encountered.

Switch to emptiest When this option is selected, the system switches to another storage
drive when drive when the specified amount of time remains. For complete instruc-
tions, see “Digitizing to Multiple Media Files” on page 171.

Preparing for Audio Input

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

n Eight-channel audio input requires the appropriate hardware configuration.

For more information, see the Avid Media Composer Products Setup
Guide.

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 Prepare for audio input by using the following procedures described
in this section:
• Choosing the audio file format
• Establishing sync for audio-only input
• Adjusting Audio settings
• Using the Audio tool
• Using the Console to check audio levels

Choosing the Audio File Format

Media Composer supports the creation of audio media in the
industry-standard Audio Interchange File Format (AIFF-C) and RIFF
Waveform Audio File Format (WAVE). The Avid application continues
to support the Sound Designer II (SDII) format.

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

n Choose the AIFF-C format for all audio media when you need to transfer
audio media files directly to a Pro Tools® system for audio sweetening.

To switch the audio file format:

1. Double-click General in the Settings scroll list of the Project
window.

178
 The General Settings dialog box appears.

2. Choose either SDII, OMF (AIFF-C), or OMF (WAVE) from the

Audio File Format pop-up menu.
3. Click OK.

Audio is written in the chosen file format when you:

• Digitize audio tracks in Capture mode.
• Create new clips by using the Audio Punch In tool.
• Create tone media by using the Audio tool.
• Mix down audio tracks by using Audio Mixdown.

If you switch the audio format in the middle of a project, all new audio
media files will be written in the new format with the following excep-
tions:
• Media files written when rendering audio effects: The system
uses the file type of the A-side (outgoing audio) media for a

179
 transition. For example, if the A-side of an audio dissolve is in
OMF (AIFF-C) format and the B-side (incoming) is OMF (WAVE),
the rendered file will be OMF (AIFF-C).
• Audio media files written when using the Consolidate feature:
Media files that are copied or created during a consolidate proce-
dure retain their original file types.

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 signal connected, sync
is generated from internal timing.

c If you need to synchronize audio with video clips recorded on sepa-

rate 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.

n For more information on connecting a reference signal, see the Avid Media
Composer Products Setup Guide.

• Digital audio input: If you are digitizing audio from a digital

source (such as a DAT recording, for example), you should estab-
lish sync from the digital source. For more information, see
“Checking for a Valid Digital Sync Signal” on page 181 and
“Adjusting Audio Settings” on page 181.

180
Checking for a Valid Digital Sync Signal

If you are digitizing audio-only input from a digital source such as a

DAT deck, the eight-channel audio converter is limited to acquiring a
digital sync signal from channels 1 and 2.

c Channels 1 and 2 are often the first choice for input of a signal that
provides digital sync. If you want to input audio from channels 3
through 8, however, you must have a valid digital signal coming in
on either channel 1 or 2.

Check for a valid digital sync signal as follows:

• If the yellow indicator light labeled DIGITAL on the audio
converter shines steadily during input, the system is receiving a
valid digital sync signal.
• If the yellow 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
played back.

Adjusting Audio Settings

You can use the Audio Settings dialog box to check the current config-
uration of audio hardware, and to choose various input options.

To open the Audio Settings dialog box, double-click Audio in the Set-
tings scroll list of the Project window.

181
The Audio Settings dialog box appears.

The following items in the display are informational, and cannot be

changed from within the Audio Settings dialog box:
• Card: The type of audio card installed
• Slot#: The slot number where the card is located
• Peripheral: The type of peripheral audio device attached to the sys-
tem (audio interface)

You can make adjustments to any of the other options from within the
Audio Settings dialog box by clicking the option and making a new
selection from the pop-up menu. These selections include:
• Sample Rate: The sample rate for audio. You can choose either
44.1 kHz or 48 kHz from the pop-up menu.
The broadcast standard of most high-end video postproduction
houses is 48 kHz. The sound quality of the two rates is very simi-
lar; you should select the rate based on the requirements of your
facility.

182
 • Sync Mode: The Sync Mode pop-up menu includes two optional
sources for audio sync:
- Video Sync — This sets the clock and timing for the sample rate
internally. If your system is equipped with the Digidesign
audio interface and black burst generator, set the Sync Mode
to Video Sync. Use Video Sync for all analog audio input and
output to ensure the audio sample clock is always in sync with
the clock. This prevents long-term drift between audio and
video. Audio locks to the video output signal except for digi-
tizing video, when it is locked to the video input signal.
- Digital — If you are using a digital source that provides a digi-
tal word-clock signal, set the Sync Mode to Digital. Choose
digital if you are digitizing from DAT (digital audiotape)
through either the AES/EBU or S/PDIF connections.
When you are working with video and digital audio simulta-
neously, set your digital audio equipment to the same video
reference signal as your video equipment. This prevents long-
term drift between video and audio.

n Changing the audio input selection will automatically choose the correct
audio clock source for audio sync.

• Input Source: The Input Source pop-up menu includes two options
for the type of input: Analog and Digital. Choose digital if you are
digitizing from DAT (digital audiotape) through either the AES/
EBU or S/PDIF connections.
• Digital Format: The Digital Format pop-up menu provides two
options for the digital input format if you chose Digital as the
input source:
- AES/EBU (Audio Engineering Society/European Broadcast
Union) — the industry format
- S/PDIF (Sony®/Philips® Digital Interface Format) — the con-
sumer format

183
Using the Audio Tool
The Audio tool, along with your hardware’s audio parameters, allows
you to do the following in preparation for input:
• Check and manage your audio hardware setup.
• Set audio levels before digitizing.

In addition, controls in the Audio tool allow you to calibrate, set levels,
and generate customized calibration tone for output to the speakers or
a record device. For more information on output procedures involving
the Audio tool, see “Preparing for Audio Output” on page 693.

Audio Tool
To open the Audio tool, choose Audio Tool from the Tools menu, or
button click the Audio Tool button in the Digitize tool.

The Audio tool displays meters for eight channels.

Output Control button Setup Control button

In/Out toggle buttons

Reset Peak Peak Hold Menu

button button

Digital scale
(fixed) Volume unit scale
(analog adjustable)

Meter display

184
The Audio tool has the following characteristics:
• The Output Control button displays a panel that contains a single
slider control for raising or lowering global audio output.
• The Setup Control button displays a panel of audio output options
for channel assignments, mixing tracks, and ignoring pan and vol-
ume settings.
• The Reset Peak button resets the current maximum peak measure-
ments. It also stops the playback of the internal calibration tone.
• The In/Out 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.
• The Peak Hold Menu button displays a pop-up menu that allows
you to choose options for customizing the meter displays, and set-
ting 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 fol-
lows:
- Meters show green below the target reference level (default ref-
erence level is –14 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 dis-
play range.

185
Resizing the Audio Tool

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

To adjust the size of the Audio tool, click the top or bottom of the tool
and drag it to the preferred size.

Adjusting the Reference Level

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

To customize the volume unit scale:

1. Choose Set Reference Level from the PH (Peak Hold) pop-up
menu.

The Set Reference Level dialog box appears.

186
 2. Enter the new value for the reference level (–12, for example), and
click OK.
The volume unit scale slides to match the new reference level,
which is displayed on the digital scale.

Digital scale displays Volume unit scale

corresponding reference slides up to display
value. less headroom.

187
Choosing a Peak Hold Option

The Peak Hold pop-up menu provides two options for displaying
peak levels in the meters, as follows:
• When you choose the Peak Hold option, the meters display a nor-
mal rising and falling volume trail in the meters. This is the
default option.

188
 • When you choose the Infinite Hold option, each meter perma-
nently retains a single bar at the peak volume level measured dur-
ing playback. The effect is cumulative: the bar continues to rise
and hold with each new peak, and serves as a record of the highest
peak for each channel.

Infinite Hold peaks

remain during and
after playback.

To delete the peaks and start over at any time, click the RP (Reset
Peak) button.

To enable either Peak Hold or Infinite Hold, click the PH button and
choose an option from the pop-up menu.

Adjusting Audio Input Levels

This section describes procedures for calibrating and adjusting audio

input levels with the Audio tool. The types of adjustments you can
make are as follows:
• You can use the calibration controls in the Audio tool to calibrate
the Digidesign audio interface input levels.
• You can use additional procedures described in this section to
avoid digitizing overmodulated or undermodulated audio due to

189
 variations in levels among the source material, the playback
devices, and the Avid system.

To adjust input levels:

1. Click the In/Out toggle buttons for the appropriate channels to
display the I for Input.
2. Play back the source audio (from a videotape or DAT, for exam-
ple). If the recording includes reference tone, cue to the tone and
play it back.

n Voice recording serves as a good backup reference. Upper peaks of inflection

should reach the normal target range (around –14 dB on the digital scale or
0 dB on the volume unit scale with playback from videotape, for example).

3. Adjust the output on the playback device so that the device’s vol-
ume meter shows the appropriate level for the reference signal
(0 dB for videotape playback, for example).
4. Calibrate the input levels by using the procedure in the next
section.

Calibrating Input Levels for Eight-Channel Audio Board Systems

You can use the calibration features of the Audio tool to fine-tune the
Trim level settings of the Digidesign audio interface. These adjust-
ments should be made when you first install the system, and repeated
occasionally thereafter (once a month, for example).

To calibrate the audio interface:

1. 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.

190
 Volume Unit scale varies,
displaying custom refer-
ence level setting, +1 dB
above and –1 dB below.

2. Use a jeweler’s screwdriver to fine-tune the Input Level trim pots

on the Digidesign audio interface until the peaks rest at the appro-
priate value.
3. To return to the default Audio tool display, choose Calibrate from
the PH (Peak Hold) pop-up menu.

To set the input level during digitizing, adjust the level externally until
the signals fall within the appropriate range on the meters. Choose any
of the following:
• Adjust the output level on the playback device.
• Put an audio mixer in line, and use it to adjust track separately.
• Put an audio compressor in line. This allows other adjustments of
the audio levels as well as overall volume.

c You cannot adjust the levels for eight-channel audio board systems
from within the Audio tool.

191
Creating Tone Media

You can create your own tone media and master clips for editing
directly into sequences.

To create tone media:

1. Open a bin.
2. Choose Create Tone Media from the PH (Peak Hold) pop-up menu
in the Audio tool.
The Tone Media Parameters dialog box appears.

3. Set the appropriate calibration tone parameters for the project. You
can also use the default output tone of –14 dB (digital scale) with a
1000-Hz signal.

n If you set the tone media frequency to 0, the system generates random noise.

4. Choose a target bin for the tone master clip and a target drive for
the tone media file from the pop-up menus.
5. Click OK.
After a few seconds, the media file is created and a master clip
appears in the target bin. The default name reflects the options
you selected. You can rename the clip by typing a new name.

192
Using the Console to Check Audio Levels
Once you have played back audio through the Audio tool, you can use
the Console to view a list of precise information about the peak levels.

To check peak levels in the Console:

1. Open the Audio tool.
2. Click the RP (Reset Peak) button to clear the system’s record of the
most recent maximum peaks.
3. Play a sequence or portion of the sequence.
4. After playing back the audio, open the Console by choosing Con-
sole from the Tools menu.
5. In the Console command line, type:
DumpMaxPeaks

6. Press Return.
A list of peak values appears in the Console.

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Preparing for Video Input
The Avid system provides a Video Input tool for calibrating composite
video, component video, and S-Video.

n If you are capturing serial digital video, for example, from a D1, D5, or digital
Betacam VTR, you cannot adjust levels by using the video input controls in
Media Composer. If you plan to make adjustments at the source deck, infor-
mation in this section regarding the Internal Waveform and Vectorscope
monitors might be useful. Otherwise, you can proceed to Chapter 7.

To open the Video Input tool, choose Video Input Tool from the Tools
menu. You can also open the Video Input tool in Capture mode by
clicking the Video Input Tool button on the Digitize tool.

Vectorscope Monitor button

Internal Waveform
Monitor button Internal Waveform monitor Vectorscope monitor

Input
pop-up
menu

Settings
pop-up
menu
Slider Preset buttons

194
 The Video Input tool has the following characteristics:
• The Input pop-up menu lets you choose either a Composite, Com-
ponent, Serial Digital, or S-Video input source.
• The sliders let you change the value for each setting.
• The preset buttons are highlighted when the factory preset levels
are displayed.
• The Settings pop-up menu lets you save the settings for an indi-
vidual tape each time you calibrate bars.
• The Internal Waveform Monitor and Vectorscope Monitor buttons
open or hide these tools.

n Media Composer supports the SMPTE/EBU component standard for 625

timing and Betacam component levels for 525 timing. Media Composer does
not support the MII component video standard.

• The Consumer Source button might be selected when a source has

no built-in time-base corrector, such as a number of 3/4-inch U-
matic or S-Video deck models.

n The Composite and S-Video sliders are unavailable when the Consumer
Source button is selected.

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

195
Using the Factory Presets
The preset buttons on the Video Input tool show the status of each cal-
ibration setting as follows:
• When you first open the Video Input tool in a new project, all pre-
set buttons are lit (green), with the factory presets loaded for each
slider.

Preset button

• When you click a slider of a lit preset button, the button pops out
(arrow turns black), and the slider moves to the position of the
pointer.
• When a preset button has a black arrow and you click it, the but-
ton becomes lit (appears green), and the slider moves to the fac-
tory preset level for that parameter.
• When you click a lit preset button, the button pops out (arrow
turns black), and the slider returns to the last manual setting.

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

196
About Video Input Calibration
For information on cali- This section provides essential information for input calibration. You
brating for video out-
should calibrate the input levels for each videotape when you digitize
put, see “Calibrating
for Video Output” on to ensure the continuity of picture quality between tapes.
page 683.

n If you are capturing serial digital video, for example from a D1, D5, or digital
Betacam VTR, you cannot adjust levels by using the video input controls in
Media Composer. If you plan to make adjustments at the source deck, infor-
mation in this section regarding the Internal Waveform and Vectorscope
monitors might be useful. Otherwise, you can proceed to Chapter 7.

c When redigitizing media from an offline Media Composer project,

check the Video settings for each tape. Do not rely on saved settings.

Before You Begin

Before you calibrate the video input, check the following:

• Make sure your monitor is properly calibrated for displaying foot-
age accurately. For more information, see your monitor’s hard-
ware documentation.
• If your system’s output settings have not already been calibrated
according to house standards, use the procedures described in
“Calibrating for Video Output” on page 683. If you are in a facil-
ity where this is not necessary, leave the output settings at their
preset values.
• If you are using footage in the NTSC-EIAJ format (used primarily
in Japan), deselect the option NTSC Has Setup in the General Set-
tings dialog box. This will enable the appropriate display for the
setup portion of the signal in the Waveform monitor and also
adjusts the gain range. For more information, see “General Set-
tings” on page 82.

197
Calibrating Video Input

To calibrate the video input:

1. Make sure you have properly connected the playback VTR to the
system. For more information, see the Avid Media Composer Prod-
ucts Setup Guide.
2. Choose Video Input Tool from the Tools menu.
The Video Input tool opens.
3. Choose the appropriate input channel from the Input pop-up
menu based on your source tape format: Composite, Component,
S-Video, or Serial Digital. (The Input pop-up menu for systems
equipped with the serial digital video I/O board displays Com-
posite, S-Video, and Serial Digital input options.)
For a description of The Video Input tool displays the appropriate parameters for the
each parameter, click
chosen video format.
the Video Input tool
and press the Help key.

Input pop-up menu

198
n Sync for video input comes from the source selected 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 Avid
Media Composer Products Setup Guide.

n When you digitize audio with video, the audio is always synced to the video
source. For information regarding sync during audio-only input, see “Estab-
lishing Sync for Audio-Only Input” on page 180.

4. Cue the tape to the section containing bars and tone (usually the
beginning) and play the tape.

n Always play the tape when calibrating. Signal display is unstable when the
tape is paused.

199
 The third, full-screen monitor displays one of the following types
of bars (or a variation of them):

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

Full-field bars (NTSC or PAL)

100% white

SMPTE standard split bars

SMPTE bars (NTSC only)

75% white Color bars

(top 67% of frame)

7.5 black level

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

200
 5. Click the Consumer Source button located below the sliders in the
Video Input tool only if you are digitizing from a consumer-grade
video deck (such as a home VCR) or a deck that has no built-in
time-base corrector (which includes a number of 3/4-inch U-matic
or S-Video models) and you are having trouble with the incoming
video quality.

n The Composite and S-Video sliders are unavailable when the Consumer
Source button is selected.

6. Click the 100% Bars button if the source tape contains 100% bars
for calibration.

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

Internal 7. Open the Internal Waveform monitor by clicking the icon located
Waveform second from the upper right corner of the tool.
Monitor
button

201
 NTSC waveform values
(IRE)
White level at 100 IRE (digital 235)
(100% bars)
White level at 77 IRE (digital 180)
(75% bars)

Black level at 7.5 IRE (digital 16)

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

PAL waveform values

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

Black level at 0.3 V (digital 16)

Line slider

8. Adjust the Line slider located below the Waveform monitor to dis-
play the appropriate line of the test pattern, then adjust the lumi-
nance values based on Table 6-4.

202
 Table 6-4 Luminance Settings for Video Input

Parameter/ SMPTE Bars Full-Field Bars at

Video Standard a 75% or 100% Signal Level

Black level (setup) Adjust Line slider to Adjust Line slider to

approximately 190 approximately 150

Adjust Black slider to Adjust Black slider to

place black level at: place black level at:

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

White level (gain) Adjust Line slider to Adjust Line slider to

approximately 220 approximately 150

Adjust Gain/Y Gain slider Adjust Gain/Y Gain slider

to place white level at: to place white level at:

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

a. Includes NTSC-EIAJ used in Japan

b. NA = Not applicable

9. Open the Vectorscope monitor by clicking the Vectorscope button.

Vectorscope
button 10. Adjust the Line slider to display the signal for color bars at around
line 150 (this applies to all formats and all types of bars).

n To switch between a display of perfectly calibrated bars and your input signal
while making adjustments, press and release the Shift key.

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 11. Adjust the Sat and Hue sliders (composite or S-Video) or the RY
Gain and BY Gain sliders (component) until the angle and ampli-
tude of the six color vectors fall within the target boxes on the
Vectorscope monitor.

n There is no hue adjustment for PAL video.

c If you incorrectly selected or deselected the 100% Bars button, the

factory presets for Saturation or RY and BY Gain will be incorrect.
Adjusting these controls in this condition results in oversaturated or
undersaturated video.

Saving Settings
You can save the settings for an individual tape each time you cali-
brate bars. Saved settings are restored each time you choose the same
tape for redigitizing clips.

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

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

To save the Calibration settings for a tape:

1. After calibrating as described in “Calibrating Video Input” on
page 198, choose Save As from the Settings pop-up menu. The
View Name dialog box appears.

204
 2. Accept the default name (matching the tape name), or type a new
name for the settings.

c If you do not use a name that matches the tape name, the system will
not recall the setting automatically the next time you load the tape.

3. Click OK.

Whenever you batch digitize or choose a tape name during digitizing,

the system recalls the saved settings as follows:
• The system looks for a Tape setting with the same name as the
tape. If the setting exists, the system recalls it.
• If no matching Tape setting exists, the system looks for a setting
labeled “Default” and loads that setting. For information on cus-
tomizing this default setting, see “Saving a Custom Default Set-
ting for the Video Input Tool” on page 205.
• If no matching Tape setting or “Default” setting exists, the Video
Input tool is left in its prior state (with the most recent settings
applied during the session).

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

c When redigitizing media from an offline Media Composer project,

check Video settings for each tape. Do not rely on saved settings.

Saving a Custom Default Setting for the Video Input Tool

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

205
 To create a customized default Video Input tool setting:
1. Choose Video Input Tool from the Tools menu.
The Video Input tool opens.
2. Adjust the Calibration settings, as described in “Calibrating
Video Input” on page 198.
3. Choose Save As from the Settings pop-up menu in the Video Input
tool. The View Name dialog box appears.
4. Type Default, and click OK. (You must use this spelling and ini-
tial capitalization.)

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

Adjusting Video Levels by Eye

Color bars are the best way to set the video levels consistently. How-
ever, if you have a tape or series of tapes with no color bars, you might
need to adjust levels by eye.

n Calibrate your monitor before adjusting video levels by eye.

To adjust video levels by eye, use the following criteria:

• Blacks should not seem flat and lacking detail. Find the blackest
region of the image (shadows work better than black objects) and
adjust the setup.
• Whites should not be washed out or lacking detail. Find the whit-
est region of an image (bright, well-lit regions work better than
white objects) and adjust the gain.
• Skin colors should be realistic. Find a skin color and adjust both
hue and saturation as necessary.
• 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.

206
Digitize Preparations Check List
Check your hardware configurations: Turn on switches, cable connec-
tions, and remote switches on the source deck for deck control.

Make sure you have the options selected in the General Settings, Deck
Configuration, and Digitize Settings dialog boxes.

Consider striping your drives in advance according to the AVIDdrive

Utility User’s Guide if you are working on a complex project with mul-
tiple streams of video and high-resolution images.

Set up the Compression tool for audio sample rate, video resolution,
detail, and color compression.

Insert a tape into the deck and set up the Digitize tool for track selec-
tion, target bin, target drives, source tape, and source deck.

Use the Audio tool to set the monitor input levels.

Use the Video Input tool to set the video input levels for setup, gain,
saturation, and hue; save your Video settings for future use.

207
CHAPTER 7
Digitizing

When you digitize, you convert source material from videotape into
master clips that contain reference information. You also create associ-
ated media files that contain the digital audio and video. Once you
prepare the capture tools, as described in Chapter 6, you can digitize
the source material in one of several ways, as described in the follow-
ing sections:
• Before You Begin
• Special Digitizing Procedures
• Digitizing and Logging at the Same Time
• Digitizing to the Timeline
• Batch Digitizing from Logged Clips
• Redigitizing Your Material

208
Before You Begin
Depending upon your immediate needs, use the following guidelines
for working through this chapter based on a chosen digitizing method:
• If you want to add locators, create subclips, or log errors to the
console during digitizing, read “Special Digitizing Procedures”
on page 210.
• If you have no logs and would like to begin digitizing right away,
see “Digitizing and Logging at the Same Time” on page 214.
• If you want to digitize video to multiple media files across multi-
ple drives, see “Digitizing to Multiple Media Files” on page 171.
• If you have logs already entered in a bin and would like to auto-
mate the digitizing process with playback from an Avid-controlled
deck, see “Batch Digitizing from Logged Clips” on page 225.
• If you are redigitizing deleted media or have imported a sequence
that lacks the associated media files, see “Redigitizing Your Mate-
rial” on page 231.
• If you have not already prepared a structure of bins for your
project, as described in “Managing Folders and Bins” on page 72,
consider the following tips before digitizing:
- You can create one bin for each source tape. This avoids slow-
ing 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 autodig-
itize or digitize on-the-fly without noting a tape name, the sys-
tem will automatically name each clip or take after the bin
(tape) and number them sequentially for easy reference.
• If you are working with a multicamera production, see Chapter 18
for information on the digitizing process.

209
 Table 7-1 list the Function keys that are available when the Digitize
tool is active. Digitize mode overrides any other functions mapped to
these keys.

Table 7-1 Function Keys Available When Digitizing

Function Key Result

F1 Marks the beginning of the subclip while digitizing.

F2 Marks the end of the subclip while digitizing.

F3, F5 to F12 Adds a locator to the current frame while digitizing.

Each Function key adds a different color locator. See
“Adding Locators On-the-Fly” on page 212.

F4 When in Digitize mode, starts the digitizing process.

When in Log mode, press once to mark an IN point.
Press again to mark an OUT point and place the logged
clip in the bin.

Special Digitizing Procedures

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

Logging Errors to the Console

The Console is useful during the digitizing process for logging digitize
errors, as described in “Using the Console” on page 120.

To open the Console, choose Console from the Tools menu.

210
 Consider the following when choosing whether to log errors to the
Console during digitizing:
For more information • If the option “Log errors to the console and continue digitizing” is
on Digitize settings, see
selected in the Digitize Settings dialog box, when you batch digi-
“Batch Digitize Set-
tings Options” on tize and the system encounters an error, it will abort the clip, enter
page 230. error comments into the console, and continue digitizing the next
clip.
• If the option “Log errors to the console and continue digitizing” is
not selected in the Digitize Settings dialog box, a message will
appear and the system will pause if an error occurs while digitiz-
ing. If this happens, do the following:
a. Click Try Again to retry the operation. The clip might digitize
successfully.
b. If the clip does not digitize the second time you try, the error
message appears again. Click Next Clip to bypass the clip that
caused the error, and continue batch digitizing any remaining
clips, or click Abort to cancel the entire batch digitize process.
c. Make note of all errors, messages, and steps that you have
taken and decide whether to troubleshoot the problem on
your own or contact your reseller or Avid Customer Support.

Creating Subclips On-the-Fly

For information about Subclips are marked sections of a longer master clip that you can view
creating subclips after
and edit like any other object in a bin. This section describes a shortcut
digitizing, see “Creat-
ing Subclips” on method for creating subclips on-the-fly during digitizing. The maxi-
page 419. mum number of subclips you can generate while digitizing a clip is
100.

To create a subclip on-the-fly:

1. Start digitizing as usual.

Subclip 2. At the point where you want to begin the subclip, press the F1 key.
status
This action highlights the subclip IN mark in the Digitize tool.

211
 3. While the system is digitizing, you can enter a name for the sub-
clip by typing the name. Press the Tab key to enter comments
about the clip.
4. When you want the subclip to end, press the F2 key. This high-
lights the subclip OUT mark in the Digitize tool.

n You can press the F2 key repeatedly as you search for the end point of the sub-
clip. The system accepts the last occurrence as the end point. You can also
press the F1 key at anytime before pressing F2 again to remove the previ-
ous subclip marks and start a new subclip IN point.

The subclip appears in the target bin when you stop digitizing.
When digitizing is complete, a number appears between the sub-
clip indicators to show the number of subclips created.

Adding Locators On-the-Fly

For more information Locators mark a single frame within a clip or sequence so that you can
on specific uses for loca-
attach a note or find the frame at a later time. This section describes a
tors, see “Using Loca-
tors” on page 422. shortcut method of adding locators on-the-fly while digitizing.

When the Digitize tool is active, eight colored locators are mapped to
nine Function keys on the keyboard. The locators override any other
functions mapped to these keys. Table 7-2 lists the colored locators
and the Function keys they are mapped to during digitizing.

Table 7-2 Locators Mapped to Function Keys

Locator Color Function Key

Red F3 and F5

Green F6

Blue F7

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 Table 7-2 Locators Mapped to Function Keys (Continued)

Locator Color Function Key

Light blue (cyan) F8

Magenta F9

Yellow F10

Black F11

White F12

To add a locator to a frame while digitizing, watch the playback of the

footage in the Edit monitor and press one of the locator keys when you
see the appropriate shot or frame.

Adding Clip Names and Comments On-the-Fly

The Avid system’s annotate feature allows you to type clip names and
comments during the digitizing of a clip. This information is saved in
the clip Name and Comments columns in the bin. You can add com-
ments about such things as color correction or directions for editing.

n To carry your comments over to the sequence so that they will appear in the
Timeline or in EDLs, you must add the comments again when creating the
sequence by using the Add Comments command in the Clip Name menu.

To add clip names and comments on-the-fly, start typing the clip name
at any time during the digitizing of a clip. The annotate window opens
on screen, allowing you to see the text as you type. 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 back-
space and retype the information.

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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 dig-
itize. Digitizing in this manner involves manually cueing source foot-
age with an Avid-controlled deck, using the deck controls in the
Digitize tool.

There are several ways to digitize and log at the same time:
• Digitizing from a mark IN to a mark OUT. This method lets you
specify the exact timecode location to begin and end digitizing.
You can also specify only a mark IN or mark OUT, and enter the
other mark on-the-fly. These procedures are described in “Digitiz-
ing from a Mark IN to a Mark OUT” on page 215.
• Digitizing on-the-fly. This method is easier than setting marks,
but it is more imprecise. It involves using the deck controls in the
lower left corner of the Digitize tool to cue, play, and stop the
source footage manually while digitizing. These procedures are
described in “Digitizing On-the-Fly” on page 217.
• Autodigitizing. This method requires the least amount of supervi-
sion and effort, but usually calls for more digitizing time and drive
storage space. It involves playing each source tape from a cue
point near the beginning and letting the system digitize the entire
tape, automatically naming and entering each cut into the bin.
These procedures are described in “Autodigitizing” on page 220.

Two additional techniques you can use when digitizing and logging at
the same time are described in “Digitizing from a Non-Avid-Con-
trolled Deck” on page 221 and “Digitizing with Time-of-Day Time-
code” on page 223.

214
Digitizing from a Mark IN to a Mark OUT
Digitizing from a mark IN to a mark OUT lets you specify exactly
where to begin and end digitizing. You can specify both marks, or only
a mark IN or a mark OUT, and the system enters the other mark on-
the-fly. Use this method in the following circumstances:
• If logs exist in written or printout form but not in the proper for-
mat for quick import into the system
• If the IN and OUT marks are rough and need to be
double-checked for accuracy
• If you are familiar enough with the source material to estimate the
timecode for the mark IN, the mark OUT, or both, quickly and
accurately

Setting Both Marks

To digitize by specifying a mark IN and a mark OUT:

1. Make sure you have selected the proper Digitize Settings and set
up the capture tools, as described in Chapter 6.

Mark IN
2. Set either a mark IN or a mark OUT for the clip you want to digi-
tize, using either of the following methods:
Mark OUT • Use the deck controls in the Digitize tool. Cue your source
tape to where you want to start or end the clip, and click the
Mark IN or Mark OUT button.
• 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 Return to enter the mark.
To double-check the accuracy of the IN or OUT mark, click the Go
Go to IN
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:
• Set the corresponding IN or OUT mark.

215
 • Type a timecode for the clip’s duration in the text box next to
the Duration mark (below the Mark OUT) in the format
HH:MM:SS:FF.
The system automatically calculates the appropriate timecode for
the corresponding mark IN, mark OUT, or duration.
4. Click the Record button in the Digitize tool, or press the F4 key.
The Digitize tool automatically rewinds the tape to the preroll
point before the IN point of the clip, and the tape begins to play.
The Record button becomes bright red, and the message bar dis-
plays the message that the Avid 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 com-
pleted digitizing. (After you log clips, you can modify information
to correct input errors or to add information.)
When the tape reaches the clip’s OUT point, digitizing stops and
the system creates a new clip in the bin.

Setting Only One Mark

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

216
 This method is useful if you do not need a precise mark IN, but do
need to stop at a precise OUT point, for example, just before a
timecode break.

Digitizing On-the-Fly
Use the digitizing on-the-fly method in any of the following circum-
stances:
• If you are eager to begin editing immediately and no adequate
logs exist for importing into the system or setting marks
• If your source tape does not have timecode
• If you are digitizing from a digital source such as a CD or DAT
player
• If you are digitizing from a live source, such as a studio feed, or an
in-house router

n There is a slight delay of several frames after you manually select a spot both
to start and to stop digitizing. Therefore, use this method when you do not
need precise beginning and end points in your clip.

• If you are digitizing from a source deck that cannot be controlled

by the Digitize tool or a V-LAN/VLXi unit

To digitize on-the-fly:
1. Make sure you have selected the proper Digitize settings and set
up the capture tools, as described in Chapter 6.
2. Click the Digitize/Log Mode button on the Digitize tool until the
DIG icon appears.
3. (Option) Click the Open/Close triangle on the Digitize tool to dis-
play the Name and Cmnt text boxes, if you plan to enter clip
names or comments during digitizing.

217
 Open/Close triangle

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

Fast forward/Rewind
Stop
Pause

Shuttle Eject Clear Marks

Play
Single-frame step

5. To begin digitizing, play the deck, and when it gets up to speed,

click the Record button or press the F4 key.

n Make sure you have cleared any previous marks so that the deck does not
begin cueing to the previous location.

Digitizing begins within a few frames, and the timecode for the
clip’s IN point appears. The Digitize Indicator box, to the right of
the Record button, flashes on and off. The message bar displays a
message that your Avid system is digitizing.

218
 6. While the system is digitizing, you can type a clip name in the
Name text box.

Message bar

Open/Close triangle

n If the Name text box is not visible on the Digitize tool, you can type a clip
name but you cannot view your typing. To display the Name text box, you
must click the open/close triangle before you begin digitizing.

If you want comments 7. Press the Tab key after typing a clip name to enter comments
to appear in EDLs, add
about the clip. You cannot edit the text during digitizing, but you
them during editing by
using the Add Com- can backspace to retype the comments.
ments command from
the Clip Name menu. 8. Click the Pause button at any time to pause play. You can also
For more information, abort the digitize procedure by clicking the Trash button. The clip
see “Adding Com- will be discarded.
ments to Sequence
Clips” on page 456. 9. To stop digitizing and enter the OUT point of the clip, click the
Record button, or press the Escape key on the keyboard.
The system creates a new clip in the bin. It also enters basic log
information for each clip, consisting of the mark IN, the mark
OUT, the duration, and any other information typed in during the
digitize procedure.
10. If you did not enter a clip name while digitizing, type it now while
the clip name is highlighted in the bin. If you return to the Digitize
tool and begin another clip, the default clip name remains in the
bin until you change it.

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 In some circumstances, the digitized material might exceed the 2 GB
per media file size limit. In such a case, consider digitizing the shot in
shorter overlapping pieces, breaking it at points that are likely to be
cut out during editing.

Autodigitizing
Autodigitizing can save you time by allowing you to bypass both the
logging process and the time it takes to cue each shot. However, this
process requires the most storage space, and more time is spent while
the system is actually digitizing entire tapes.

n This process is for tapes shot with starting and stopping timecode and no
control track breaks (where snow appears between shots).

When you autodigitize, you mount and cue your tape to a starting
point and start the digitizing process through the Digitize tool. If you
follow the tips and techniques described in this section, you can allow
the system to complete the digitizing process unattended.

c The Avid system can digitize across timecode breaks and control
track breaks, but it cannot digitize across breaks in the recording
(that is, if the recorded footage breaks up into noise between shots).
If such breaks in recording exist on your tape, consider using the
methods described in “Digitizing On-the-Fly” on page 217.

The following tips apply to autodigitizing entire tapes:

• Select the “Digitize across timecode breaks” option in the Digitize
Settings dialog box prior to digitizing.

n For more information on Digitize settings, see “General Digitize Settings

Options” on page 176.

• Select the “Log errors to the console and continue digitizing”

option in the Digitize Settings dialog box.

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 • Turn off the Fast Cue option and set the preroll to approximately
4 seconds in the Deck Settings dialog box.
• You should have accurate notes on the number and content of takes
on each tape to identify the content of each clip when necessary.

To autodigitize:
1. Create one bin for each tape. This keeps bins to a manageable size
and automatically names all clips from each tape after the name of
their respective bins.
2. Name each bin after the source tape number: by default, all clips
are named after the tape and are numbered incrementally begin-
ning with .01.
3. Enter Capture mode from the Bin menu and open the bin for the
first tape.
4. Make sure you have selected the proper Digitize settings and set
up the capture tools, as described in Chapter 6.
5. Load the source tape and cue past any false starts.
6. Play the tape, and wait 4 seconds before clicking the Record but-
ton.

When you have long, continuous shots (for example, footage from a
live event), the digitized material for a single clip might exceed the 2-
GB media file size limit. In such cases, consider digitizing the shot in
shorter overlapping pieces, broken at points that are likely to be cut
during editing. For more information, see “Digitizing to Multiple
Media Files” on page 171.

Digitizing from a Non-Avid-Controlled Deck

If you have a deck that cannot be controlled directly by the system,
you can digitize with manual deck control as follows:
1. Enter Capture mode and set up the tools, as described in
Chapter 6.

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 2. Click the Toggle Source button in the Digitize tool until the Deck
Offline icon appears to disable the deck controls and leave only
the Tape Name display.

Toggle Source button

n The TC button also disappears. The footage will be digitized with

timecode-of-day timecode generated by the system.

3. Click the Tape Name display to open the Select Tape dialog box
and identify the source tape.
You can select the option “Show other project’s tapes” to display
the tape names and associated project names for all bins that have
been opened in the current session.

n Because the media file database does not open when you start your Avid sys-
tem, tape names of all online media files do not appear automatically.

If the tape name you are searching for does not appear in the Select Tape dia-
log box, click the Scan for tapes button. Tape and project names are listed.

222
 New tape name

List of tapes

Show Tapes option

For guidelines in nam- 4. Provide the system with a tape name in one of the following ways:
ing tapes, see “Logging
Tips” on page 125. • Select the name of the tape from the list in the Select Tape dia-
log 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.
5. Play the tape manually and click the Record button to stop and
start the digitizing of each clip.

Digitizing with Time-of-Day Timecode

When you digitize with an Avid-controlled deck, you can digitize your
footage with time-of-day timecode rather than source timecode.

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 To digitize with time-of-day timecode:
1. Enter Capture mode and set up the tools, 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 217.

Digitizing to the Timeline

You can digitize footage directly from tape into 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 by using standard procedures. For more
information, see Chapter 6.
2. Load a sequence into the Record monitor.
3. Mark an IN point in the sequence or place the blue position indica-
tor where you want the edit to take place.
4. Mark the source material that you want to digitize by using the
Digitize Tool logging controls. For information on setting marks in
the Digitize tool, see “Digitizing and Logging at the Same Time”
on page 214.
5. (Option) You can mark an OUT point based on the following:
• If you are digitizing to the middle of a sequence in the Time-
line, mark both IN and OUT points for frame accuracy of over-
write. With splice-in, you only need a mark IN.
• If you are digitizing onto the end of a sequence, you can mark
just an IN point and then mark the OUT point later on-the-fly.

224
 6. Click the Splice-in button or the Overwrite button in the Digitize
tool to choose the type of edit.

Click the Splice-in button or

the Overwrite button.

Logging controls

7. Click the Record button to begin digitizing.

8. If you did not mark the OUT point in advance, click the Record
button again when the footage reaches the appropriate frame.

n If you already marked an OUT point, digitizing will stop automatically.

When digitizing ends, the clip appears in place in the sequence,

and a master clip appears in the bin.

Batch Digitizing from Logged Clips

Once you have imported a log or manually logged a group of clips
into a bin, you can automate the digitize process by using the Avid
system’s batch digitizing capabilities. To batch digitize, source tapes
must have timecode.

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 You can also use the batch digitize process to redigitize existing clips.
The redigitizing process is described in “Redigitizing Your Material”
on page 231.

Preparing to Batch Digitize

Preparing for batch digitizing involves an option of resizing the Digi-
tize tool, and establishing settings that allow you to batch digitize with
minimal supervision.

Resizing the Digitize Tool

Because your clips are already logged in a bin, you can simplify the
interface during batch digitizing by hiding the deck controller and log-
ging controls in the Digitize tool.

To resize the Digitize tool during batch digitizing, click the Open/
Close triangle to the left of the deck controller.

Open/Close triangle

The triangle points to the right, and the deck control and logging con-
trols close.

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Preparing Settings for Unattended Batch Digitizing

Unattended batch digitizing allows you to digitize a large number of

clips with minimal supervision by selecting Digitize settings that
avoid a pause in the digitize process.

For more information To prepare for unattended batch digitizing, select the following
on Batch Digitize set-
options in the Digitize Settings dialog box:
tings, see Table 7-3 on
page 230. • Log errors to the console and continue digitizing
• Switch to the emptiest drive if current drive is full
• Digitize across timecode breaks

c You cannot batch digitize clips that contain timecode breaks

between the logged IN and OUT marks. Also, you cannot digitize
across breaks in the recording (that is, if the recorded footage breaks
up into noise between shots). If such breaks in recording exist on
your tape, consider using the methods described in “Digitizing On-
the-Fly” on page 217.

Batch Digitizing Clips

To batch digitize clips:
1. Make sure you selected the proper Digitize settings and set up the
capture tools, as described in Chapter 6.
2. Open the bin that stores the clips you want to digitize.
3. If you are redigitizing a project created on an offline system,
readjust the video levels for each tape. For more information, see
“About Video Input Calibration” on page 197.
4. Select the clips to batch digitize:
• Choose Select All from the Edit menu to select all the clips.
• Shift+click to select specific clips.

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 5. Choose Batch Digitize from the Clip menu. The Batch Digitize dia-
log box appears.

Handle length options

appear only when a
sequence is selected.

n If the clips that you want to batch digitize are not highlighted in the active
bin, Batch Digitize appears dimmed in the Clip menu.

6. Select options in the dialog box:

• If the bin contains some clips that are already digitized and
you do not want to redigitize those clips, select the 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.
For more information • If your selections include a sequence for batch digitizing, the
on handle lengths when
dialog box prompts you for handle length information; the
redigitizing, see
“Redigitizing system will create new master clips based on the length of
Sequences” on edited clips in the sequence.
page 232.

228
n If you are batch digitizing the original source master clips used in the
sequence, the sequence will automatically be updated. Therefore, you might
want to deselect the sequence during this procedure.

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 tape deck and click Mounted.
A dialog box appears.
9. Click OK to confirm the tape and deck entries and begin the digi-
tizing process. The system digitizes each clip from the tape, in start
timecode order.
10. If the system needs another source tape, the system prompts you
for the tape. At this point, you have several options:
• Insert the new tape and click Mounted to continue the digitiz-
ing process.
• Click “Skip this clip” to skip just the first clip from the tape
and continue digitizing the remaining clips.
• Click “Skip this tape” to skip 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.

n To skip specific clips in the process of batch digitizing a particular tape, you
must abort each clip manually by clicking the Trash button, then click next
clip in the Abort window to continue.

11. When the system has finished batch digitizing, a dialog box noti-
fies you that the process is complete.

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Batch Digitize Settings Options
The Batch Digitize settings specify how to batch digitize video clips.
Table 7-3 describes the Batch Digitize Settings options. For informa-
tion on the General Digitize settings, see “General Digitize Settings
Options” on page 176.

Table 7-3 Batch Digitize Settings Options

Option Description

Log errors to the console When this option is selected, the system continues the batch digitize
and continue digitizing. process when errors occur and reports the errors to the Console (choose
Console from the Tools menu to view the Console window).
Deselect this option to shut down the system when an error occurs. For
complete instructions, see “Logging Errors to the Console” on page 210.

Digitize the tracks logged When this option is selected, the system digitizes the tracks that were
for each clip. entered when the clip was logged.
Deselect this option to use the Digitize tool to choose which tracks to
digitize. Note that you cannot digitize more tracks than were actually
logged.

Use the audio sample When this option is selected, the system uses the audio sample rate
rate logged for each clip. logged for each clip. Deselect this option to use the audio sample rate set
for the audio card (shown in the Audio Settings dialog box).

Use the video compression When this option is selected, the system uses the video compression
logged for each clip. logged for each clip. To determine the current Compression setting,
display the Video column heading in the bin.
Deselect this option to use the Compression tool or the Digitize tool to
choose video compression.

230
 Table 7-3 Batch Digitize Settings Options (Continued)

Option Description

Switch to the emptiest When this option is selected, the system switches to the target media
drive if current drive storage drive with the most available space when the current target drive
is full. becomes full during batch digitizing. The system switches before starting
to digitize the clip, based on the number of minutes in the clip. For com-
plete instructions, see “Preparing Settings for Unattended Batch Digi-
tizing” on page 227.
If you do not select this option, digitizing stops when a drive becomes
full.

Stop deck when done. Select one of these options either to stop the deck or to pause the deck
Pause deck when done. after digitizing.

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 such things as source tracks, timecodes, and
compression settings already exists in the bin.

There are several situations in which you might want to redigitize:

• You can redigitize a sequence after you transfer it to another sys-
tem, such as an offline Media Composer.
• You can redigitize low-resolution clips at a higher resolution set-
ting 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).

231
 • You can redigitize clips if you accidentally delete media files.

c Redigitizing requires your original source footage. Do not delete the

media files if the source footage is no longer available, unless you
will not need the material again.

For information on loading the media database to relink clips, see

“Loading the Media Database” on page 333.

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 225.

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 mas-
ter clip, changes in Compression settings and levels affect all sub-
clips and sequences created from the master clip.
• Subclips are smaller sections of master clips. When you redigitize
a subclip, the system creates a new master clip that is linked to
new media files and reflects the shortened length of material.
Therefore, redigitizing subclips streamlines the digitize process.
Also, redigitizing breaks the link from the subclip to the original
master clip. But if you edit the subclip into a sequence, the
sequence will reflect any changes in the newly digitized subclip.

Redigitizing Sequences
Redigitizing a sequence creates new master clips and associated media
files based on the length of each shot edited into the sequence. It
breaks any links to the original source clips, and only the sequence and

232
 its new master clips are linked to the newly digitized media files.
There are two approaches to redigitizing a sequence:
• Use Decompose to create a bin of clips, and then batch digitize
the clips.
• Redigitize the sequence without using Decompose.

Saving Two Versions of a Sequence When Redigitizing

To save the original version of your sequence before redigitizing, you

can create a duplicate. For example, use this method if you create a
sequence at a low resolution to save storage space and want to redigi-
tize the sequence at a higher resolution while retaining the first ver-
sion. Avid recommends this method if you intend to use the
Decompose feature.

To make a duplicate of the sequence:

1. Select the sequence in the bin and 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 into the new bin. This step
saves you the confusion of mingling new sequences and master
clips with existing ones, especially when using Decompose.

Using Decompose When Redigitizing

Decompose allows you to create new, shorter master clips based only
on the material you have edited and included in your sequence, which
saves system disk space. You can choose the handle length of the new
master clips. Decompose breaks any links to the original source clips,
and only the sequence and its new master clips are linked to the newly
digitized media files.

Decompose creates new master clips in the bin for each shot in the
sequence prior to redigitizing. Using Decompose gives you greater
control during the redigitizing process. You can use this procedure to

233
sort clips in the bin, modify the clips, and then redigitize selected clips
in the sequence.

To use Decompose:
1. Activate the bin that stores the sequence and select the sequence.
2. Choose Decompose from the Clip menu.
The Decompose dialog box appears.

3. To preserve clips that already have existing media files, select the
option “Decompose only those items for which media is currently
unavailable.” Do not select this option if you plan to decompose
and redigitize the entire sequence.
4. Click the Handle Length text box and type the number of addi-
tional frames you want to digitize at the heads and tails of the new
master clips. This provides enough overlap for trimming and add-
ing transition effects.

234
 c If you attempt to trim or add effects with no handles, you will
receive an error message notifying you that there is insufficient
media.

5. Click the Digitized clips check box to decompose digitized mate-

rial.
6. Click OK. The new master clips appear in the bin. You can now
sort and select these clips like all other objects in the bin.
7. Proceed with the redigitizing procedures described in “Batch Dig-
itizing Clips” on page 227.

Redigitizing the Sequence Without Using Decompose

When you redigitize the sequence without using Decompose, the digi-
tize process creates media files for each shot in the sequence during
the digitizing process. Skipping the Decompose procedure saves only
a small amount of time, and you cannot make changes after the media
files are created without repeating the entire procedure. Therefore,
review “Using Decompose When Redigitizing” on page 233 before
proceeding.

To redigitize a sequence:
1. Make sure you selected the proper Digitize settings and set up the
capture tools, as described in Chapter 6.
2. Open or activate the bin that stores the sequence.
3. Choose Go To Capture Mode from the Bin menu.
4. Select the sequence you want to redigitize.
5. Choose Batch Digitize from the Clip menu.

235
 The Batch Digitize dialog box appears.

6. To preserve clips that already have existing media, select the

option “Digitize only those items for which media is currently
unavailable.” Deselect this option if you plan to redigitize the
entire sequence.
7. Click the Handle Length text box and type the number of addi-
tional frames you want to digitize at the heads and tails of the new
master clips. This provides enough overlap to allow for trimming
and transition effects.

c If you attempt to trim or add effects with no handles, you will

receive an error message notifying you that there is insufficient
media.

236
 8. Click OK. The system prompts you to insert the first tape.
9. Insert the tape into the tape deck if you have not already done so.
10. Click Mounted to indicate to the system that the correct tape is
loaded and ready for digitizing.
A dialog box appears.
11. Click OK to confirm the tape and deck entries. The system digi-
tizes each clip from the tape, in start timecode order. If another
source tape is needed, the system prompts for the tape.
You can stop the batch digitize process at any time by clicking the
Trash button in the Digitize tool.

When batch digitizing is finished, a status box notifies you that the
process is complete. The new master clips appear in the bin, and asso-
ciated media files exist on the targeted drive or drives.

237
 CHAPTER 8
Importing Files

The Avid system support numerous file types. For a complete list, see
Appendix B. The following sections describe how to import files:
• Preparing to Import Files
• Working with Mixed-Resolution Projects
• Creating and Using Import Settings
• Importing Files
• Using Drag-and-Drop Method to Import Files
• Reimporting Files

For information about exchanging material with another system,

another application, or another platform, see the Avid Products
Collaboration Guide.

Preparing to Import Files

Before you begin the import process, make sure the system and the
files are ready for import as follows:
• To read about issues and tips for mixed-resolution projects, see
“Working with Mixed-Resolution Projects” on page 239.

238
 • For graphics file and OMFI (Open Media Framework® Inter-
change) file import, prepare the files in advance according to spec-
ifications described in Appendix B.
• For a complete description of Import settings, see “Import Set-
tings Options” on page 242.

Working with Mixed-Resolution Projects

For more information You can work with mixed resolutions in the same sequence. This fea-
on resolutions, see
ture allows you to import graphics that will match the resolution of
Appendix C.
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.

n You cannot mix uncompressed graphics (1:1 resolution) with sequences that
contain lower resolutions.

You can also use Batch Import to reimport any imported material at a
higher resolution while maintaining links to the original master clips
and sequences. For more information, see “Reimporting Files” on
page 252.

239
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 import-
ing 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 Drag-and-Drop
Method to Import Files” on page 251.

The default Import setting and any additional Import settings you cre-
ate appear in the Settings scroll list. See “Using the Settings Display”
on page 75. 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.

To create a new Import setting:

1. Click the Settings button in the Project window to display a list of
your current settings.
2. Click Import.
3. Choose Duplicate from the Edit menu.
4. Name the setting by clicking the custom name column (in between
the setting name and the setting type identifier), typing a name,
and pressing Return.
5. Adjust the options for the setting as described in the following
procedure.

240
To adjust the parameters in an Import Settings dialog box:
1. Double-click an Import setting in the Settings scroll list of the
Project window.
The Import Settings dialog box appears. The following illustration
shows the default settings.

2. Select the appropriate options.

For a complete description of all options in the Import Settings
dialog box, see “Import Settings Options” on page 242.
3. Click OK.

You can now select this setting whenever you import a frame, clip, or
sequence. For more information, see “Importing Files” on page 247
and “Using Drag-and-Drop Method to Import Files” on page 251.

241
Import Settings Options
Table 8-1 describes the Import Settings options.

Table 8-1 Import Settings Options

Option Suboption Description

Aspect Ratio, Maintain, square Select this option for an image that was created in a square-
Pixel Aspect pixel environment, such as a graphics application. Use this
option primarily for icons, logos, and other graphics that can-
not be resized and are not intended to fill the entire screen.
The Avid system maintains the source file pixel aspect ratio for
the imported frames, translating the square-pixel aspect ratio
to the digital video non-square-pixel environment.
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

242
 Table 8-1 Import Settings Options (Continued)

Option Suboption Description

Maintain & Resize, Select this option for an image that was created in square-pixel
square terms when you want to preserve an aspect ratio other than
4 x 3.
The system fits the longest dimension to the screen size and
fills 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 dimen-
sion resized to 720, and the shorter dimension resized in pro-
portion (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

CCIR, non-square 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 other images that fit the
4 x 3 aspect ratio. You must use this option to maintain field
data when you import two-field media.
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
3 x 4 aspect ratio used by the Avid system, the imported frames
might be 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 cre-
ate a single resolution for both NTSC and PAL, use 720 x 540.

243
 Table 8-1 Import Settings Options (Continued)

Option Suboption Description

File Field This pop-up menu allows you to choose the field dominance of
Dominance 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 “Two-Field Media Files
and Field Dominance” on page 790.
This setting does not apply to OMF imports when the import
resolution matches the OMF file.

Not Interlaced Choose this option to import still images to all formats without
concern for the temporal ordering of the fields. This option is
the default value.

Even Field Choose this option for even-field processing during import.
Dominant The first line in the image belongs to the even field.

Odd Field Choose this option for odd-field processing during import. The
Dominant first line in the image belongs to the odd field.

File Color Levels RGB Graphics Select this option if the imported graphics file uses RGB graph-
Levels ics levels. Most computer-generated graphics use RGB graph-
ics levels. The RGB color values are remapped to
ITU-R 601 (formerly CCIR 601) video color values appropriate
for the Avid system.

RGB Graphics, Select this option if the imported graphics file uses complex
dither color effects, such as a gradation, and you are importing at a
high resolution (2:1 or uncompressed). Do not use this option
to reimport an image that has already been imported with dith-
ering.

CCIR Video Levels 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 (available on the Avid drive in
Media Composer:SupportingFiles:Test Patterns) or images that
include superblack (zero black) for keying purposes.

244
 Table 8-1 Import Settings Options (Continued)

Option Suboption Description

Autodetect When this option is selected and you are importing sequential
Sequential Files files, the system recognizes that a sequence of connected files is
present and automatically imports the whole sequence. This is
the default option.
When this option is deselected, the system does not automati-
cally 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 784.

Ignore Existing When this option is selected, the system imports an image that
Alpha contains alpha channel transparency information as an opaque
graphic.

n Iftemandoes
image contains an embedded alpha channel but the sys-
not support alpha channel import for the file type,
select this option to import the image successfully. For infor-
mation on alpha channel support, see “Graphics (Image)
Files” on page 776.

Invert Existing Select this option to reverse the black and white elements of the
Alpha 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.

Single Frame Format: Slide Choose this option for all graphics. The other menu choice,
Import Media Files, is not applicable to Avid systems that use the
Meridien™ board.

Duration x seconds Select this option to specify the duration of the master clip cre-
ated 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.

245
 Table 8-1 Import Settings Options (Continued)

Option Suboption Description

Shot Log Combine events Select this option to combine all the events for a scene into a
based on scene and single master clip and then link the master clip to subclips that
automatically create represent the original events for that scene. To use this option,
subclips. you must have scene numbers logged in a scene column in the
bin.

Combine events Select this option to combine all the events from a camera roll
based on camera roll into a single master clip and then link the master clip to sub-
and automatically clips that represent the original events for that camera roll. To
create subclips. use this option, you must have camera roll numbers logged in
a camera roll column in the bin for a film project.

Merge events with Select this option to create subclips for events that are merged
known sources and or relinked to their source clips upon import. Use this option if
automatically create you have already entered master clips in a bin for each camera
subclips. roll or master scene, and have subsequently logged all the
events related to those clips for import.

n
You must select the clips that you want to merge before choos-
ing this option.

Merge events with Select this option to create subclips for events that are merged
known master clips. or relinked to a selected master clip based upon matching tape
name. Use this option if you have already logged (or digitized)
master clips in a bin for each tape.

n You must select the clips that you want to merge before select-
ing this option.

Media Disk Select the drive on which you want to store the imported file or
files. Boldface indicates the drive with the most available
space.

Resolution For graphics and video files, select the resolution for the
imported media.

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 Table 8-1 Import Settings Options (Continued)

Option Suboption Description

OMFI Resolution Ask Me When this option is selected, the system displays a query about
resolution selection for each imported file when the resolution
of the OMF source file is different from the current setting in
the Select Files to Import dialog box.

Use Current When this option is selected, the system uses the current reso-
lution setting in the Select Files To Import dialog box or the
Compression tool. The system disregards the source file
resolution.

Use Source When this option is selected, the system maintains the source
file’s resolution. The system disregards the resolution setting in
the Select Files To Import dialog box or the Compression tool.

Importing Files
When you import source shot logs, graphics, animation, audio,
QuickTime, or OMFI 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 access files for import from any folder 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.

For information on To import files:

using the drag-and-
drop method, see 1. If you have created one or more Import settings, select the Import
“Using Drag-and-Drop setting that you want to use from the Settings scroll list. See “Cre-
Method to Import
Files” on page 251. ating and Using Import Settings” on page 240.
2. Open the bin in which you want to store the imported files. Click
anywhere in the bin to select it.

247
 3. Choose Import from the File menu.
The Select Files to Import dialog box appears.

Directory pop-up menu Source file list Import file list

File Type pop-up menu Options button Resolution pop-up menu

Media Disk pop-up menu

4. Choose an import file type from the File Type pop-up menu to dis-
play only files of the chosen file type in the source file list:
• Choose Shot Log to import Avid log (.ALE) files containing
clip information into a bin. For more information about Avid
log specifications, see Appendix D.
• Choose Graphic/Audio to import one of more than 30 sup-
ported graphics and audio file types. For more information on
the various file types and their import specifications, see
Appendix B.

248
 • 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.
By default, the system displays only file types that belong to the
chosen category in the source file list of the dialog box.
5. (Option) Select the option Show All Files in the lower left corner of
the dialog box to display all files in a chosen folder, regardless of
file type. Use this option if you want to batch import from multi-
ple file types.
6. (Option) Click the Options button to open the Import Settings dia-
log box for adjusting the import parameters. The contents of the
Import Settings dialog box depend on the file type you selected.
The following illustration shows the selections for a graphics file.

249
n For a complete description of all options in the Import Settings dialog box, see
“Import Settings Options” on page 242.

7. Select the options you want. Click OK to save the settings, close
the Import Settings dialog box, and return to the Select Files To
Import dialog box.
8. Choose a destination drive for the imported file from the Media
Disk pop-up menu.
9. For graphics and video files, choose a resolution for the imported
media from the Resolution pop-up menu, see “Working with
Mixed-Resolution Projects” on page 239.

n For optimum speed when importing an OMFI file, select the Use Source
option in the Import Settings dialog box. This option imports the file using
the source compression, which is the resolution set in the OMFI file you are
importing.

10. Use the Directory pop-up menu to locate the folder containing the
source files.
11. Select files or deselect files from the source file list by doing one of
the following:
• To add a single file, select a file name in the source file list and
click the Add button, or double-click the file name.
• To add all files in the source file list, click the Add All button.
• To deselect a single file from the import file list, select a file
name and click the Remove button.
• To clear all the files from the import file list, click the Remove
All button.

n If you are importing a sequential series of image files, select “Autodetect

Sequential Files” in the Import Settings dialog box. Then you need to add
only the first file in the series to the source file list.

12. Click Done.

250
 If you are batch importing OMFI files at multiple resolutions with
the OMFI Resolution: Ask Me option selected in the Import Set-
tings dialog box, an alert box appears whenever the resolution of
the source file does not match the current Resolution setting in the
Select Files to Import dialog box.

Select either the resolution of the source file or the current Resolu-
tion setting to continue.
When the system finishes importing the files, the clips appear in
the selected bin.

n If you import an OMF file with a stereo sound track, the Avid system creates
a new master clip that contains the right channel of the sound track. The orig-
inal master clip contains the left channel. Both clips appear in the bin you
select.

Using Drag-and-Drop Method to Import Files

To import one or more files by using the drag-and-drop method:
1. In the Settings scroll list of the Project window, select the setting
you want to use for import. To view or modify the parameters,
double-click the setting. For information on modifying options,
see “Creating and Using Import Settings” on page 240.
2. Open the bin in which you want to store the imported files.
3. Open the folder that contains the files you want to import.
4. Drag the file you want to import to the bin. To select multiple files,
Shift+click the files, and then drag the files to the desired location.

251
Reimporting Files
If you are working with master clips or sequences that contain
imported material, you can use the Batch Import command to reim-
port 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 acciden-
tally deleted.

c Reimporting requires your original source file. Do not delete the

media files for imported files if the source files are no longer avail-
able, 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 origi-
nal master clips and sequences. When you play your sequence after
reimporting the files, the new imported material plays in your
sequence.

When you reimport a media file, the entire media file, including all
tracks, is reimported. For example, if only the video track of an
imported file that contains both video and audio was edited into the
sequence, the reimport process will import both the video and audio
from the source file.

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

252
About Reimporting Matte-Key Effects
The Batch Import command allows you to reimport the source files for
matte-key effects while automatically linking the new imported mate-
rial with the master clips and sequences. When you play your
sequence after reimporting the matte-key effect, the new imported
material plays in your sequence.

If you consolidated or decomposed the sequence or the matte-key

effect by setting the “Imported clips” option on the Decompose dialog
box, then the new imported material will not automatically link to
your sequences.

If the sequence or the matte-key effect was consolidated or decom-

posed, do the following to reimport matte keys edited into your
sequences:
• Reimport a sequence containing the matte key.
• Locate the precompute referenced by the sequence.

For information on updating edited matte-key effects, see “Selecting

Media Relatives for an Object” on page 286 and “Relinking to
Selected Clips” on page 338.

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Batch Import Dialog Box
The Batch Import dialog box allows you to select a source file for each
master clip that you selected in a bin. The Avid application finds the
source file automatically if the source file is located in the same folder
as the last time you imported the file. If the source file is located else-
where, the file name appears in the File Name list, followed by
<Unknown Path>.

File section

Import Settings
section

Import Settings option Resolution pop-up menu

Media Disk and Resolution section Media Disk pop-up menu

Figure 8-1 Batch Import Dialog Box

254
File Section

The File section of the Batch Import dialog box includes a list of all the
files available for batch import and six buttons you can use to select
and define the files:
• Batch Import file list: Lists previously imported clips.
• 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.
• 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

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 the Customize button.
• 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. This menu appears only when “Use Import Set-
ting” is selected.
• Customize: Opens the Import Settings dialog box. From this dia-
log box, you can create and name a new Import setting. This but-
ton appears only when “Use Import Setting” is selected.

255
 n The Import Settings section of the Batch Import dialog box contains global
settings that affect all of the files you are importing.

Media Disk and Resolution Section

For information about The Media Disk and Resolution section of the Batch Import dialog box
the Import settings, see
allows you choose on which drive to store the reimported files and to
Table 8-1 on page 242.
select a resolution for reimported files. These are global settings that
affect all of the files you are importing.
• Media Disk pop-up menu: Allows you to choose a destination
drive for the media files. This menu appears only when “Use
Import Setting” is deselected.
• Resolution pop-up menu: Allows you to choose a video resolu-
tion. This menu appears only when “Use Import Setting” is dese-
lected.
• Use Source Resolution for OMFI: When checked, 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 not
checked, 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 the Use Import Setting option is selected in the Import Settings
section of the Batch Import dialog box, the Media Disk and Resolution
section displays the drive and resolution saved in the current Import
setting. When the Use Import Setting option 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 at the resolution dis-
played in the Batch Import dialog box.

Using Decompose When Reimporting

The Decompose feature creates new master clips in the bin for each
clip in the sequence prior to reimporting. Decompose allows you to
create new master clips based only on the material you have edited

256
 and included in your sequence, which saves system memory. Using
Decompose gives you greater control during the reimporting process.
You can use this procedure to sort clips in the bin, modify them, and
then reimport selected clips in the sequence.

To use Decompose:
1. Activate the bin that stores the sequence and select the sequence.
2. Choose Decompose from the Clip menu.
The Decompose dialog box appears.

3. If you want to preserve clips that already have existing media

files, select the option “Decompose only those items for which
media is currently unavailable.” Deselect this option if you plan to
decompose and reimport the entire sequence.
4. Select “Imported clips” to decompose clips made from imported
files.
5. Click OK. The new master clips appear in the bin. You can now
sort and select these clips like all other objects in the bin.
6. Proceed with the reimporting procedure described in “Starting
the Reimport Process” on page 258.

n When reimporting material, the Handle Length option has no effect.

257
Starting the Reimport Process

n Before beginning the reimport process, you might want to mount all remov-
able media drives. You might also want to create folders on the Avid hard
drive and copy all files to these folders prior to importing the files into the
project.

To reimport imported files:

1. Open the bin and select the imported master clips and sequences
that you want to reimport.
2. Choose Batch Import from the Clip menu. A 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. See Figure 8-1.
4. Choose a destination drive for all the media files from the Media
Disk pop-up menu.
5. Choose a video resolution for all the reimported files from the
Resolution pop-up menu.

258
For information about 6. (Option) By default, the file will be imported using the Import set-
the Import settings, see
tings from the last time it was imported. You can change the
Table 8-1 on page 242.
Import settings for all clips being imported by doing one of the
following:
a. Select the option “Use Import Setting” and select a preset
Import setting from the Import Settings pop-up menu.
b. Select the option “Use Import Setting” and click the Custom-
ize button 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 “Creating and Using
Import Settings” on page 240.

n If you wish to check the current Import setting without modifying it, click
Customize, check the settings, and then click Cancel to exit the Import Set-
tings dialog box without making any changes.

c. Select the option “Use Source Resolution for OMFI” to com-

press 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:
• 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) Select a file path for the files by clicking Set Path.
The Directory dialog box appears.
a. Navigate to the folder that contains the source file.
b. Select any file in the target folder and click Open.
All other files in that folder are automatically linked for import.

n If you change the name of an imported clip, the clip appears as “Unknown
Path” in the Batch Import dialog box. You can use the Set Path option to link
a renamed clip to the original file.

259
 9. (Option) Select a source file for any selected files by clicking
Set File.
The Directory dialog box appears.
a. Navigate to the folder which contains the source file.
b. 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.

n The Cancel button allows you to cancel the entire import operation. If you
click the Cancel button, none of the source files are imported.

260
CHAPTER 9
Organizing with Bins

The Avid system provides powerful database tools for organizing and
managing your digitized material. You can view bins in three different
display views. You can rename, sort, sift, duplicate, and delete clips
and sequences. You can also print single-clip frames or whole bins. A
worksheet at the end of this chapter provides guidelines for using
these techniques to create and print storyboards for your project.
These topics are covered in the following sections:
• Before You Begin
• About Bin Display Views
• Basic Bin Procedures
• Using Text View
• Using Frame View
• Using Script View
• Printing Bins
• Gathering Format Elements
• Storyboard Worksheet

261
Before You Begin
There are several procedures you might want to perform before orga-
nizing your project because they affect the display of information in
bins or the way the clips play back during screening:
• If you digitized clips by using LTC (longitudinal timecode)
recorded on an audio track, and would like to instruct the system
to address this timecode during editing, see “Using Audio Time-
code” on page 262.
• If you would like to center the pan between left and right speakers
for some or all of the clips in a bin, see “Using the Center Pan
Command” on page 265.
• If you would like to customize the types of objects (clips, subclips,
and so on) displayed in a bin, see “Setting the Bin Display” on
page 266.
• If you digitized some of your video and audio clips separately,
and need to synchronize them for editing, see “Autosyncing
Clips” on page 635.
• If you need to group or multigroup material, see “Grouping and
Multigrouping Clips” on page 662.

Using Audio Timecode

The Avid system can read audio timecode (LTC or longitudinal time-
code recorded on an audio track). If you captured the LTC as an audio
track during the digitizing process, use the Read Audio Timecode
command. This instructs the system to address this track for timecode
information to be displayed in the bins and used in editing.

To use timecode on an audio track:

1. Make sure the system is set up for generating audio timecode. See
the Avid Media Composer Products Setup Guide.

262
 2. In the bin, select the appropriate clips, then choose Read Audio
Timecode from the Special menu.
The Read Audio Timecode dialog box appears.

3. To read timecode stored in the user bits of the LTC, select User Bit
Timecode. If this option is not selected, the system reads the LTC
timecode.

c Information contained in the user bits of the LTC must be timecode

only. Other data stored in the user bits will not appear in the Avid
application.

4. Choose the audio track containing the timecode from the Audio
Timecode Source pop-up menu. A1 is the default.
5. Choose the target auxiliary timecode bin column for recording the
audio timecode from the Destination Track pop-up menu. Auxil-
iary TC1 is the default selection.
6. Select Fill Undecodeable Frames to instruct the system to fill in
any timecode breaks with continuing timecode. This is the default.

263
 For example, in a 3-minute master clip, the audio timecode starts
at 1:00:20:20. At 1:00:22:10, the timecode ends. With the Fill Unde-
codable Frames option selected, the system assigns 1:00:22:11 to
the next frame and continues assigning timecode.
Do not select this option if you do not want to fill timecode breaks.
7. Click OK to complete the procedure. The timecode appears in the
bin in the auxiliary timecode column that you chose.

Adjusting Pan Defaults

For information on The way your footage was recorded in the field, and digitized in the
using the Audio Mix
Avid system, will affect the way sound pans between the speakers. By
tool to adjust pan for
individual clips in a default, the system pans audio tracks 1 and 3 to the left speaker output
sequence, see “Using and pans tracks 2 and 4 to the right speaker output.
the Audio Mix Tool”
on page 563.
You can set global pan settings before or during editing by using the
Audio Settings dialog box and the Center Pan command, as described
in this section.

Adjusting Default Pan Settings

The Audio Settings dialog box provides options for adjusting the
default audio pan when editing with new clips, and digital audio
scrub parameters for monitoring and analyzing audio tracks and tran-
sitions.

264
 By default, the audio tracks for clips alternate with track 1 on the left
and track 2 on the right speaker for monitoring and output. The All
Tracks Centered option instructs the system to center the pan of all
tracks between the two speakers for monitoring and output.

Using the Center Pan Command

You can use the Center Pan command on source material in bins. Use
it prior to editing or at any time during the editing process.

Instead of adjusting pan on individual clips by using the Audio Mix

tool, Center Pan allows you to create a standard distribution of audio
between left and right speakers. You can adjust the pan on selected
clips or all clips with a single command. This is especially useful when
you have clips with field audio recorded (and subsequently digitized)
variably between A1 and A2. Panning all of the audio to center elimi-
nates the distraction of having to listen to left and right speakers, in
turn. It also smooths the playback of the edited sequence because all
shots are panned to center.

265
 To adjust the pan on clips:
1. In a bin, select the clips you want to pan to the center.
2. Choose Center Pan from the Clip menu.
A dialog box appears and asks you to confirm the pan.
3. Click OK. The system pans all of the selected clips to the center.

Setting the Bin Display

By default, your bins display all existing media objects except source
clips and rendered effects. To reduce crowding in the bin and to dis-
play only those objects that you need to organize your project, you can
display selected media objects.

You can use the Set Bin Display option 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.

266
 The Set Bin Display dialog box appears.

Table 9-1 on page 268 describes the icons listed in the Display Bin
Selection dialog box.
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.

267
 5. Click OK. The bin displays objects according to your specifica-
tions.

Table 9-1 Object Icon Descriptions

Object Icon Object Description

Master Clip A clip that references audio and video media files
formed from digitized footage or imported files.

Subclip A clip that references a selected portion of a master

clip.

Sequence A clip that represents an edited program, partial or

complete, that you create from other clips.

Source Clip A clip that references the original videotape source

footage for master clips.

Effect A clip that references an unrendered effect that you

create.

Motion Effect A file in the bin that references effect media files
generated when you create motion effects.

Rendered Effect A clip that references an effect media file generated

when you render an effect.

Group Clip (For multicamera editing) A clip containing two or

more grouped clips, strung together sequentially
according to common timecodes.

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About Bin Display Views
There are three display views for viewing and working with clips in a
bin: Text view, Frame view, and Script view, as follows:
• 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.

Column
headings

Object icons

Fast Menu
button
Text View button Bin View pop-up menu

For information on Text To enter Text view, click the Text View button (labeled T) in the
view features, see lower left portion of the bin.
“Using Text View” on
page 287.

269
 • 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

For information on To enter Frame view, click the Frame view button (labeled F) in the
Frame view features, lower left portion of the bin.
see “Using Frame
View” on page 306. • 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.

Clip information Script text box

270
For information on To enter Script view, click the Script View button (labeled S) in the
Script view features, see lower left portion of the bin.
“Using Script View” on
page 310.

Bin Fast Menu

All Bin menu commands are also available in the Bin Fast menu
located in the lower left corner of every bin.

To open the Bin Fast menu, click the Fast Menu button in any of the
three bin display views.

Fast Menu button

The Bin Fast menu is especially convenient when you are working
with several open bins and need to access Bin menu commands
quickly.

Basic Bin Procedures

There are some basic procedures that you can use in any of the three
bin display views for manipulating clips in the bin. These include
selecting, deleting, duplicating, moving, copying, and sifting clips and
sequences.

When you are working with bins, a diamond appears before the bin
name in the bin’s title bar. This diamond indicates that the changes to
the bin have not been saved. Once you save the bin, the diamond is
removed.

271
 n To view a complete list of the bins in your project, see “Using the Bins Dis-
play” on page 66.

Setting the Bin Font

To change the bin font:
1. Choose Set Font from the Edit menu.
The Font Selection dialog box appears.

2. Choose a font from the Font pop-up menu.

n Any font loaded on the Avid system appears in the list. For information on
adding fonts to your system, see your Macintosh system documentation.

3. Type another point size for the font in the Size text box.
4. Click OK. The new font appears in all bin display views.

Selecting Clips and Sequences

Use one of the following procedures to select clips in a bin:
• Click the clip or sequence icon (Text view), or click the picture area
of the clip or sequence (Frame view).

272
 • Select multiple clips or sequences by doing one of the following:
- Shift+click additional items.
- Lasso several clips.

To reverse your selection, choose Reverse Selection from the Bin menu.
The clips that you previously selected are deselected and those clips
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 manip-
ulate 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 select
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.

c Deleting media files for the duplicate clip or sequence also deletes
the media files for the original clip or sequence.

Moving Clips and Sequences

You can move clips and sequences to other bins to group and organize
various types of material based on project needs.

273
 To move clips or sequences from one bin into another:
1. Create or open another bin. Give the bin a name that represents its
purpose or contents.
2. 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.
3. Select the clip or sequence that you want to move, or select multi-
ple clips.
4. Drag the clips to the new bin.

n If the destination bin’s display has been set to show reference clips, the refer-
enced object types do not appear until you save the bin. For more information
on setting the bin display, see “Setting the Bin Display” on page 266.

Copying Clips and Sequences

When you copy clips or sequences, you are essentially cloning the
same clip or sequence in another bin. Any change you make to the
copy will affect the original as well. The system does not add the
.Copy file name extension to the clip or sequence as it does when
duplicating. You cannot copy clips to the same bin, and you cannot
return a clip copy to the same bin where the original resides.

To copy clips or sequences from one bin into 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 select multiple clips or sequences.
3. While pressing the Option key, drag the clips to the destination bin
and release.

The clips appear in the destination bin and the originals remain in the
source bin. If the destination bin’s display has been set to show

274
 reference clips, the referenced object types do not appear until you
have saved the bin.

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 cus-
tom columns appear in the order in which you created them.

Deleting Clips and Sequences

To delete clips or sequences from a bin:
1. Select the clips and sequences that you want to delete.
2. Choose Clear from the Edit menu or press the Delete key on the
keyboard.
The Delete dialog box displays information about the selected
items.

275
 In this example, one subclip and one master clip (along with their
media files) are highlighted for deletion.
3. Select the items highlighted for deletion.
4. (Option) Delete the associated media files for master clips and
effect clips. You can select clips and media files for deletion, or you
can select only the media files if you want to retain the clips for
later redigitizing.
5. Click OK.
A dialog box asks you to confirm the deletion.
6. 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. You can display source colors
in bins and in the Timeline. For information on displaying source col-
ors in the Timeline, see “Displaying Local and Source Colors in the
Timeline” on page 469.

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.

276
 A Bin Column Selection dialog box appears.

2. Click Color from the scroll list to select it.

3. Click OK.
The Color column appears in the bin.

n 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 that you want to
assign a color to.

277
 2. Choose Set Clip Color from the Edit menu and choose a color from
the submenu.

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

n 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 that you want to
assign a color to.
2. Choose Set Clip Color from the Edit menu and choose Pick from
the submenu.
The Macintosh Color Picker appears.
3. Select a color from the Macintosh Color Picker and click OK.
The custom color appears in the Color column and on the clip
icon.

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

278
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 that you want to
assign a color to.
2. Option+click in the Color column in the bin.
A menu of all the colors you are using in the bin appears. Any cus-
tom colors you assigned are labeled Other.
3. Choose one of the colors.
The color appears in the Color column and on the clip icon.

Sifting Clips and Sequences

When you sift clips and sequences, the bin displays only those clips
and sequences 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 Sift dialog box provides six different
levels of criteria.

To sift clips and sequences:

1. Choose Custom Sift from the Bin menu.

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 The Sift dialog box appears.

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 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 selec-
tions, as necessary.
Only the clips that meet your criteria remain in the bin, with the
word “partial” 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.
• To view the entire bin, choose Show Unsifted from the Bin menu.
• To view the sifted bin, choose Show Sifted from the Bin menu.

The word “partial” after the bin name appears or disappears to indi-
cate the current state of the bin you are viewing.

280
Sifting Timecodes or Keycode Ranges

You can sift on a timecode (or keycode) number within a specific

range. For example, you can sift for all the clips that start before and
end after a particular timecode.

Before Custom Sift

Enter 12:09:30:00 in the Sift dialog box, and choose Start to End Range.

After Custom Sift

The clips that

encompass the
timecode number
12093000

Some column pairs explicitly define a range, for example, Start and
End or Mark IN and Mark OUT. Other columns define the beginning
of a range, and the end of the range is determined by the Duration col-
umn. For example, Auxiliary TC1 implies a range that begins at the
value in the Auxiliary TC1 column, and ends at that value plus the
value in the Duration column.

281
If you display any column in the bin that is associated with ranges,
either explicit or implicit, the corresponding range menu item appears
in the Column pop-up menu of the Custom Sift dialog box. For exam-
ple, if you choose to display the Start column and the Auxiliary TC1
column in the bin, the Start to End Range and Auxiliary TC1 Range
menu choices will appear in the Column pop-up menu.

When specifying a timecode or keycode number, you do not need to

enter colons or semicolons, and the leading zero may be omitted. For
example, you can enter 3172000 as a timecode number.

Keycodes contain letters, numbers, and a dash before the feet and
frames; for example, KJ23 -0345+13. When sifting on a keycode num-
ber, you only have to enter the numbers after the dash. Any informa-
tion before the dash is ignored. If you do enter characters before the
dash, they must match the corresponding characters in the bin column
exactly.

Table 9-2 lists all columns associated with explicit ranges and their
corresponding menu choices:

Table 9-2 Range Menu Items for Explicit Ranges

Bin Column (Explicit Ranges) Column Pop-up Menu Item

Start, End Start to End Range

Mark In, Mark Out Mark In to Out Range

KN Start, KN End KN Start to End Range

KN Mark In, KN Mark Out KN Mark In to Out Range

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 Table 9-3 lists all columns associated with implicit ranges and their
corresponding menu choices. The Duration column determines the
end of these ranges.

Table 9-3 Range Menu Items for Implicit Ranges

Bin Column (Implicit Ranges) Column Pop-up Menu Item

Film TC Film TC Range

Sound TC Sound TC Range

Auxiliary TC1 Auxiliary TC1 Range

Auxiliary TC2 Auxiliary TC2 Range

Auxiliary TC3 Auxiliary TC3 Range

Auxiliary TC4 Auxiliary TC4 Range

Auxiliary TC5 Auxiliary TC5 Range

Ink Number Ink Number Range

Auxiliary Ink Auxiliary Ink Range

Sifting Within a Range

To sift for a timecode or keycode number within a specific range:

1. Choose Custom Sift from the Bin menu.

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 The Sift dialog box appears.

Column pop-up menu

Operator
pop-up menu

2. Type the timecode (or keycode) number for which you want to sift
in a range.
3. Choose a range from the Column pop-up menu; for example, Start
to End Range or Mark In to Out Range.
The criterion “contain” is displayed in the Operator pop-up menu.
If you try to change this criterion, a blank will be displayed in the
column menu.
4. Click OK.
The bin will display those clips that encompass the timecode (or
keycode) number that you entered.

Locking 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.

284
 To lock items:
1. Click a clip, subclip, or sequence to select it. Shift+click additional
clips if necessary.
For more information 2. Choose Lock Bin Selection from the Clip menu.
on displaying columns,
see “Showing and Hid- A Lock icon appears for each locked clip in the Lock column of the
ing Columns” on bin in Text view.
page 290.

Lock icon

To unlock previously locked items:

1. Select the items in the bin.
2. Choose Unlock Bin Selection from the Clip menu.

n You can use the clip-locking feature along with archiving software to auto-
matically archive all locked media files. For more information on archiving
locked files, see your archiving software’s 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 have never been digitized.

To identify offline items, choose Select Offline Items from the Bin
menu.
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 The bin highlights all items that are missing media files.

n To identify offline items in the Timeline, see “Highlighting Offline Media

Clips” on page 470.

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.

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 Rela-
tives from the Bin menu.
The system highlights all related objects in all open bins.

Selecting Sources Used by an Object

Use the Select Sources command to identify all of the sources used by
a particular object. For example, if you select a sequence as the object,
you use the Select Sources command to identify every master clip,
subclip, tape, and media file that is a source for that sequence.

To identify sources for a clip or sequence:

1. Select one or more objects in a bin.
2. Choose Select Sources from the Bin menu.
All sources for the selected objects in all open bins are highlighted.

286
Selecting Unreferenced Clips
When you select Unreferenced Clips, the system highlights all clips
that are not currently referenced by clips or sequences that are present
in the open bins. Any master clips, subclips, or effect clips you edited
into a sequence in the bin are not highlighted. This command is effec-
tively the reverse of the Select Media Relatives command.

n The Unreferenced Clips command is useful for finding unused footage or

media.

Identify unreferenced clips as follows:

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.
An alert box warns you that unreferenced clips will be highlighted
in open bins only (items in closed bins will not be shown).
4. Click OK.
All unreferenced clips are highlighted in the open bins.

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.

287
 To enter Text view, click the Text View button (labeled T) in the lower
portion of the bin.

Bin View pop-up menu

Text View button

About 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:
For more information • Statistics view: Uses the standard statistical column headings
on Film and Statistical
derived from information established during capture, such as start
column headings, see
“Bin Column Head- and end timecodes, duration, resolution, and so on.
ings” on page 303.
• Film view: Has film-related column headings, including key num-
ber, ink number, pullin, and so on. If you are working on a non-
film-related project, and select the Film view, a dialog box informs
you that only the non-film-related columns will be displayed.
• Custom view: Allows you to create and save customized views.
The only required heading is the clip name, displayed by default.
You can customize the view by adding, hiding, or rearranging col-
umn headings.

288
Customizing Bin Views in Text View

You can create and save customized bin views that you can easily
access from the Bin View menu. You can customize the bin view by
adding, hiding, or rearranging Bin columns. The only required column
heading is the clip name, displayed by default.

There are several ways to customize views of the bin:

• Alter the arrangement of existing columns in the standard Statis-
tics view or Film view to suit your needs, without adding or hid-
ing columns. These arrangements will be recalled each time you
choose Statistics view or Film view.
• Add or hide columns of information to create customized Statis-
tics or Film views. These will be saved as additional view settings
in numerical order, for example Statistics.1, Statistics.2, unless you
choose another name.
• Add, hide, copy, or rearrange standard or customized columns in
any combination to create your own custom views. You can name
and save these to suit your needs.

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 set-
tings. New bin view settings appear in the Settings scroll list of the
Project window.

Arranging Bin Columns

This section provides procedures for adding, hiding, moving, dupli-

cating, and deleting columns from a bin. After arranging the bin col-
umns, you can save the bin view as described in “Saving a Custom
Bin View” on page 294.

289
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.
2. Drag the column to the position you want and release the left
mouse button.
The column appears in the new position, and columns to the right
are moved over 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
contents. This is especially useful for removing spaces left after mov-
ing or rearranging columns.

To align bin columns, choose Align to Grid from the Bin menu.

Showing and Hiding Columns

You can select individual or multiple headings to be displayed or hid-

den in the bin. For a complete description on each column heading, see
Table 9-6 on page 304.

To choose column headings by using the Headings dialog box:

1. With a bin in Text view, choose Headings from the Bin menu.

290
 A Bin Column Selection dialog box appears.

2. Select the headings you want to add to the bin:

• 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 Bin Column Selec-
tion 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 by using the Bin Column Selection
dialog box, as described in “Showing and Hiding Columns” on

291
page 290. When you delete a Custom column, however, you must
re-create the column.

To delete a column:
1. Click the column heading.
2. Choose Clear 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 Copy To dialog box appears.

292
In the example, “Copy Auxiliary TC1 to:” appears at the top of the dia-
log box because the user selected the Auxiliary TC1 column for dupli-
cation. Select a column name from the list. The column must contain
the same type of data for the copy to occur. For example, you can copy
start timecodes to the Auxiliary TC column, but you cannot copy time-
codes to the Pullin column.

The column of information appears in the column you designated.

Adding Customized Columns to a Bin

In addition to the standard statistical or film column headings, 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 in order to create an
empty area.
3. Type the column heading you want and press Return. Column
headings must contain fewer than 14 characters, including spaces.
This puts the cursor 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 Return to move to the next line.

Changing a Custom Column Heading

You can change the heading name of custom columns. You cannot
change any of the standard column headings.

293
 To change the name of a custom column:
1. Press and hold the Option key, and click the heading to highlight
it.
2. Type the new text for the heading and press Return.

Saving a Custom Bin View

Any time you add, hide, or delete a column, the bin view name
changes to an italicized name with the file name extension .n to indi-
cate that it no longer matches the original view. If you select a new bin
view setting while the current setting is untitled or italicized, the sys-
tem discards the current setting.

n 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).
For procedures on add- 2. Add or hide columns according to preference. The bin view name
ing, hiding, and delet-
becomes italicized.
ing bin columns, see
“Arranging Bin Col- 3. Choose Save As from the Bin View pop-up menu.
umns” on page 289.
The Name of This View dialog box appears.

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

294
Managing Clip Information in Text View
For additional bin There are several ways to manage clip information in Bin columns.
shortcuts, see the Avid
These methods include copying information between cells, moving
Media Composer Quick
Reference. information between whole columns, sorting clip information, and
modifying clip data, as described in this section.

Moving Within Column Cells

Use the keyboard shortcuts to move from cell to cell in bin columns:
• Tab: Moves 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.
• Shift+Tab: Moves the pointer left to the cell in the previous col-
umn. You can continue to press the Shift+Tab keys to scroll
through cells to the left until the cell in the first column is high-
lighted. The next time you press Shift+Tab, the cell in the last col-
umn is highlighted.
• Return: Enters any new information typed into the cell and moves
the pointer down to the cell in the next row. You can continue to
press the Return key to scroll down the column until the last cell in
the column is highlighted. The next time you press the Return key,
the first cell in the column is highlighted.
• Shift+Return: Moves the pointer up to the cell in the previous
row. You can continue to press the Shift+Return keys until the cell
in the top row is highlighted. The next time you press the
Shift+Return keys, the cell in the last row is highlighted.

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 con-
form information for organizational purposes.

295
The following conditions apply to modifying clip information:
• When you modify a clip’s information, related objects are auto-
matically 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, as described in “Changing the Sequence
Name and Timecode” on page 439.

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 use the Modify command 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 while logging and prior to
digitizing. After the footage is digitized, however, you can directly
modify only selected headings, with restrictions, as shown in
Table 9-4.

296
 Table 9-4 Direct Modification Headings

Heading Restrictions

(Clip) Name No restrictions.

Mark IN Altering the mark IN also alters the IN to OUT duration. This replaces
any previous mark.

Mark OUT Altering the mark OUT also alters the IN to OUT duration. This replaces
any previous mark.

Color No restrictions.

Color Framing Must be according to tape specifications. See “Tracking Color-Frame

Shifts” on page 518.

Auxiliary timecodes, 1–5 No restrictions.

KN (Key Number) Start Only for film projects. Altering the starting key number also alters the
KN End to maintain the duration. This can cause discrepancies with any
auxiliary timecode information that you entered manually.

KN (Key Number) End Only for film projects. Altering the KN End also alters the KN Start to
maintain the duration. This can cause discrepancies with any auxiliary
timecode information that you entered manually.

Pullin Pullin data imported from a telecine-generated list can only be altered by
using the Modify command. See “Modifying Data by Using the Modify
Command” on page 298. (NTSC only.)

Pullout Pullout data imported from a telecine-generated list can only be altered
by using the Modify command. See “Modifying Data by Using the
Modify Command” on page 298. (NTSC only.)

To modify the clip data directly:

1. Enter Text view.
2. Click the cell that you want to modify. Select only one item at a
time. In this example, the timecode data is highlighted.

297
 3. Click the cell again to enter text.
If the pointer does not change to an I-beam, you might be attempt-
ing to modify a column that cannot be directly modified.
4. Type the new information and press Return.

Modifying Data by Using 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, or to increment or decrement the
start and end timecodes by a specified length of time for one or several
clips at once.

For a complete descrip- You can apply changes with the Modify command to master clips
tion of the Modify dia-
only; subclips and sequences cannot be altered in this way. In addition,
log box options, see
“Using the Modify you can only perform modifications that alter the end timecodes or the
Command” on tracks before digitizing, as described in Table 9-5.
page 142.

298
Table 9-5 Modify Command Options

Option Restrictions

Set Timecode Drop/ Setting must match the timecode format

Nondrop of the tape.

Set Timecode By Field Only start timecode can be altered after

digitizing.

Increment Timecode Only start timecode can be incremented

after digitizing.

Decrement Timecode Only start timecode can be decremented

after digitizing.

Set Key Number Generic Only for film projects.

(Prefix)

Set Pullin Only for film projects.

Set Tracks Only for film projects.

Set Source Should match the original source tape name.

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. Shift+click each additional object
you want to modify.
3. Choose Modify from the Clip menu.

299
 The Modify dialog box appears.

4. Choose an option, such as Set Timecode By Field, from the Modify

Options pop-up menu.

300
 5. Select an option or enter information into the text boxes (timecode
values, for example) when they appear.
6. Click OK. The modification takes effect.

Copying Information Between Columns

The following procedure describes how to copy all the information in

one column to another column. The procedure uses an example of
copying timecode information in one column to a new column.
1. Select the timecode column that you want to copy.
2. Choose Duplicate from the Edit menu.
A dialog box prompts you to target a timecode column for the
data.
3. Select the target column for the data and click OK.

Copying Information from Another Cell in a Custom Column

To copy information from another cell in a custom column:

1. Press and hold the Option key while you click in the destination
cell to reveal a pop-up menu of all items entered in that column.
2. Select the text from the menu.
The text appears in the cell.

Sorting Clips

Sorting clips arranges them in either numerical order, alphabetical

order, or color, based on the data in the column you select as the sort-
ing criteria. You can sort clips in several different ways, using an
ascending sort, a descending sort, or a multilevel sort.

n You can automatically sort clips and sequences in Text view only. If you need
to view sorted clips in Script or Frame view, sort them in Text view first and
then return to Script or Frame view.

301
 If you want to sort clips in a customized order in Text view, you must
first rearrange the clips in Script view, and then return to Text view.
For information about Script view, see “Rearranging Clips in Script
View” on page 312.

Sorting Clips in Ascending Order

To sort clips in ascending order:

1. In Text view, click the heading of the column that you want to use
as the criterion.
The column is highlighted.
2. Choose Sort from the Bin menu.
The objects in the bin are sorted.

n If the Sort command appears dimmed in the menu, you have not selected a
column.

To reapply the last sort, 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. In Text view, click the heading of the column that you want to use
as the criterion.
The column is highlighted.
2. Press and hold the Option key while you choose Sort Reversed
from the Bin menu.
Sort Reversed displays the column in descending order.

302
 Multilevel Sorting with Columns

You can select multiple columns in a bin and perform a multilevel sort
by using the information in the columns.

To do this, 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.

Sorting Clips by Color

You can sort the clips by color if you assigned colors to the clips. See
“Assigning Colors to Bin Objects” on page 276.

To sort clips by color:

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

n Colors are sorted by hue, saturation, and value.

Bin Column Headings

You can select individual or multiple headings to be displayed or hid-
den in a bin. Table 9-6 describes the Bin Column Selection headings.
For a procedure on how to select column headings, see “Showing and
Hiding Columns” on page 290.

303
 Table 9-6 Bin Column Selection

Heading Description

Name This heading does not appear as a column selection, but it always appears in the
bin. The column contains the name of the clip or sequence (you can rename a
clip or sequence after it has been digitized).

Audio The audio resolution (sample rate).

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

Auxiliary TC1 You can enter an auxiliary timecode, such as Aaton, Arri, or another timecode
through TC5 for editing film or audio timecode for film.

CFPS The captured frames per second.

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

Camroll The camera roll containing this clip. Used for film projects only.

Color The color of the bin objects for organizing the objects.

Color Framing The color framing for the tape. For NTSC, the choice is Even or Odd. For PAL,
the choices are A Standard, A Non-Standard, B Standard, or B Non-Standard.

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

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

Duration The length of the clip.

End The timecode of the clip’s tail frame.

Film Type The file type of the clip (such as 16 mm or 35 mm), based on the project settings.

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

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 Table 9-6 Bin Column Selection (Continued)

Heading Description

Frame Displays the same frame that is displayed when you select Frame view for the
bin. You can perform the same operations on the frame that you can perform in
Frame view, as described in “Using Frame View” on page 306.

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

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

Ink Number The ink number for the clip. Used for film projects only.

KN Duration The length of the clip, expressed in feet and frames. Used for film projects only.

KN End The ending key number for the clip. Used for film projects only.

KN Start The starting key number for the clip. Used for film projects only.

Labroll The labroll containing the clip.

Lock Specifies whether the clip is locked against deletion.

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

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

Modified Date The date and time a sequence was last edited or changed.

Offline The track names for any media files that are offline.

Perf The film edge perforations format.

Project The project under which the media was originally digitized.

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

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

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 Table 9-6 Bin Column Selection (Continued)

Heading Description

Scene The scene number of the clip.

Shoot date The date the footage was shot.

Sound TC The timecode for audio. Used for film projects only.

Soundroll The sound roll this clip came from. Used for film projects only.

Start The timecode of the clip’s head frame.

Take The take number of the scene.

Tape The source tape name.

Tracks All tracks used by this media object.

VITC The vertical interval timecode.

Video The resolution under which the media for that clip was digitized.

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 pic-
tures larger to see more detail, or smaller to see more clips in the win-
dow. You can also rearrange the frames in any order.

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 To enter Frame view, click the Frame View button (labeled F) in the
lower left portion of a bin.

Each frame appears in the bin with its assigned name directly below it.

Changing the Bin Background Color

You can customize the background color of the bin behind the frames.
Changes affect one bin at a time. However, changes you make in
Frame view appear in Script view as well. Text view remains black and
white.

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 To change the bin background color:
1. Activate the bin you want to change and make sure you are in
Frame view (or Script view).
2. Choose Set Bin Background from the Edit menu, and select a color
from the pop-up palette.

The bin color changes based on your selection.

Enlarging or Reducing Frame Size

You can enlarge and reduce the size of the frames appearing on the
screen to five available sizes. You must enlarge or reduce all frames
together. You cannot change the size of individual frames.
• To enlarge the frame size, choose Enlarge Frame from the Edit
menu. The display size increases each time you choose this option,
up to seven times.
• To reduce the frame size, choose Reduce Frame from the Edit
menu. The display size decreases each time you choose this
option, up to seven 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, Shift+click 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.

n When you return to Text view, the order of the clips is changed there as well.

Changing the Frame Identifying the Clip

If you have group or By default, Frame view displays the first frame of each clip in the bin.
multigroup clips in the
However, you can choose a different frame.
bin and want to change
the displayed frame,
you must use controls To change the frame identifying the clip:
in Source/Record
mode. For more infor- 1. Select the clip that you want to change.
mation, see “Multicam-
era Editing Press and hold the K key on the keyboard (Pause) and press the L
Techniques” on key (Play) to roll the footage within the frame forward at slow
page 671.
speed. To move backward through the footage, press and hold the
K key and press the J key (Reverse Play).
2. When you see the frame that you want use, release the keys.
The Avid application saves your choice as part of the bin configu-
ration.

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Arranging Frames in a Bin
To realign the frames in a bin after you have changed their display, use
one of the following procedures:
• To align all frames to an invisible grid, choose Align to Grid from
the Bin menu.
• To align only selected frames, choose Align Selected to Grid from
the Bin menu.
• To spread out the frames evenly to fill available space in the bin
window, choose Fill Window from the Bin menu.
• To arrange frames in the order in which they are sorted in Text
view, choose Fill Sorted from the Bin menu.

Using Script View

Script view combines the features of Text view with Frame view, with
an added script box next to each frame. The frames are displayed ver-
tically 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 match-
ing the column headings in Text view appears above each script box.

To enter Script view, click the Script View button (labeled S) in the
lower left portion of the bin.

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 Script View button

Adding Text in Script View

To type text into the script box, click the box and begin typing. This
text does not appear in sequences edited from the clips, only in print-
outs of the bin in Script view.

You can use basic word processing procedures to highlight, delete, cut,
copy, and paste text between script boxes.

If the notes or script you type extend beyond the size of the script box,
you can use the Page Up or Page Down keys on the keyboard to scroll
through the text.

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Rearranging Clips in Script View
You can rearrange the order of clips in Script view in two ways:
• You can drag each clip up or down to a new location in the bin.
• You can sort and sift clips in Text view, then return to Script view
to display selected clips in the sort order you want.

n When you return to Text view, the order of the clips is changed there as well.

Printing Bins
The Avid application allows you to print entire bins or individual
frames in hardcopy form.

To print entire bins in Text, Script, or Frame view:

1. Make sure your printer is correctly set up. See your system admin-
istrator.

n To print a frame in Script or Frame view, you must use a printer capable of
printing graphics.

2. Click the T (Text view), S (Script view), or F (Frame view) button

in the lower left portion of the bin to select the view you want to
print.
3. Choose Page Setup from the File menu. A Page Setup dialog box
appears, reflecting specific options for the type of printer you
have.
4. Select the appropriate options from the Page Setup dialog box,
then click Print.
5. Choose Print Bin from the File menu. The Print dialog box
appears, reflecting specific options for your type of printer.

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 6. Set the print options in the Print dialog box, then click Print.
The system prints the frame currently displayed in the active
monitor.

To print a single frame of a clip or sequence:

1. Load a clip or sequence into the Source or Record monitor.
2. Select the frame you want to print.
3. Choose Print Frame from the File menu.
4. Make any needed adjustments to the print setup and click Print.
The system prints the frame currently displayed in the active
monitor.

Gathering Format Elements

While organizing your project, you can gather various format ele-
ments 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)

This section describes techniques for creating digital bars and tone, as
well as leader clips for use in sequences. For information on creating
or importing graphic elements and titles, see the Avid Media Composer
Effects Guide.

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Preparing Digital Bars and Tone
If you expect to output your final sequence as a digital cut that
requires calibration before playback (a digital cut that will be broad-
cast, for example), then in most cases you need a clip of color bars. You
can add the clip to the front of the sequence, or you can output the clip
separately as an assemble or insert edit onto tape during recording of a
digital cut.

There are several ways to acquire a clip of bars, each with different
advantages:
• Digitize bars and tone from a house generator. This method
requires the least effort with good results because you capture
high-quality bars and tone simultaneously, with a minimum of
calibration. Not all facilities, however, have a house generator.
• Digitize bars and tone from a videotape. This method allows you
to capture bars and tone simultaneously, but you must calibrate
carefully to ensure accuracy. In addition, the final clip reflects the
quality of the source tape recording.
• Digitize bars from an external color bar generator. This method
provides good results, but you must have a color bar generator
available, and you must rearrange your system inputs to attach
the generator. In addition, you must acquire tone separately and
sync it with bars within the Avid application.
• Import a PICT file of bars. This method provides the highest
quality results because the source image is already digital. If the
PICT file is accurate, the quality of the clip is ensured. You must,
however, acquire tone separately, and sync it with bars within the
Avid application.

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Importing Color Bars and Other Test Patterns
The following procedure describes the method for importing a PICT
file. This method is available to all users because your Media
Composer system includes a SMPTE bars PICT file.

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.

Directory pop-up menu Source file list

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 4. Navigate to the folder containing the test pattern file that is
located in the Media Composer:SupportingFiles:Test_Patterns
folder on the Avid drive.
a. Click a test pattern and click the Options button.
b. Choose CCIR, non-square from the Aspect Ratio, Pixel Aspect
pull-down menu.
c. Choose CCIR Video Levels from the File Color Levels pull-
down menu.
d. Click OK.
e. Click Done.
When you import SMPTEBars.pct, it will 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 repre-
sented 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:
• 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.
5. Create a clip of tone media by using the Audio tool. For more
information, see “Creating Tone Media” on page 192.

n Match the resolution of the tone to the audio resolution of the sequence.

6. Load the new color bars clip into the Source monitor, and create a
subclip of appropriate length for use in sequences (1 minute is a
common standard).
7. Select the new subclip, Shift+click the audio clip containing the
tone, and choose AutoSync from the Bin menu.
A new subclip containing bars and tone appears in the bin.
8. Rename the clip as necessary.

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Creating Leader
Film editors traditionally use standard head and tail leaders for cueing
and syncing material. You can use digital leaders in the Avid applica-
tion to mark the beginning and ending of tracks, and to help you
maintain sync, as described in “Managing Sync with Multiple
Tracks” on page 641. You can create your own leader for video or film,
as described in this section. Whatever you choose for specifications, 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 Media Composer Effects Guide.
Optionally, you can type a title onto 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, according to your chosen specifications.
4. (Option) Mark a sync frame in the subclip as follows:
a. Load the clip into the Source monitor.
b. Find an appropriate sync point and add a locator.
c. (Option) Double-click the locator in the Source monitor to add
a sync point notation that appears on the monitor.

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.

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Creating Audio Leader

To create tail leader for audio tracks:

1. Load a clip that includes a section of digitized tone into the Source
monitor.
2. Create a subclip according to your chosen specifications.
3. Name this new subclip Head Leader or Tail Leader.
4. Load this subclip into the Source monitor.
5. Prepare the sound levels by using one of the following options:
• For leader without a sync point (no audio pop), open the
Audio Mix tool and bring the audio level all the way down for
the entire clip.
• For leader that includes a sync point (audio pop), do the
following:
a. Find the appropriate sync point.
For information on b. Step one frame backward and place an add edit before the
placing add edits, see
sync frame, then step two frames forward and place an add
“Adding an Edit
(Match Framing)” on edit after the sync frame.
page 514.
c. Place the position indicator before the first add edit, and
open the Audio Mix tool.
d. Bring the audio level all the way down.
e. Place the position indicator after the second add edit, and
use the Audio Mix tool to bring the level all the way down.

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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Storyboard Worksheet
Make preliminary preparations such as synchronizing picture and
sound, converting audio timecode, and modifying clip data.

Set the bin display to show only the media objects you will use for
your storyboard.

Narrow down the clip selection by deleting, moving, copying, sorting

and sifting clips.

Select either Script view or Frame view to display your storyboard in

the bin with or without a script box. Enter information into the script
box if necessary.

Rename clips to include additional information such as numbered

ordering, or enter this information into the script box in Script view.

Use the keyboard to step through each clip and display the reference
frame you want to use for each clip.

Rearrange the clips in sequential order by selecting and dragging one

or several clips at a time to a new location.

Enlarge or reduce the size of the frames as necessary.

Align the rearranged frames along invisible grid lines when using
Frame view.

(Option) Change the font and background color for the storyboard.

Choose Save Bin from the File menu when the storyboard is complete.

Choose Print from the File menu to print the storyboard in its final
form.

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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 sys-
tem. In addition to the bin tools that allow you to organize the clips
that reference these media files, your Avid system provides useful
tools and features for directly managing media files for storage and
playback efficiency, for backup, and for transfer between systems.

These procedures are described in the following sections:

• Using the Media Tool
• Freeing Storage Space
• Consolidating Media
• Backing Up Media Files
• Finding a Related Media File
• Relinking Media Files
• Unlinking Media Files

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Using the Media Tool
The Media tool is your window into 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 manipulat-
ing 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 three display options in the Media tool function like those in
bins: Frame view, Script view, and Text view.
• You can use the same Frame view options described in “Using
Frame View” on page 306.
• You can use the same Script view options described in “Using
Script View” on page 310.
• You can use Text View headings and options for columns of clip
and media file data. You can also use procedures such as custom-
izing the display of columns, moving within columns, and sorting
information, as described in “Using Text View” on page 287.
• 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 271.
• Media Tool database and display options are saved as User set-
tings. When you close the Media tool, the view you are in (Frame,
Script, or Text) is saved and any customizations of columns are
saved.

321
 • You have the option of saving a custom view of the Media tool.
Any view created in the Media tool is available from all bins and
all custom bin views are available in the Media tool from the
Views pop-up menu. For more information on creating custom-
ized views, see “Saving a Custom Bin View” on page 294.

n Media Tool views are saved as User settings and appear in the Settings
Project window as Bin Views.

• You can print Media Tool data by using the same procedures for
printing bins, as described in “Printing Bins.”

The Media tool also has a number of unique functions:

• 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 specify-
ing individual video and audio tracks.
• Unlike a bin, the Media tool does not display sequences and sub-
clips. Only master clips, precompute (rendered effect) clips, and
associated media files are available for display.
• The following 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.

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 The Media Tool Display dialog box appears.

2. Select the desired display options as follows:

• You can select individual media drives or all drives.

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.

n Only projects with associated online media appear in the Project(s) list in the
Media Tool Display dialog box with one exception: the Media Tool Display
dialog box always displays the current project.

• You can display only digitized master clips, precompute (ren-

dered effect) clips, or media files, or any combination of the
three.

323
 3. Click OK.
The Media tool opens.

Precompute clip
Media file
Master clip

Frame view
Script view Views pop-up menu

Text view

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.

n 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 black screen appears with the words “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:

• 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.

324
• 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 327.

To delete selected media files:

1. Open the Media tool. In the Media Tool Display dialog box, select
the types of files (master clips, precompute clips, or media files)
that you want to delete.
2. Select one or more media files (audio, video, or both) or master
clips whose media files you want to delete.
3. Choose Clear from the Edit menu, or press the Delete key to open
the Delete Media Files dialog box.

325
 4. Select the media objects that you want to delete:
• Audio media file (A1, A2, A3, A4, A5, A6, A7, A8). The mas-
ter clip linked to that file is silent. Subclips and sequences cre-
ated from the master clip are affected in the same way.
• Video media file (V). The master clip linked to that file is
black, with the message “Media Offline” displayed. Related
subclips and sequences 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.
• Audio mixdown file (A). The section of the sequence with the
mixdown is silent.
5. Click OK.
A confirmation dialog box appears.
6. Click Delete.

Freeing Storage Space

To quickly view remain- Unlike the bin files stored in project folders, media files require consid-
ing storage on your
erable storage space. When you finish either a rough cut or a final ver-
media drives at any
time, open the Hard- sion of a sequence, you can quickly free storage space by deleting the
ware tool as described media and clips that are not referenced by the sequence. This proce-
in “Using the Hard- dure is performed on clips selected in bins only.
ware Tool” on
page 122.
To delete all unreferenced clips and media files:
1. Select the sequence in the bin.
2. Choose Select Sources from the Bin menu. All source clips for the
sequence are highlighted in the bin.
3. Click the bin containing the highlighted clips to activate it.

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 4. Choose Reverse Selection from the Bin menu. All the clips in the
bin that are not source clips for the sequence are now highlighted.

c Motion effects are not counted as references by the sequence and

will be deleted.

5. Press the Delete key, then click the check boxes in the Delete dialog
box to select the clips or the media files to delete.
6. Click OK.

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 tar-
get 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.

327
About the Consolidate Feature
The Consolidate feature operates differently depending upon 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 cre-
ates 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 media files. The
new master 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.

Consolidating a Master Clip

Link the master clip

Original media files to new or old files. Copy of media files

Master Clip.old.01 Master Clip Master Clip.new.01

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• Subclips: When you consolidate a subclip or group of subclips,
the system copies only the portion of the media files repre-
sented in the subclip, and creates a new master clip that is the
duration of the subclip and a new subclip. The file name exten-
sion .new is attached, along with incremental numbering begin-
ning 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 cre-
ates new master clips for each shot in the sequence. The file name
extension .new is attached to the master clips, along with incre-
mental numbering beginning with .01. The sequence is not
renamed, but is automatically relinked to the new media files.
Consolidate finished sequences to:
• Create backup files
• Preserve only the digitized media required for playback, and
delete the rest to use less storage space
• Gather dispersed media onto one drive for storage or transfer
to another system

n 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.

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

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Using the Consolidate Command
To consolidate master clips, subclips, or sequences:
For more information 1. If you are consolidating a sequence, duplicate the sequence to
on rendering effects, see
maintain links to the original files, if necessary, and render any
the Avid Media Composer
Effects Guide. unrendered effects.
2. With the bin open, select the clips or sequence to consolidate.
3. Choose Consolidate from the Clip menu.
The Consolidate dialog box appears.

4. (Option) Select one or more of the following:

• “Video and Audio on same Volumes” to store the consolidated
media files on the same target drives. Deselecting this option
allows you to select separate drives for the audio and video
media files.
• “Delete original media files when done” to delete original
media files automatically.
• “Skip media files already on the target disk” if some related
media files are already located on the target drive.

331
 • “Relink selected clips to target disk before skipping” to ensure
that all selected clips are linked to media on the target drive.
This option appears when you select “Skip media files already
on target disk.”
5. Select a target drive from the Target Volume(s) list. To select addi-
tional target drives, Shift+click 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 pro-
cess.
6. If you are consolidating subclips or sequences, enter a handle
length for the new clips, or leave it at 60 frames (NTSC) or 50
frames (PAL) to accept the default.
For more information 7. If you are consolidating a group clip or a sequence that contains
on group clips, see
group clips, select the option “Consolidate all clips in a group
“Grouping and Multi-
grouping Clips” on edit” to copy media for all the clips in the group.
page 662.
8. 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.

9. Link the original master clips to the new or old media files, accord-
ing to preference.
10. Click OK.

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 Another way to back up media files is to copy them directly onto
another hard drive by using the Macintosh desktop. You cannot, how-
ever, 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.

c Do not make copies of media files from the Macintosh desktop,

while the Avid 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.

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 by
the Avid system 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. The Avid system does not maintain the entire data-
base in memory at all times but instead builds up a partial database for
the 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 cases in which you need to load the entire
database to relink clips to their media files:
• Redigitizing: When you redigitize the master clips while the
sequences bin is closed; quit the Avid application; restart the
application and open the sequences bin only — the sequences
might appear to be offline.
• Consolidating: When you consolidate the master clips and relink
them to the consolidated media while the sequences bin is closed;
quit the Avid application; restart the application and open the
sequences bin only — the sequences might appear to be offline.

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 To update the offline sequences with the new media files, choose Load
Media Database from the File menu to load all online master clips and
precomputes.

n 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 applica-
tion or restart the Avid system.

c If a bin continues to display the “Media Offline” message after load-

ing the media database, either the media files are missing or the
links have been broken. For more information, see “Relinking
Media Files” on page 336.

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 Users folders, these folders
are too large to back up onto floppy disks.

The following are the options for backing up media files:

• You can use the Consolidate feature, described in “Consolidating
Media” on page 327, to make copies of selected media files on a
target media drive connected to the system.
• You can back up smaller projects digitized at low video resolu-
tions to a removable storage device, such as a hard drive.
• You can archive larger media files and folders to a network storage
device.
• You can consolidate or make copies of media files for transfer to
another system. For more information on transferring media files,
see “Transferring a Project Between Media Composer (Macin-
tosh) Systems” on page 757 or the Avid Products Collaboration
Guide.

334
Finding a Related Media File
The Reveal File command allows you to select a clip in a bin and auto-
matically open up 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.
The system searches all available drives, opens the folder, and
highlights related media files.

Related media files

335
Relinking Media Files
Sometimes after you consolidate or move material between systems,
the clips or sequences lose their link to the original media files. When a
clip becomes unlinked, it displays the message “Media Offline.” If
appropriate media exists online, you can use the Relink command to
reestablish the link.

Media Offline message

indicates a clip with no
link to media files.

When you select subclips or sequences and choose the Relink com-
mand, the system searches for master clips that contain the same mate-
rial included in the selection.

You can also relink master clips to appropriate media files. The system
compares information such as source tape name, timecode informa-
tion, 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 Clip menu.

336
 The Relink dialog box appears.

3. Choose an option from the Volume pop-up menu:

• Choose All Available Disks to search across all media drives
that are online.
• Choose a specific drive volume if you know the location of the
media, or want to relink to media on a specific media drive.
4. Select the option:
• Select Relink To Selected to direct a relinking of related sub-
clips or sequences to the highlighted clip in the bin.
• Select Relink Master Clip(s) to relink master clips to media
files that share similar database information.
5. Click OK. The system searches the selected media drives and
relinks if possible.

The system disregards capture rate and audio resolution when match-
ing media files.

n If you want to be sure to maintain the original capture settings for a subclip
or sequence, use the Batch Digitize command; do not use the Relink com-
mand. For information on batch digitize, see “Batch Digitizing Clips” on
page 227.

337
Relinking to Selected Clips
You can also use the Option key to modify the Relink command for
connecting subclips or sequences to selected master clips and subclips.

To relink to selected master clips and subclips:

1. Place the subclips or sequences that you want to relink into the bin
containing the clips.
2. Select the clips targeted for relinking.
3. Press the Option key and choose Relink from the Clip menu.
The subclips or sequences are linked to the selected clips or sub-
clips.

Relinking Consolidated Clips

If the appropriate media exists online, you can reconnect consolidated
clips, subclips, or sequences to the new or old media files by choice.

For example, if you consolidated a sequence and forgot to create a

duplicate, and later find that you want 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.

n Because subclips and sequences do not point directly to the media files, you
can perform this procedure only by using the source master clips.

338
 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 attached), and
unlink them. For information on unlinking, see “Unlinking
Media Files” on page 340.
2. Choose Relink from the Clip menu.
3. Target the volume containing the original media files in the Relink
dialog box.
The clips are relinked to the original media.

Relinking Moved Projects

If you move projects between systems with similar media existing at
each site, but digitized separately, your clips and sequences will dis-
play the message “Media Offline.” You can use Unlink and Relink
commands to reconnect the files at either site.

For example, if you have a project that requires sharing work repeat-
edly 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 moving 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.

To relink a moved project:

1. Select existing clips in the bin.
2. Press the Option key and choose Relink from the Clip menu.
The sequences are relinked to the local media.

339
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 master clips to unlink.
2. Press Ctrl+Shift and choose Unlink from the Clip menu.
The clips are unlinked and display the message “Media Offline.”

n 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.

For more information For example, if you are working with multicamera material, you can
on working with multi-
digitize one reel, unlink the clips, duplicate them several times, and
camera material, see
Chapter 18. rename their source tapes to batch digitize the remaining reels.

340
CHAPTER 11
Using Script Integration

The lined script is traditionally used as a tool for managing scene and
take information during postproduction on a dramatic feature film or
television production. With the Avid 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 fol-
lowing sections describe these methods:
• Line Script Basics
• Script Window Basics
• Manipulating Script Text
• Searching Through Script
• Linking Clips to the Script
• Interpolating Position for Script Integration
• Manipulating Slates
• Manipulating Takes
• Using Script Marks
• Finding Clips and Script
• Editing with the Script Window

341
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 direc-
tor 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 num-

bering system shown in the previous example:
• 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 cap-
tured 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 char-
acter Amanda is off camera during the action described in the sec-
ond 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 on videotape — in a sitcom shoot, for

example — the line script can also include timecode notes written next
to specific lines of dialog that represent a sync point between the dia-
log 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.

343
Lining in the Digital Realm
Script integration in the Avid application provides a number of
enhancements to this traditional system. These enhancements allow
you to shorten dramatically the distance between the concepts cap-
tured 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 exam-
ple — 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:

Tool bar

Slates

Takes

Off-screen
indicator

Color
indicator

Script mark Takes tabs

344
 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 take tabs and lines extending from the bottom of each
slate indicate the number of takes for that scene. Click a take 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.
• 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, loading and playing back takes, and 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, link clips to the script, place script
marks, and customize the display of takes prior to editing.
4. The editor uses the fully prepared Script window to edit the pro-
gram.

345
Using Script Integration in Video Projects
Script integration can be an effective tool for editing any type of pro-
duction, 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.
• You can turn script integration into a quick storyboarding tool by
positioning selected slates in the Script window and printing sto-
ryboard bins that include your script.

The following is an example of an audiovisual script for a news maga-

zine piece imported into the Script window, with most of the basic fea-
tures 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 pre-
ferred shots.

Music cuts are linked

to appropriate sec-
tions of the script.

346
Script Window Basics
This section describes basic procedures for creating and manipulating
script windows, including importing script text; navigating through
the script; displaying clip information; opening, closing, and saving
windows; and adjusting margins.

Before you begin creating script windows, make sure you have estab-
lished the proper defaults in the Script Settings dialog box for font,
margin, and display of frames and takes. For information on Script set-
tings, see “Script Settings Options” on page 347. These parameters
can also be changed manually, as described throughout this chapter.

Script Settings Options

You can modify Script settings in the Script Settings dialog box.
Double-click Script in the Settings scroll list of the Project window to
open the Script Settings dialog box.

Table 11-1 describes the Script Settings options.

Table 11-1 Script Settings Options

Option Description

Font This option selects the font for imported scripts.

Size This option selects the font size. The default is 12

points.

Left Margin (pixels) This option specifies the left margin size. The
default is 40 pixels.

Take Coloring This option specifies the color that the Avid sys-
tem will apply to takes.

347
 Table 11-1 Script Settings Options (Continued)

Option Description

Show Frames When this option is selected, the system shows

frames in take slates.

Show All Takes When this option is selected, the system shows all
takes in each slate. If you deselect this option, the
Avid system will display only one take per slate.

Interpolate Position When this option is selected, you can click in a

take line within a script, and the image in the
Source monitor updates to the approximate posi-
tion in the take where you have clicked. If you
deselect this option, the Source monitor does not
respond when you click in a take line.

Importing a Script
The first step in script integration is to import a script in the correct
format.

c 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 “Text Only with Line Breaks” option. If you
export the script as “text” only, the formatting will be lost.

To import a new script:

1. Place the file in a directory that is available to your system in one
of the following ways:
• 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 application, click in the Project window to
select it.

348
 3. Choose New Script from the File menu.
A Directory 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 typing a new name.

Opening, Closing, and Saving the Script Window

The Script window behaves in many respects like a bin:
• When you make changes in the Script window, an asterisk appears
in the title bar to indicate that the changes have not yet been
saved.
• You save changes by choosing Save Script from the File menu.
• 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.

349
 • You can use the Open and Close commands in the File menu to
open additional Script windows and add them to the Bins list in
the Project window, or to close Script windows.

Displaying Clip Information in a Script Window

The Clip Information window displays statistical information about a
clip. The window updates the information automatically.

To open the Clip Information window from a Script window:

1. Press the Option key and click the take tab.
2. Drag the window to a new location to leave the window open.

Navigating in the Script Window

After importing a script, you can navigate to any point in the text by
using basic techniques available in most word processors:
• Use the scroll bar on the right to scroll up or down.
• Resize the window by dragging the size box in the lower right
corner.
• Press the Page Down or Page Up key to move one screen at a time.
• Press the Home or End key to move to the beginning or end of the
script.
• Press the Up Arrow or Down Arrow key to move your line selec-
tion up or down by one line.

n You can also use several search features, as described in “Searching Through
Script” on page 356.

350
Adjusting the Script Margins
You can resize a Script window at any time to show more script or to
enlarge the right margin by dragging the size box in 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.

2. Type a new margin size, in pixels, into 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 chang-
ing 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.

351
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 imported script:

1. Choose Set Font from the Edit menu.
The Font Selection dialog box appears.

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 into the text box and click OK.
The Script window reflects the new settings.

n 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 363.

352
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, click anywhere in the line to

highlight it.

Selected lines are

highlighted.

To select several lines of script, use one of the following methods:

• Lasso the first line of the selection and drag through the text. As
you drag, a box outlines your selection.

353
 Lasso a portion of
script to select it.

Release the mouse button when you finish lassoing the chosen
lines. The text is highlighted.
• Click the first line of the selection, then Shift+click the last line.
The entire block of text is highlighted.

n 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
normal word processor. However, because you cannot select individ-
ual words or characters, you can only move lines or paragraphs.

c You cannot undo cut, copy, or paste procedures in the Script

window.

354
 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, an alert box asks if
you want to replace the selected line.
5. Make a choice based on your needs:
• 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.

n 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.

Removing Script Text

You cannot delete lines of text from the Script window by using the
Delete key as you would in a normal 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 normal deletion, the text remains in the Macintosh Clipboard

until the next time you copy or cut a selection.

355
Searching Through Script
You can use the Find Script integration provides a number of search tools you can use dur-
Bin and Find Script but-
ing the preparation phase, during editing, or during screenings. You
tons to match back and
forth between script can apply and search for page or scene numbers, or you can conduct a
and clips. For more full-text search.
information, see “Find-
ing Script” on
page 377.

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 add-
ing, 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 or the Add Page button in the Script window
toolbar, or choose Add Scene or Add Page from the Script menu.
An Add Scene or Add Page dialog box appears.

3. Type the number for the scene or page, and click OK.

356
 For a scene, the number appears in the left margin next to the first
line of the selected region.

New scene number

Scene/page status bar

Scene and page numbers both appear in the status bar at the bot-
tom 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 to correct any errors that
occur when adding numbers, and to reposition scene and page num-
bering 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 or Add Page button in the Script window
toolbar, or choose Add Scene or Add Page from the Script menu.

357
 The Change Scene or Change Page dialog box appears.

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.

n 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 Delete key.

The Delete dialog box appears.
3. Select the options for Delete scene or Delete page break(s), as
appropriate, then click OK.
The numbering is deleted from the Script window.

Searching for a Page or Scene Number

Once you have added scene and page numbers, you can search for
them quickly during editing.

358
 To search for a page or scene number:
1. Choose Goto Page or Goto Scene from the Script menu.

n You can also click on the page or scene display in the status bar at the bottom
of the Script window.

The Change Scene/Page (GoTo Scene/Page) dialog box appears.

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 you are looking for.
3. Select one of the optional search parameters, when appropriate:
• Choose Ignore case if you do not want the search to be case
sensitive.
• Choose 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.

359
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.
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 293.
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 high-
lighted text.

Drag a clip or several clips to

the highlighted text.

360
 A slate frame appears above the text, with one or more of the takes
covering the scene as lines.

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 for Script Integration

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 monitor. The
position indicator in the Source monitor corresponds to wherever you
click in the take.

361
 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 mark in the Source monitor.

To turn on Interpolate Position, do one of the following:

• 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 slate’s appearance and position.

Selecting Slates
There are several ways to select slates:
• Click a slate to select it.
• Shift+click 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.

n Selecting multiple slates is especially useful when you are adding or deleting
color or off-screen dialog indicators across takes, as described in “Manipu-
lating Takes” on page 367.

362
Resizing a Slate
You can resize a slate the same way you resize frames in the bin in
Frame view:
• To enlarge a slate, select it and choose Enlarge Frame from the
Edit menu.
• To reduce a slate, select it and choose Reduce Frame from the
Edit menu.

n 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 352.

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 speed up scrolling and movement in
a complex Script window.

363
 To hide the slate frames, choose Show Frames from the Script menu.
The Script window shows only the clip names for the takes.

To restore the frames, choose Show Frames again.

Showing One Take Per Slate

You can display only one representative take per slate to minimize
clutter on the screen.

364
 To show one take per slate, 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, 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.

To move a slate, use one of the following methods:

• To move a slate horizontally, click the slate and drag it to the left or
the right. (If necessary, resize the Script window by dragging the
size box.)
• To move a slate vertically without moving the position of the take
lines in the script, click the slate and drag it up or down. The take
lines remain fixed over the text to which they have been previ-
ously linked.

365
 • To move the slate and all its take lines vertically to a new location
in the script, press the k key, then drag the slate to the new loca-
tion.

n 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 370.

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 When you delete slates and takes from the Script window, the digitized source
clips remain in the source bins.

c You cannot undo the deletion of slates. To restore a slate after dele-
tion, you need to re-create the slate. See “Manipulating Slates” on
page 362.

To delete a slate:
1. Select all the takes in the slate by pressing the Shift key and click-
ing the tab for each take.
2. Press the Delete key.
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.

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Manipulating Takes
Script integration provides a number of tools and techniques for
manipulating the relationship between lined takes in the Script win-
dow and their source clips, as described in this section.

Selecting Takes
To select takes, use one of the following methods:
• Click any take tab to select it. The outline of the take becomes bold
to indicate that the take is active.
• Shift+click 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.

n 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 371 and “Using Color Indicators” on page 371.

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.

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Deleting Takes
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.

c You cannot undo the deletion of takes. To restore a take after dele-
tion, see “Adding Takes” on page 367.

To delete one or more takes:

1. Select the takes.
2. Press the Delete key.
The Delete dialog box appears.
3. Click the Delete Takes check box, and click OK.
The takes are deleted.

Displaying Take Numbers

To display take numbers within the tab of each take, enter the numbers
in the Take column of the source bin for the clips.

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 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 J-K-L (step) 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.

Loading Takes
You can load individual takes into the Source monitor one at a time, or
you can load multiple takes, as follows:
• Double-click any take tab.
• Select multiple takes, then double-click any take in the selection.

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Playing Takes
There are two ways to play back a take:
• Double-click a take to load it into the Source monitor, then click
the Play button or press the Play key.
The clip plays back and stops when it reaches the end.
• Select a take in the script, 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 the k key.
Notice the movement icon that appears when you point the cursor
at either end of the take.
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 the k key 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.

370
Indicating Off-Screen Dialog
In the traditional lined script, you indicate off-screen dialog by draw-
ing 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.

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
• Use of multiple cameras

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 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
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.

372
Placing Script Marks Manually
To place script marks manually:
1. Map the Add Script Mark button from the Command palette to a
user-customizable palette or to the keyboard.
2. Double-click in the Script window at the intersection of a take and
the line of dialog that you want to mark.

Intersection of take and

line of dialog

The take is selected in the slate, the chosen line of the dialog is
highlighted, and the clip loads into the Source monitor.
3. Click or press Play. The take plays in the monitor.
Alternatively, you can step (jog) or shuttle through the footage,
place the position indicator on the exact frame, or scrub the audio
to find the exact line of dialog. The clip does not have to be play-
ing.
4. When the playback reaches the chosen line of dialog, click the Add
Script Mark button or key.
The line is marked in the Script window with a small horizontal
bar, and play stops.

373
 The script mark
appears.

5. Repeat these steps to add 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.

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 monitor, and
the clip begins to play.

Several takes are

selected for automated
playback.

Current playback is
highlighted in green.

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 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 con-
tinues to play.
4. Continue to mark additional sync points by using one of the fol-
lowing methods:

You can scroll through • Click a line that already contains a mark to replace the previ-
the Script window
ous mark and update the sync point in the clip.
without affecting play-
back. • Click a line in the script before or after the range of the exist-
ing 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.
• Press the Tab or Shift+Tab keys on the keyboard to begin play-
back 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.

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, click the script mark at the line
of dialog that you want to cue.

The take is loaded into the Source monitor and is cued to the synced
line of dialog. An IN mark is placed at the sync location.

375
 To load all the coverage for a range of lines:
1. Select the lines in the Script window, dragging through all inter-
secting 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.

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 the k key.
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.

c You cannot undo the deletion of script marks. To restore a script

mark after deletion, see “Placing Script Marks Manually” on
page 373.

376
 To delete a script mark:
1. Click once on the mark. (If you double-click, you will load the clip
and make the Source/Record window active.)
2. Press the Delete key.
The Delete dialog box appears.
3. Click OK. The mark is deleted.

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 cur-
rently 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. Place the position indicator in the clip at the line of dialog (or
within a range of dialog) that you want to find.
2. Click the Find Script button.
The Script window instantly scrolls to and highlights the portion
of script that most closely matches the clip location.

377
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.
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 in combination with the Single Mark Editing
feature, an editor can conduct a highly streamlined form of editing. To
use the Script window most effectively during a session, make sure:
• 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.

378
 • The Single Mark Editing option is enabled in the Composer
Settings dialog box. This option allows you to skip several steps
by performing edits on-the-fly while playing back clips (without
marking OUT points). For more information, see “Using Single-
Mark Editing” on page 450.

Assembling a Rough Cut

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
monitor. The IN point is already marked and cued.
3. Play the take until the appropriate OUT point is reached, and stop
play.
4. Click the Splice-in or Overwrite button to make the first edit.
5. Prepare the sequence for the next edit:
a. Create new tracks if necessary.
b. Enable the appropriate source and record tracks.
c. 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 stop
play.
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 proce-
dures. Continue to use the Script window to quickly load and cue
alternative takes as necessary.

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Splicing a Script Range
During editing, you can use the Ctrl key 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 place the position indicator at the location in
the sequence where you want to splice in the segment.
2. Press the Ctrl key. Notice that the Splice-insert arrow appears
when you point to a take.
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 are required, you can quickly retrieve all the source
material in one window.

Interactive Screenings
The Script window can be an invaluable tool during screenings of
work in progress, allowing you to:
• Quickly search for scenes and pages with clips attached for instant
retrieval.

380
Sequences cannot be • Match back and cue source material to compare alternative takes.
loaded into the Script
window. Alternatively, • Quickly find and open bins for retrieval of additional material not
you can perform a included in the Script window.
video mixdown and
load the resulting mas- • Enlarge script font and slate frames for better viewing by your
ter clips instead. For
more information, see
audience.
“Mixing Down Video
Tracks” on page 738. The Script window provides a visual, interactive look at the content of
the original script versus the elements in the final piece.

All alternative takes are Matching colors indicate takes You can mix down alternative
available for viewing and used in the preferred cut as cuts to form master clips and
comparing. well as alternative cuts. place them alongside the script.

381
CHAPTER 12
Viewing and Marking
Footage

Before making your first edit, you can review your footage, add loca-
tors to clips, mark IN and OUT points, and 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 playing
back, viewing, and subcataloging clips are described in the following
sections:
• Customizing the Composer Window
• Viewing Methods
• Loading and Clearing Footage
• Resizing Monitors
• Controlling Playback
• Marking and Subcataloging Footage
• Finding Frames, Clips, and Bins

382
Customizing the Composer Window
The Composer window is central to the finishing and editing process,
providing all the essential controls for viewing, tracking, marking, and
editing source and record footage.

In Source/Record mode, the Composer window includes the Source

and Record monitors. The upper region of the screen constitutes
Source/Record mode.

383
Composer window
Source monitor Record monitor

Source/Record Mode button

Timeline window

Use the Composer Window Settings dialog box and various menus
within the Composer window to configure displays and functions in
the Source and Record monitors.

384
 You can learn about Composer settings as follows:
• For information on Composer settings, see “Composer Window
Settings Options” on page 395.
• For more information on the following settings, see the applicable
chapters or sections in this guide:
- Digital audio scrub parameters (see “Using Digital Audio
Scrub” on page 557)
- Play Multicamera Singularly option (see Chapter 18)
- Sync Point Editing (see “Using Sync Point Editing” on
page 646)
- Phantom Marks option (see “Using Phantom Marks” on
page 450)
- Options for creating tracks in the Timeline (see “Adding a
Track” on page 512)

In addition, you can:

• Map various buttons onto command palettes or the keyboard, as
described in “About Button Mapping” on page 114.
• Display or hide labels on buttons by using Interface settings, as
described in “Reviewing Basic Settings” on page 80.
• Use the Timeline Settings dialog box to configure displays and
functions of the Timeline window. For more information about the
Timeline window, see Chapter 14.

Changing the Composer Window Background Color

To change the background color of the Composer window:
1. Click in the Composer window 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.

385
Using the 16 x 9 Display Format
The Avid system supports the 16 x 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 x 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 x 9 display:

1. Click the Settings button in the Project window.
2. Double-click Composer in the Settings scroll list.
The Composer Window Settings dialog box appears.

386
 3. Select Big Source/Record Monitors.
4. Select the option for 16 x 9.
5. Click OK.

n To view the footage on a full-screen monitor, you need a 16 x 9 compatible

full-screen NTSC or PAL monitor.

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 interface displays this information above
the monitors in the Composer window. This information is updated
continuously to reflect your current position in the footage. You can
choose various alternative tracking formats from the Tracking Infor-
mation menus.

Tracking Information Displays for the Source and Record Monitors

Second row of information
Click display area to access (the top row)
Tracking Information menu.

First row of infor-

mation (the bottom
row)

Pull-down menus
for the selected
source-side row

387
 By default, the tracking information area displays no information until
you select a tracking format. In addition, there is no display of tracking
data when there is no material loaded in the monitor. If you load a clip
and no information is currently displayed, you can still open the menu
by clicking in the area above a monitor.

To choose a tracking information format:

1. Load a clip or sequence into the monitor.
2. Click in the information display area in either the first or second
row of information above the monitor and choose a format.

For more information If you select the option for two information rows above the monitors
on Composer Window
in the Composer Window settings, you can display two different types
settings, see “Composer
Window Settings of tracking information for the footage in each monitor. For example,
Options” on page 395. you can display both running timecode and IN to OUT durations for
clips loaded in the Source monitor. You can display similar informa-
tion for the sequence shown in the Record monitor.

n To move through footage by entering timecode, make sure the top row of infor-
mation displays timecode (for example, V1). For more information, see
“Using Timecode to Find a Frame” on page 427.

Tracking Format Options

The Tracking Information Display menu contains a number of options
for information to display above the monitors. The following is a sum-
mary of the contents of the menu.

388
 • The upper portion of the menu lists options for summary informa-
tion, such as master timecode (Mas), duration of the entire clip
(Dur), IN to OUT duration (I/O), absolute timecode (Abs), and
time remaining (Rem).

Upper portion of
the menu

• The second portion of the menu lists options for displaying the
timecode for a specific track (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.

Second portion of
the menu

• The menu for the Record monitor contains a third portion for dis-
playing Clip Name. Choose this option to display clip names in
the sequence for a particular track that you choose from a sub-
menu. The name displayed is continuously updated based on the
location of the position indicator.

Third portion (Record

monitor menu only)

389
 • The lower portion of the menu lists tracking formats, such as time-
code in hours, minutes, seconds, and frames (Timecode), feet and
frames for film projects (Footage), a sum total of frames for either
film or video (Frames), or none, to leave the display area blank.

Lower portion of
the menu

Setting the Font and Point Size for Monitor Displays

You can change the font and point size of the clip or sequence name
and the timecode information displayed above the monitors.

To set the font and point size for the clip or sequence name and the
timecode displays:
1. With a monitor active, choose Set Font from the Edit menu.
The Set Font dialog box appears.
2. Choose a font and type a point size.
3. Click OK.

The new font and point size are applied to the clip or sequence name,
and to the timecode information located above the monitors.

Displaying the Clip Information Window

The Clip Information window displays statistical information about a
clip. You can open the Clip Information window from the Source mon-
itor, the Record monitor, a pop-up monitor, a bin, or a Script window.
The Clip Information window updates the information automatically.

n If no clip is loaded in the Source monitor or Record monitor, the Clip Informa-
tion window does not open.

390
To display information about a sequence in the Record monitor:
1. Place the pointer in the gray area above the red Overwrite button.
2. Press and hold the mouse button to display a pop-up window
with clip information.
Only fields with data will be displayed.
3. Drag the window to a new location to leave the window open.
The Info window opens.

As you move the position indicator through the sequence in the

Record monitor, the information in the Info window is updated.

To display information about the clip or sequence in the Source

monitor:
1. Place the pointer in the gray area above the yellow Splice-in button.
2. Press and hold the mouse button to display a pop-up window
with clip information.
3. Drag the window to a new location to leave the Info window
open.

As you move the position indicator through the clip in the Source
monitor, the information in the Info window is updated.

391
 To display information about a clip in a pop-up monitor:
1. Place the pointer in the gray area to the right of the Clip icon.
2. Press and hold the mouse button to display a pop-up window
with clip information.
3. Drag the window to a new location to leave the Info window
open.

To display information about the clip or sequence in a bin:

1. Press and hold the mouse button over the Clip icon in the bin to
display a pop-up window with clip information.
2. Drag the window to a new location to leave the Info window
open.

For information on displaying clip information from the Script win-

dow, see “Displaying Clip Information in a Script Window” on
page 350.

For information on changing the sequence name or starting timecode,

see “Changing the Sequence Name and Timecode” on page 439.

Copying Text from the Clip Information Window

You can cut, copy, and paste information from the Info window any-
time, but you cannot edit or change any information within the
window.

To copy text from the Info window:

1. Click the pointer and drag it over the information you want to
copy.
2. Press k+C to copy the information.
3. To paste the information, place and click the pointer at the location
you want to paste it, and press k+V.

392
Displaying Timecode
Each monitor has two lines available to display timecode as described
in “Displaying Tracking Information” on page 387.

In addition, the Timecode window allows you to display up to eight

timecode displays in a separate window. You can view the timecodes
from a distance by enlarging the Timecode window.

To set a timecode display in the Timecode window:

1. Choose Timecode Window from the Tools menu.
The Timecode window opens.

Close box

Resize by dragging
the lower right
corner of the window.

If you resize the Timecode window, the text adjusts to fill the win-
dow.
2. Click anywhere in the Timecode window to display the Timecode
pop-up menu.
3. Choose an option from the Timecode pop-up menu. For a descrip-
tion of these options, see Table 12-1.
The window displays the timecode you have chosen.
4. Click the close box to close the Timecode window.

393
Table 12-1 Timecode Display Options

Option Description

Mas Displays master timecode at present location

Dur Displays total duration of the sequence

I/O Displays duration between IN and OUT marks

Abs Displays absolute time duration at present position

Rem Displays time remaining at present position

V1 Displays the source track of the video on track 1

A1 Displays the source track of the audio on track 1

A2 Displays the source track of the audio on track 2

Clip Name Displays the name of the clip

Timecode Displays tracking information as timecode

Footage Displays tracking information as feet and frames

(film only)

Frames Displays tracking information as total frames

None Hides the display

Add Display Allows you to add another timecode display

Remove Display Deletes the selected timecode from the display

394
Setting Multiple Timecode Displays
To set multiple timecode displays:
1. Click anywhere in the Timecode window to display the Timecode
pop-up menu.
2. Choose Add Display from the pop-up menu.
3. Select the option you want to display.
Choose an option from the Timecode pop-up menu. See Table 12-1
for a description of these options.

n You might need to resize the timecode display to see all the options. To do so,
drag the lower right corner of the window.

4. Click the close box to close the Timecode window.

Composer Window Settings Options

Table 12-2 describes the Composer Window settings.

Table 12-2 Composer Window Settings Options

Option Description

First (lower) Row of Info When this option is selected, the system displays one row of tracking, dura-
tion, and clip or sequence title information above the Source and Record
monitors.

Second Row of Info When this option is selected, the system displays a second row of informa-
tion above the first row. The second row includes Fast Menu icons, dura-
tion information, and when applicable, ganging and multicamera icons.

Digital Scrub When this option is selected, the system displays the numbers for incoming
Parameters and outgoing frames played during digital audio scrub. This information is
displayed for both source-side and record-side material within the second
row of information. These values are set in the Audio Settings dialog box.

395
 Table 12-2 Composer Window Settings Options (Continued)

Option Description

Center Duration When this option is selected, the system displays duration data (Mark IN/
OUT) for the material loaded in the Source or Record monitor, depending
on which monitor is active.

16 x 9 When this option is selected, the system displays media in the Source and
Record monitors in 16 x 9 format for standard NTSC and PAL signals. This
preference allows you to display the full aspect ratio of wide-screen video
in the Source and Record monitors during editing.

First Row of Buttons When this option is selected, the system displays only the top row of Moni-
tor command buttons.

Second Row of When this option is selected, the system displays a second row of buttons
Buttons under the Source and Record monitors and includes mode buttons in the
lower center of Source/Record mode beneath the Splice-in and Overwrite
buttons.

Tick Marks in Position When this option is selected, the system switches the display of tick marks
Bars (duration indicators) that appear incrementally along the position bars
located directly beneath the Source and Record monitors. When deselected,
the tick marks are invisible.

Color Framing Options

Use the Color Framing option if you are going to do online editing
using 1-inch, reel-to-reel sources. The option enables the system to
check each edit in a sequence as you edit, to ensure that transitions do
not cut between the four fields (two frames) required to create a com-
plete NTSC color-sync signal phase (or the eight fields — four
frames — required for PAL).

Table 12-3 describes the Color Framing options. For more information
on color framing, see “Tracking Color-Frame Shifts” on page 518.

396
 Table 12-3 Color Framing Options

Option Description

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

4 field For NTSC video.

8 field For PAL video.
These options display green indicator lights (similar to LEDs), called color fram-
ing indicator lights, above the Overwrite and Splice-in buttons. These indicator
lights are off when the color-sync signal is not in phase for that frame. Steady
green lights indicate a frame that is properly phased.
If the green light is off, find the proper color phasing when editing by trim-
ming the IN and OUT points by a frame or two until the light comes on and
stays on.

Miscellaneous Composer Options

Table 12-4 Miscellaneous Composer Options

Option Description

Sync Point Editing When this option is selected, the system overwrites material onto your sequence
(Overwrites) in such a way that a particular point in the source material is in sync with a par-
ticular point in the sequence.

Single Mark Editing When this option is selected, you can mark an IN or OUT point in the Source
monitor and then perform a splice, overwrite, or replace edit. The system uses
the current position of the position indicator as the corresponding OUT or IN
point.

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 Table 12-4 Miscellaneous Composer Options (Continued)

Option Description

Phantom Marks When this option is selected, the system provides visual guidance when you set
fewer than four IN or OUT points while editing. Phantom marks (shaded IN or
OUT mark icons) appear, to indicate the remaining edit points calculated by the
system to complete the edit. For more information on editing according to the
three-mark rules, see “Using Phantom Marks” on page 450.

Auto-create New When this option is selected, whenever you load new source material into the
Tracks Source monitor, the system automatically creates any new tracks in the sequence
that match existing tracks in the source material. This is the default setting.

Auto-enable When this option is selected, whenever you load new source material into the
Source Tracks Source monitor, the system automatically enables all existing source tracks. This
is the default setting.

Copy Source When this option is selected, if you have locators in a clip in the Source monitor,
Locators the system copies the locators when you edit the clip into the Record monitor.
This is the default setting.

Fast Forward and Rewind

Table 12-5 describes the Fast Forward and Rewind options.

n The Fast Forward and Rewind buttons in the Avid system monitors behave
differently from the equivalent buttons on a tape deck. When you have a
sequence loaded in a monitor, the Fast Forward or Rewind button causes a
jump (forward or backward) to the next edit that is common to all selected
tracks in the Timeline. When you have a clip loaded in a monitor, the Fast
Forward or Rewind button causes a jump to the beginning or end of the clip.

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 Table 12-5 Fast Forward and Rewind Options

Option Description

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

Stop at Tail Frames When this option is selected, the position indicator stops at the last frame (tail
frame) of the clip on the selected track.

Stop at Locators When this option is selected, the position indicator moves to the next consecu-
tive frame containing a locator. For more information on using locators, see
“Using Locators” on page 422.

Ignore Track Lights When this option is selected, the system ignores the selected tracks and cues
directly to the start (head) frame of the next edit, regardless of the track on
which it occurs.
The position indicator’s final location depends on whether the Stop at Head
Frames and Stop at Tail Frames options have been selected.

Viewing Methods
You can work with clips and sequences in several different ways,
depending upon 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. For more information, see “Using Frame View” on
page 306 and “Using Text View” on page 287.
• Viewing in the Source monitor: You can load clips and sequences
into the Source monitor to view and mark or subcatalog shots for
use in a sequence that you build in the Record monitor. For more
information, see “Loading and Clearing Footage” on page 402.

399
 • Viewing in the Record monitor: You can load a sequence into the
Record monitor to view, mark, or modify an existing sequence.
You can load a series of clips into the Record monitor to create an
“instant sequence (rough cut).” For more information, see “Creat-
ing an Instant Rough Cut” on page 444. You can also load a single
clip into the Record monitor. See “Loading and Clearing Footage”
on page 402.

Source monitor with clip loaded Record monitor with sequence loaded

400
• Viewing in pop-up monitors: You can load several clips into pop-
up monitors to view and mark clips in smaller, movable windows.
See “Loading and Clearing Footage” on page 402.

Two pop-up monitors

with clips loaded

401
 • Viewing in the Timeline: Use the Timeline to view individual
tracks for either a sequence or a source clip. Click the Source/
Record Toggle button to switch between displaying the sequence
tracks and the source tracks.

Timeline in Source mode for viewing tracks

Source/Record Toggle button

Loading and Clearing Footage

You can load individual or multiple clips or sequences into the Source
monitor, Record monitor, or pop-up monitors by using different meth-
ods. You can also use the Clip Name menus to display or clear clips
and sequences from the monitors, as described in this section.

n The result of double-click might vary in the procedures in this section. The
function of double-click is determined by the Double-click option in the Bin
Settings in the Settings scroll list of the Project window. For more informa-
tion, click the Bin Settings dialog box, see “Bin Settings” on page 80.

Loading into Source, Record, and Pop-up Monitors

To load a single clip or sequence:

1. Click the Source/Record Mode button to enter Source/Record

mode.

402
 2. Open a bin and locate the clip or sequence.
Press and hold the 3. Double-click the clip or sequence with one of the following results:
Option key, then dou-
ble-click the clip or • If you have set the “Loads clip into Source or Record monitor”
sequence to reverse the option in the Bin Settings dialog box (the default setting), a
outcome.
clip loads into the Source monitor or a sequence loads into the
Record monitor.
• If you have set the “Opens new monitor for clip” option in the
Bin Settings dialog box, the clip or sequence loads into multi-
ple pop-up monitors.

You can also load a sequence into the Source monitor (for editing into
another sequence, for instance) by dragging the sequence from the bin
to the monitor.

You can load a single clip into the Record monitor by pressing the
Option key and dragging a single clip into the Record monitor. The
clip will appear at the position of the position indicator in the Record
monitor.

Loading Multiple Clips or Sequences

You can quickly load several clips and sequences into the Source and
Record monitors, or into multiple pop-up monitors.

To load multiple clips or sequences:

1. Click the Source/Record Mode button to enter Source/Record
mode.
2. Open a bin and Shift+click clips, or lasso multiple clips.
3. Drag the selected clips to the Source monitor or double-click one
of the selected clips, with one of the following results:
Press and hold the • If you set the “Loads clip into source or record monitor”
Option key, then dou-
option in the Bin Settings dialog box (the default), the clips
ble-click to reverse the
outcome. load into the Source monitor.

403
 • If you set the “Opens new monitor for clip” option in the Bin
Settings dialog box, the clips load into multiple pop-up moni-
tors.

You can also load a series of clips into the Record monitor to create an
instant sequence (rough cut) by pressing and holding the Option key
while dragging the clips from the bin to the Record monitor. For more
information, see “Creating an Instant Rough Cut” on page 444.

Using the Clip Name Menus

When you have clips loaded into 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 Clips

When you have loaded multiple clips or multiple sequences into the
monitor, you will see only one clip displayed at a time. You can view
an alphabetical list of the loaded clips and choose an alternate clip for
viewing.

n If you press and hold the Option key while dragging multiple clips into the
Record monitor, they appear as one sequence in the Clip Name menu. For
more information, see “Creating an Instant Rough Cut” on page 444.

To switch between clips:

1. Click the name of the current clip displayed above the monitor to
reveal the Clip Name menu. The list in the lower portion of the
menu contains a list of all the clips or sequences currently loaded
in the monitor.

404
 The lower portion of the
Clip Name menu contains
a list of loaded clips.

2. Choose a different clip name from the menu. The selected clip will
replace the current clip in the monitor display.

n To see the list of clips or sequences sorted in the order in which they were
loaded into the monitor, press the Option key while opening the pop-up menu.

Clearing Clips from Monitors

There are two options for clearing clips:

• Remove the displayed clip and leave the monitor black but keep
the clip loaded.
• Remove all the clip names from the Clip Name menu and leave
only the displayed clip loaded.

To clear the monitor or the clip names from the menu:

1. Click the monitor to select it.
2. Click the name of the clip currently displayed above the monitor
to reveal the Clip Name menu.

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 3. Choose one of the following commands:
• Clear Monitor removes the displayed clip from the screen,
leaving black. The clips are still loaded.
• Clear Menu deletes the list of all loaded clip names and leaves
only the clip currently displayed.

Resizing Monitors
You can resize the Source/Record and any pop-up monitors to pro-
vide more area for displaying the Timeline or other windows.

Hiding the Video in a Monitor

You can resize the Source/Record and any pop-up monitors, display-
ing only the position bars, the editing buttons, and the information
portion above the monitors. No video is displayed (except on the
third, full-screen monitor).

To hide the video in a monitor:

1. Ctrl+Shift+click on the monitor.
2. Choose Hide Video from the shortcut menu.
The video disappears. Only the position bars, the editing buttons,
and the information portion above the monitors are displayed.

406
 To redisplay the video in the monitor, Ctrl+Shift+click on the monitor
and choose Hide Video again.

Resizing a Monitor
You can resize the Source and Record monitors to a variety of sizes.

To resize the Source and Record monitors:

1. Click a monitor to make it active.
2. Drag the lower right corner of the window to the new size you
want the monitor.
The monitor is displayed with the new size.

Controlling Playback
There are several ways to play, view, and cue clips:
• Instantly access frames or move through footage by using the posi-
tion indicator within the position bar under the monitors.
• Play, step (jog), or shuttle through footage by using user-selectable
buttons.
• Play, step, or shuttle by using keyboard equivalents.
• Step or shuttle by using the mouse.

Using Position Bars and Position Indicators

You can quickly access frames within a clip that has been loaded into a
monitor or move through the footage by using the position indicators
that appear in the position bars under the monitors, and in the Time-
line when you are viewing a sequence.

407
• You can move the position indicator within the position bar 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 indicator

Position bar

• In the Timeline, the position indicator shows your position within

the sequence. It is always in the same position as the position indi-
cator in the position bar of the Record monitor, and works in the
same way: you can click anywhere in the Timeline to relocate the
position indicator, or you can drag the position indicator through
footage at varying speeds.

Position indicator in Timeline

• You can go directly to the beginning or end of a clip or sequence

by clicking at the far left or far right of the position bar or the
Timeline, if the entire sequence is shown in the Timeline.

408
Using Buttons
You can use the user-selectable buttons that appear below the Source
and Record monitors and in the pop-up monitors to play and step
through your footage. You can also use the keyboard to manipulate
footage.

Aside from the default configurations, these buttons can be remapped

from the Command palette in any configuration onto any of the user
palettes and the keyboard. For more information about mapping user-
selectable buttons, see “About Button Mapping” on page 114.

Play Reverse, Play, Pause, Stop, Rewind, and Fast Forward Buttons

The Play Reverse, Play, Pause, Stop, Rewind, and Fast Forward but-
tons work much like the buttons on any conventional VCR. With a clip
loaded in a monitor, the Play button plays your footage at a normal
rate. The Play Reverse button plays backward at a normal rate.

The Fast Forward and Rewind buttons instantly cue the footage to the
next transition between clips. By default, the buttons cue footage to the
head frame of the next transition. You can select the following alterna-
tives in the Composer Settings dialog box:
• Stop at Tail Frames
• Stop at Locators
• Ignore Track Selectors

The Play, Fast Forward, and Rewind buttons appear by default in the
first row of buttons below the Source and Record monitors and the
pop-up monitors. You can map the Play Reverse, Stop, and Pause but-
tons from the Command palette. All these buttons are mapped to the
keyboard. For more information, see “Using the Keyboard” on
page 412.

n During playback, the Play button also acts as a Stop button.

409
 When viewing sequences in the Source or Record monitor, you can
play only video and audio tracks that are currently monitored in the
Track Selector panel. For more information, see “Using the Track
Selector Panel” on page 504.

Play a clip by using the following procedure:

1. Load a clip or sequence into a monitor.
2. Click the Video or Audio Monitor buttons in the Track Selector
panel to make sure they are active.
3. If you want to go to the start of the clip or sequence, click at the
start of the position bar under the monitor, or press the Home key.
4. To play the clip or sequence, click the Play button under the
chosen monitor.
5. To stop playback, press the space bar or click the Play button
again.

Play Standby Button

The Play Standby button places play in standby mode to prepare for
playback. This is especially useful for long sequences. In the Com-
mand palette, the Play tab displays the Play Standby button.

To play in standby mode:

1. Click the Play Standby button.
The Play button under the Source or Record monitor blinks yel-
low.
2. Click anywhere to play the sequence.

Step Buttons

You can also use the Step buttons under the monitors to play the clip
backward or forward in 1-frame to 10-frame increments.

410
 When you have a single row of buttons displayed under your moni-
tors, the Step Forward and Step Backward buttons appear. If you press
and hold the Option key while clicking either button, you can advance
10 frames forward and 10 frames backward.

n To display all four Step buttons, you must display two rows of buttons under
the monitors when configuring the Source/Record window in the Composer
Window Settings dialog box. For more information on Composer Window
settings, see “Composer Window Settings Options” on page 395.

To step through footage:

1. Load a clip or sequence into a monitor.
2. Press the appropriate key to step 1 or 10 frames forward or back-
ward.

Using Single-Field Step

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.

n You can map the Step Forward One Field and Step Backward One Field but-
tons to any monitor command palette, Tool palette, or the keyboard. For infor-
mation on mapping buttons, see “Using the Command Palette” on
page 113.

411
 To use single-field step:

Step Forward 1. Click the Step Forward One Field or Step Backward One Field
One Field button, which are available on the Move tab of the Command pal-
Step Backward ette and can be mapped to any tool palette.
One Field
A number 2 displays 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.) Subse-
quent single-frame steps will be based on this field.
2. Continue to click the Step Forward One Field or Step Backward
One Field button to view each field of a frame.

c To return to viewing only field 1 of each frame, make sure you park
on field 1 of a frame before using the Step Forward or Step Back-
ward buttons.

n Any edits you make using the paint tools affect both field 1 and field 2 of each
frame.

Using the Keyboard

The default keyboard contains all of the buttons mentioned, except the
single-field step buttons.

You can view your Keyboard settings by choosing Keyboard from the
Settings scroll list in the Project window.

412
 Step buttons Delete key

Play
button Home key
End key

Stop Play/Step/Shuttle buttons

Arrow keys

n You can move and replace buttons on the keyboard or map menu commands
by using the Command palette, as described in “Using the Command Pal-
ette” on page 113.

J-K-L Keys (Three-Button Play)

The J-K-L keys on the keyboard allow you to play, step, 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 shuttle through the footage by using the J-K-L keys on the key-
board:
1. Do one of the following:
• Load a clip or sequence into the Source or Record monitor.
• Open a pop-up monitor.
• Select a clip in a bin in Frame view.
2. Use the following keys to shuttle at varying speeds:

413
 • Press the L key to move forward through the footage at nor-
mal speed. You can increase the speed according to the follow-
ing table:

Press the L Key To Play Footage at NTSC Rate PAL Rate

2 times 2x normal speed 60 fps 50 fps

3 times 3x normal speed 90 fps 75 fps

4 times 5x normal speed 150 fps 125 fps

5 times 8x normal speed 240 fps 200 fps

• 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.
3. Pause the shuttling by pressing the K key.
4. Stop the shuttling by pressing the space bar.

Home, End, and Arrow Keys

You can also use the Home, End, and arrow keys (located to the left of
the numeric keypad) to move through footage when a clip is loaded in
a monitor.
• The Home key takes you to the beginning of a clip or sequence.
• The End key takes you to the end of a sequence.
• The Left Arrow key moves the footage one frame backward.
• The Right Arrow key moves the footage one frame forward.

414
Using the Mouse
You can use the mouse for one-handed control of playback. You can
either jog or shuttle by using the mouse.

Jogging with the Mouse

To jog by using the mouse:

1. Do one of the following:
• Load a clip or sequence into the Source or Record monitor.
• Open a pop-up monitor.
• Select a clip in a bin in Frame view.
2. Do one of the following:
• Press the N key to activate mouse control for jogging.
• Click the Mouse Jog button, which is available on the Play tab
of the Command palette and can be mapped to any button
under the Record monitor.
3. Move the mouse to the right to jog forward, or to the left to jog
backward.
4. To quit jogging with the mouse, press the space bar.

Shuttling with the Mouse

To shuttle by using the mouse:

1. Do one of the following:
• Load a clip or sequence into the Source or Record monitor.
• Open a pop-up monitor.
• Select a clip in a bin in Frame view.

415
 2. Do one of the following:
• Press the semicolon (;) key to activate mouse control for shut-
tling.
• Click the Mouse Shuttle button, which is available on the Play
tab of the Command palette and can be mapped to an editing
button under the Record monitor.
3. Move the mouse to the right to increase the shuttle speed, or to the
left to decrease the shuttle speed.
4. Click the mouse button to pause shuttling.
5. To quit shuttling with the mouse, press the space bar.

You can also use the keyboard in conjunction with the mouse to con-
trol 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, 90, 150, or 240 fps for NTSC; 25, 50, 75, 125, or 200 fps for
PAL). You can continue to change the shuttle speed and direction with
the mouse.

Marking and Subcataloging Footage

You can speed the editing process by marking clips with IN and OUT
points, by subcataloging using locators, and by creating subclips.
When subcataloging, you might want to create or open additional bins
for storing and isolating specific subclips, marked clips, or sequences,
as described in “Using the Bins Display” on page 66.

Marking IN and OUT Points

You can mark IN and OUT points for your clips while in the bin,
which provides several advantages:
• You can quickly build a sequence by splicing the marked clips into
place one after another.

416
 • You can use the process of rough-cut or storyboard editing, which
allows you to instantly splice several prepared clips into a
sequence, as described in “Creating an Instant Rough Cut” on
page 444.
• You can play back and mark clips in the bin before loading a single
clip, which saves several steps.

Even if your marks are not accurate now, the Avid application allows
you to trim the edit points and fine-tune the sequence later without
reediting the material.

To mark IN and OUT points:

1. Load a clip or sequence from a bin into a monitor, or select a clip in
the bin (Frame view).
2. Play, step, or shuttle through the material. Use the J-K-L keys
when playing a clip in a bin (Frame view).
3. Mark an IN point by doing one of the following:
• Click the Mark IN button under the monitor to mark an IN
point and stop playback.
• Press the Mark IN key on the keyboard when marking a clip
in a bin. (Mark IN on the keyboard does not stop playback.)
In the Source or Record monitor, the Sawtooth icon indicates the
IN mark frame.

Marked IN point

4. Continue playing, stepping, or shuttling through the material.

417
 5. Mark an OUT point by doing one of the following:
• Click the Mark OUT button under the monitor to mark an
OUT point and stop playback.
• Press the Mark OUT key on the keyboard when marking a clip
in a bin.
The Sawtooth icon on the right side of the monitor indicates the
OUT mark frame.
6. To clear a mark and set a new one, do one of the following:
• To set a new IN point, you can either:
- Click the Mark IN button or key when you reach a different
frame.
- Click the Clear IN Mark button or key to remove the IN
point and then mark a new one.
• To set a new OUT point, you can either:
- Click the Mark OUT button or key when you reach a differ-
ent frame.
- Click the Clear OUT Mark button or key to remove the
OUT point and then mark a new one.
• To clear both the IN and OUT points, click the Clear Both
Marks button or press the G key on the keyboard.

Moving IN and OUT Points

You can move IN, OUT, Mark IN, Mark OUT, Audio Mark IN, or
Audio Mark OUT points in the position bar of any monitor to a new
location.

418
 To move a Mark icon:
1. Option+click the Mark icon.
The mouse pointer changes to the hand pointer.
2. Drag the Mark icon to a new location and release the mouse
button.

Marking an Entire Clip or Segment

Use the Mark Clip button to select an entire clip or an entire segment
from a sequence. (A segment in a sequence consists of the material
between any two edit points.)

n The Mark Clip button chooses a segment between the first set of edit lines that
line up on all the selected tracks.

1. Load a clip or sequence into a monitor.

2. In the case of a sequence, place the position indicator on the seg-
ment that you want to mark.
3. In the Timeline, select the tracks corresponding to the cuts you
want to mark.
4. Click the Mark Clip button under the monitor, or press the T key
on the keyboard.

n To ignore the current track selection and mark the smallest clip at the current
position in the sequence, press and hold the Option key while you click the
Mark Clip button.

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.

419
 This is similar to creating circle takes of your best footage before edit-
ing. Unlike outtakes, however, 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 media drives. As a result, none of the orig-
inal footage is lost.

You can also create sub- You can create subclips directly from the marked section of material in
clips while digitizing as
the monitors by using one of the following methods:
described in “Creating
Subclips On-the-Fly” • Use the Option key: Press and hold the Option key, then drag the
on page 211.
picture from the monitor to the bin in which you want to store the
subclip.
• Use the Subclip handle: Click the subclip handle located above
and to the side of the monitor; then drag the subclip handle to the
bin in which you want to store the subclip.

Subclip handle

The subclip handle changes to an icon of a hand pointing at a

frame during the drag, and then becomes a Subclip icon when you
release the frame in the intended bin.
• Use the Make Subclip button: Click the Make Subclip button
located in the Edit tab of the Command palettes to create the sub-
clip and place it into the active bin by default. If you press the
Option key while you click the Make Subclip button, a dialog box
allows you to select the destination bin for the subclip.

The new subclip will be listed in the bin, preceded by a subclip icon
and identified with a numbered .Sub file name extension, as shown in
the following illustration.

420
 A new subclip as refer-
enced in Text view

For more information Subclips do not limit your access to the original, digitized master clip
on trimming, see Chap- material when trimming. Therefore, if you must trim beyond the
ter 15.
marked IN to OUT boundaries of the subclip to make it longer or
shorter, your system does accommodate the boundary adjustments
during the trim.

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
for an audio clip.

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.

Audio Mark IN
4. Do one on the following:
Audio Mark OUT • Click the Audio Mark IN button to mark an IN point.
• Click the Audio Mark OUT button to mark an OUT point.
The Audio Mark IN and Audio Mark OUT buttons are located on
the Edit tab of the Command palette.

421
Using Locators
Locators are a type of electronic bookmark. They allow you to find and
identify specific frames during editing. Key words you enter into the
comments attached to a locator allow you to use standard Find proce-
dures to call up the clips quickly.

You can map Add Loca- There are eight Add Locator buttons on the More tab of the Command
tor buttons, as
palette. Each Add Locator button is a different color, which allows you
described in “About
Button Mapping” on to group locators by color. For example, you can use the red Add Loca-
page 114. tor 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:
• Color correction notations: Use locators to mark clips or specify
frames that require color correction, noting the specific correction
to perform if someone else does the job.
• Visual track alignments: Use locators at matching points in syn-
chronized audio and video tracks so that if the tracks lose sync,
you can visually realign the locators in the Timeline to restore
sync. For more information on sync, see Chapter 17.
• 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.

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.

422
 Locator displayed in the
monitor, the position bar,
and the Timeline

You can add locators to your source material while you are in an edit-
ing session, as described in the following section. You can also add
locators while digitizing, as described in “Adding Locators On-the-
Fly” on page 212.

Adding Locators While Editing

To add locators while in an editing session:

1. Load a sequence or clip.
2. Cue to the frame and click an Add Locator button. The Add Loca-
tor buttons are found on 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.
3. Double-click the locator in the position bar under the monitor or
click the large oval on the frame.

423
 The Locator Info dialog box appears.

4. Type the locator information and click OK. The amount of infor-
mation you can enter is limited to 255 characters.
The information is stored with the marked frame, and the first line
of the information appears at the bottom of the clip in the monitor.
5. To go quickly to a frame with a locator while editing, use the Find
command in the Edit menu to search for a particular comment.

If you select the “Copy Source Locators” option in the Composer

Window Settings dialog box, locators are copied from the Source mon-
itor to the Record monitor when you edit clips and sequences.

Copying Locators from Source Clips

You can copy all locators currently placed in source clips directly into
the sequence as you edit. The locators and the locator text appear in all
sequence segments that reference the source clips.

To automatically copy source locators as you edit:

1. Double-click Composer in the Settings scroll list of the Project win-
dow to open the Composer Window Settings dialog box.
2. Select the Copy Source Locators option.
3. Click OK.

424
Marking Locators

You can mark the area between two locators by using the Mark Loca-
tor button.

To mark the area between two locators:

1. Move the position indicator between two locators.
2. Click the Mark Locators button located on the Edit tab of the
Command palette.
The area between the two locators is selected.

Using the Locators Window

The Locators window allows you to quickly add, delete, go to, and
print a list of locators in the currently loaded clip or sequence.

The following illustration shows a Locators window with three

locators.

To view locators in the window:

1. Load the sequence containing the locators.
2. Choose Locators from the Tools menu.

425
Features of the Locators Window

Many features of the Locators window are similar to those of the bin
window:
• The window displays information in text columns.
• A Fast menu allows you to modify and sort the display.
• You can print the Locators window. This is especially useful for
identifying and listing specific frames — to be color corrected or
used in an effect, for example. You can also make a list of marked
IN and OUT points for adding music.

The Locators window also provides specific controls for manipulating

locators in the sequence:
• You can double-click any locator to go to that locator in the
sequence.
• You can select a single locator or Shift+select specific locators, and
press the Delete key to delete them in one step.

Locators Window Fast Menu

The following illustration shows the Locators Window Fast menu.

426
 The Fast menu allows you to do the following:
• Display a timecode or footage column.
• Sort or reverse-sort (Option key) the display by timecode, track,
comment, or locator color. Choose the text at the top of a column
to specify which column to sort.
• Display the frame associated with each locator.
• Change the color of the Locator icon. The Avid system uses the
same color in the Timeline, position bar, and Record monitor dis-
play.

Finding Frames, Clips, and Bins

Once you have digitized, viewed, marked, and subcataloged numer-
ous shots for a project, you might have difficulty relocating specific
clips or frames among several bins. The Avid system provides a num-
ber of features for quickly locating and cueing footage, including con-
ventional timecode and frame-offset techniques, text searches, and
Match Frame and Find Bin commands.

Using Timecode to Find a Frame

At any time during editing, you can type timecode values into 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 neg-
ative frame-offset values.

For more information The system interprets the numbers you type into the numeric keypad
on selecting the display
according to the type of tracking format you have chosen in the row of
of tracking informa-
tion, see “Displaying information displayed above the monitor (timecode or frames). If you
Tracking Information” have two rows of information, the system looks to the top row.
on page 387.

427
 To use timecode to find a frame, the top row of information must
include timecode; for example, V1.

To cue to a frame based on a known timecode:

1. Choose a timecode tracking format from the Tracking Information
menu that appears above the monitor.
2. Enter the timecode for the frame by using the numeric keypad on
the right side of the keyboard.
In this example, the interface displays master timecode. Use one of
the formats described in the next two paragraphs.

Master track

Type a master timecode

to find a frame in the
sequence.

• SMPTE timecode — Use two digits each for the hours, minutes,
seconds, and frames. For example, type 01230200 to enter
01:23:02:00.
• Current timecode — If you are finding a timecode that starts at
the same time as the current timecode, only type the last dig-
its. 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.

428
 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. Enter a number for the frame offset and then press the Enter key
on the numeric keypad. Use the following formats:
• One or two digits — Enter 1 through 99 to specify a number of
frames forward or backward. For example, enter –42 to move
backward 42 frames.
• Three digits — Enter 100 or a greater number to move forward
or backward a specified number of seconds and frames. The
results vary depending on the tracking format you have cho-
sen in the Tracking Information menu that displays above the
monitor. For example, if you enter +100 and the master time-
code is selected on the top line of the tracking information dis-
play, you move forward 1 second and zero frames. If you
select frames to display above the monitor and enter +100, you
move forward 100 frames.

Searching a Clip
You can use the Find feature to search a clip loaded in the Source mon-
itor or the sequence in the Record monitor for:
• Clip names
• Locator text
• Text displayed in the Timeline

To do a text search of a loaded clip or sequence by using the Find

feature:
1. Load the clip or sequence into the monitor.
2. Choose Find from the Edit menu.

429
 The Find dialog box appears.

3. Enter part or all of the text for which you are searching. If the exact
text is unknown, enter only a known word or portion of a word.
4. Select one or more options:
• Clip Names causes the system to search for matching text in
Clip names only.
• Locators causes the system to search for matching text entered
into locator comments only.
• Timeline Text causes the system to search for matching text in
any clip text displayed in the Timeline.
5. Click OK.
If the system finds matching text, it cues to the head of the clip in
the case of Clip Name or Timeline text, or it cues to the Locator
frame in the case of Locators.
6. If the cue point is not the one you want, choose Find Again from
the Edit menu to search for another incidence of matching text.

430
Using Match Frame
The Match Frame function locates the source footage for the frame cur-
rently displayed in either the Source or Record monitor, loads it into
the Source monitor, cues to the matching frame, and marks an IN
point. It removes the source clip’s original IN and OUT marks.

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.

To use Match Frame:

1. Load a sequence into the Record 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 Match Frame button on the Other tab in the Command
palette.

This loads and marks the source clip in the Source monitor.

n If you do not want to mark the source clip and remove the original marks,
press and hold the Option key when you click the Match Frame button.

Performing a Reverse Match Frame

To perform a reverse Match Frame:
1. Place the position indicator on the frame in the source footage.
2. Make sure to select the appropriate tracks in the Timeline.
3. Click the Reverse Match Frame button.

The system cues the sequence to the matching frame on the record
side. If the shot exists in more than one place, the sequence cues to the

431
 first location of the match frame, and continues through the sequence
to subsequent locations each time you click the Reverse Match Frame
button.

Finding a Bin
With a clip or sequence loaded into a monitor, you can quickly find the
original bin in which it is stored by using the Find Bin button. This
command finds the bin, opens it, and highlights the clip or sequence
within the bin. This works for sequences, subclips or clips within
sequences, or clips in the Source monitor.

To find the bin in which a specific clip is located:

1. Load a clip into the Source monitor.
2. Click the Source monitor to activate it.
3. Click the Find Bin button. The system highlights the clip in the
bin.

To find the bin in which a specific sequence is located:

1. Load a sequence into the Record monitor.
2. Click the monitor to make it active.
3. Click the Find Bin button. The system highlights the sequence in
the bin.

To find the bin in which a specific clip in a sequence is located:

1. Place the position indicator on the clip within the sequence.
2. Press and hold the Option key and click the Find Bin button. The
system opens the bin and highlights the clip.

432
Locating a Master Clip from a Subclip in a Sequence
To find the original clip in the bin for a subclip that has been edited
into a sequence, you can use the Match Frame and Find Bin buttons
together.

n For this operation, you must have the Match Frame button mapped below
both the Source and Record monitors.

To locate a master clip from a subclip:

1. Cue to the subclip in the sequence.
2. Click the Match Frame button to load the subclip into the Source
monitor.
3. Click the Match Frame button in the Source monitor to load the
original master clip into the Source monitor.
4. Click the Find Bin button in the Source monitor to open the bin
and highlight the master clip.

Finding a Frame
The Find Frame button, located on the Other tab of the Command pal-
ette, allows you to trace a digitized frame of footage displayed in a
sequence or source clip back to its analog source on tape. This is useful
for finding frames for color correction, or for redigitizing specific clips
to lengthen them or alter digitize parameters.

To find a frame:
1. Make sure the source deck is properly connected to the system
and load the clip or sequence.
2. In the Timeline or position bar, place the position indicator on the
frame you want to find.

433
3. Click the Find Frame button. If the tape is not in the deck (for
example, if you do not know which tape the footage is on), a dia-
log box prompts you to insert the appropriate tape.
4. Insert the tape. The system cues to the requested frame and dis-
plays the frame. You can redigitize as necessary.

434
CHAPTER 13
Editing in Source/Record
Mode

In addition to finishing projects created on offline systems, your Avid

system provides tools designed to help you create new sequences.
After you have viewed and marked your clips or created subclips, you
are ready to create a sequence.

This chapter introduces you to procedures that you use in Source/

Record mode to build a basic sequence, as described in the following
sections:
• Entering Source/Record Mode
• Setting Up a New Sequence
• Making an Edit
• Undoing or Redoing Edits
• Editing Additional Shots into the Sequence
• Using Phantom Marks
• Lifting, Extracting, and Copying Material
• Adding Comments to Sequence Clips
• Playing the New Sequence
• How to Fine-Tune the Sequence

435
 n Illustrations of the Composer window show two button rows, two informa-
tion rows, and Center Duration. For information about changing the default
display, see “Using the Settings Display” on page 75.

Entering Source/Record Mode

Source/Record mode is the default editing mode. It is composed of the
screens and controls shown when the Source monitor and Record
monitor are displayed within the Composer window on the Edit mon-
itor. Use Source/Record mode to create new sequences from source
clips.

To enter Source/Record mode from within another mode, click the

Source/Record Mode button displayed in the Timeline toolbar or the
monitor toolbars.

For more information about the Composer window, see Chapter 12.

436
Composer window

Source monitor Record monitor

Source/Record
Mode button

Setting Up a New Sequence

There are two ways to establish a new sequence:
• If you have specific parameters in mind for the project that you
would like to establish first, you can create and name a sequence,
set the start timecode, and determine the numbers and kinds of
tracks to use before you make the first edit, as described in this
section.

437
• If you would like to begin editing right away and build the
sequence as you go without setting parameters ahead of time,
proceed to “Making an Edit” on page 443.

To set up a sequence with the New Sequence command:

1. Choose New Sequence from the Clip menu. One of the following
occurs:
• If just one bin is open, or one of several bins is selected and
you have clicked a specific bin to activate it, the new sequence
appears in that bin. It also appears in the Record 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 a Bin
dialog box appears.

Select the bin in which to store the new sequence, or click the
New Bin button to create and open a new bin, and click OK.

438
 An untitled sequence appears in the bin, in the Record moni-
tor, and in the Timeline.

New sequence

2. To rename the new sequence, immediately type a new name while

the Name field is active in the bin.

n If you click anywhere in the interface after creating the new sequence, you
deactivate the Name field. Click the sequence name again to rename the
sequence.

Changing the Sequence Name and Timecode

You can also change the The following optional procedure allows you to rename the new
default start timecodes
sequence and set a customized start timecode by using the Clip Info
for all new sequences
by using General Set- command.
tings. For more infor-
mation on the general 1. With your sequence loaded and the Record monitor active (click
settings, see “General the Record monitor to make it active), choose Get Clip Info from
Settings” on page 82. the File menu to open the Clip Info dialog box.

439
 The Clip Info dialog box appears.

2. Drag the pointer across the sequence name in the Name text box,
then type a new name.
3. Drag the pointer across the start timecode, then type a new time-
code.
4. Click OK.

Setting Up Tracks for the New Sequence

When you create a new sequence by using the New Sequence com-
mand, and no material is loaded into the Source monitor, the Timeline
displays only the TC (master timecode) track.

440
 You can add any number of audio or video tracks to the sequence
before making the first edit, as follows:
• Choose New Video Track from the Clip menu to add a video track.
• Choose New Audio Track from the Clip menu to add an audio
track.

The following illustration shows the Timeline after one video and two
audio tracks have been added, with no material loaded in the Source
monitor.

User Preferences for Creating Tracks

For information on Your Avid system provides two options in the Composer Window Set-
opening and changing
tings dialog box that help automate the way tracks are created and
settings, see “Using the
Settings Display” on enabled as you edit. You can adjust these settings in advance based on
page 75. personal preference.

The default settings are:

• Auto-create New Tracks: Whenever you edit new source material
from the Source monitor, the system automatically creates any
new tracks in the sequence that match enabled tracks on the
source side.
• Auto-enable Source Tracks: Whenever you load new source
material into the Source monitor, the system automatically enables
all existing source tracks.

441
 Alternatively, you can do the following:
• Deselect the Auto-create New Tracks option to have the existing
tracks in the sequence remain the same when you edit in new
source material. This allows you to create new tracks selectively as
you edit, which is often preferable at the more advanced stages of
a project.
• Deselect the Auto-enable Source Tracks option to leave the tracks
of newly loaded material in whatever state they were in when
they were last loaded. This allows you to turn on the source tracks
more selectively as you edit, which is often preferable at the more
advanced stages of a project.

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.

n You cannot add filler to the end of a sequence.

To add filler:
1. Click above the Source monitor and choose Load Filler from the
Clip Name menu. The system loads a 2-minute clip of filler into
the Source monitor.
2. Mark the length of filler, as needed.
3. Click the Splice-in or the Overwrite button to edit the black into
the sequence.

442
Making an Edit
This section explains one method of editing with your Avid system. As
you learn how to use the various editing tools, you can develop an
editing method that works best for you.

Whether you establish a new sequence in advance, or do not prepare a

sequence and want to begin editing right away, use the following pro-
cedure to begin editing:
1. Load the first clip into the Source 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.
2. Click buttons in the source track selector panel to select the tracks
you want to include in the edit. Only the tracks that have been dig-
itized 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 504.
For example, with a talking head you might select tracks V1 (pic-
ture) 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 it might have no sound
at all.
As another example, if you are first laying down a music track,
you would select track A1 or A2 depending upon where the music
was digitized, and deselect V1.

Splice-in 3. Click the Splice-in button to add the edit to the sequence in the
button Record monitor.
The Record monitor displays the end of the last frame of the new
edit. (You can scroll the position indicator in the Timeline or the
position bar beneath the Record monitor to review the shot.) The
edit also generates a graphical display of the cut in the Timeline.

443
 Screen display of the first edit in a sequence The end of the
last frame of the
first new edit
Source clip Splice-in button Sequence

Timeline generated by the edit

Creating an Instant Rough Cut

For additional informa- As an alternative to creating a new sequence by editing shots one at a
tion on editing directly
time, you can quickly create a rough cut by selecting and loading mul-
from the bin into the
Timeline, see “Bin Edit- tiple clips directly from the bin into the Record monitor by using the
ing into the Timeline” Shift or Option keys. You can load clips that have been sorted in a bin
on page 497. in Text view, or you can create a storyboard in Frame or Script view
and then load these clips directly.

444
To create a rough cut from a bin:
1. To create a more accurate rough cut, screen and mark clips in the
bin in advance, as described in “Marking IN and OUT Points” on
page 416.
2. In the bin, sort the clips in the order in which you want them to
appear in the sequence:
• In Text view, alphabetic or numeric sorting of clips might not
provide you with the clip ordering that you want. You can cre-
ate a new bin column for numbering the clips in the order in
which you want them to appear, then sort the column numeri-
cally.
• In Frame or Script view, rearrange frames and prepare a story-
board as described in “Storyboard Worksheet” on page 319.
3. (Option) Select the source and record tracks for the edit.
4. Select the clips in the bin. Choose Select All from the Edit menu if
there are no other clips in the bin.
5. Press and hold the Option key and drag the highlighted clips to
the Record monitor to splice the clips into place. Alternatively,
press and hold the Option+Shift keys and drag the clips to over-
write them into an existing sequence.
The clips are spliced together to form a new sequence based on the
order in which they are listed in the bin. If there is a sequence
already loaded into the Record monitor, the new clips are spliced
or overwritten in the sequence, beginning at the location of the
position indicator or at an IN point marked in the sequence.

445
Undoing or Redoing Edits
You can undo or redo up to 32 previous actions listed in the Edit
menu. You can quickly undo or redo a just completed command, or
you can search through a submenu to undo or redo all commands
leading back to a particular command.

Undo/Redo commands
for previous edit
Prior Redo commands
Prior Undo
appear in the upper
commands
portion of the Undo/
appear in the
Redo List submenu.
lower portion of
the submenu.

• To undo only the previous edit or function, choose Undo from the
Edit menu.
• To redo only the previous edit or function, choose Redo from the
Edit menu.
• To undo or redo everything back to a particular command, choose
a command from the Undo/Redo List from the Edit menu. All of
the previous commands, back to and including the command cho-
sen from the submenu, are undone or redone as appropriate.

446
Editing Additional Shots into the Sequence
You can use two or The three primary edit functions for adding material to your sequence
sometimes one mark to
are the splice-in, overwrite, and replace commands. In most cases, you
complete an edit by
using phantom marks. perform three-point edits in which you set three marks — two in the
For more information, source material and one in the sequence, or the reverse. The fourth
see “Using Phantom mark is determined automatically. The way you set marks depends
Marks” on page 450.
upon the type of edit you perform, as described in this section.

Performing a Splice-in Edit

A splice-in edit inserts the material marked in the Source monitor into
the sequence without replacing material already in the sequence.
Existing material moves down beyond the spliced material, lengthen-
ing the overall duration of the sequence.

New Shot

Insertion point
Before
Shot X Shot Y Shot Z
Splice-in

Existing shots are moved down.

After
Splice-in Shot X Shot Y New Shot Shot Z

To perform a splice-in edit:

1. Load a clip into the Source monitor.
2. Mark an IN and OUT point.
3. Mark an IN point in the sequence as follows:
a. Move the position indicator in either the Timeline or the posi-
tion bar of the Record monitor to the point where you want to
splice the shot into the sequence.
b. Click the Mark IN button or press the Mark IN key on the key-
board.

447
 n If you do not mark an IN point, the system splices the new shot into the
sequence at the current location of the position indicator.

Splice-in 4. Click the Splice-in button (yellow) to complete the edit.

button

Performing an Overwrite Edit

An overwrite edit replaces a section of the sequence with the material
you select in the Source monitor. Unlike a splice-in edit, an overwrite
edit replaces existing material and therefore does not lengthen the
overall duration of the sequence.

New Shot

Material to be overwritten

Before
Overwrite Shot X Shot Y Shot Z

After
Overwrite Shot X Shot Y New Shot Shot Z

To perform an overwrite edit:

1. In the Source monitor, mark an IN or OUT point, but not both, to
show the start or end of the shot you want to use.
2. In the Record monitor, mark both an IN and OUT point to select
the material in the sequence you want to overwrite, or you can
mark an OUT point and move the position indicator in the Time-
line or position bar to the IN point.
Overwrite 3. Click the Overwrite button (red) to complete the edit.
button

448
Performing a Replace Edit
For information about You use the Replace button (blue) to replace a clip in the sequence
mapping buttons, see
(video, audio, or both) with new material from the Source monitor,
“About Button Map-
ping” on page 114. while maintaining the original IN and OUT points of the previous
edit. The Replace button must be mapped to a button under the
Record monitor before you begin to 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 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
Record monitor position bar or in the Timeline to that frame.
Replace 3. Click the Replace button (blue).
button
The system calculates IN and OUT points for the source material
by using the sync frames and the existing IN and OUT points in
the sequence for the previously edited shot that you are replacing.

n If you are replacing a clip in an overwrite 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. See “Selecting and Dese-
lecting Segments” on page 486.

For more information Like replace editing, Sync Point Editing allows you to overwrite mate-
on sync point editing,
rial in the sequence based on alignment of the position indicators in
see “Using Sync Point
Editing” on page 646. the source material and in the Timeline. The difference is that sync
point edits end at the nearest marks in either the source or record
material, and replace edits always fill the IN to OUT portion of the clip
in the sequence.

449
Using Single-Mark Editing
Single-mark editing (also called mark-and-park editing) allows you to
establish a single mark, then use the location of the position indicator
to determine the second mark when making the edit. You can use this
procedure in several ways to save steps:
• You can mark an IN point in the Source monitor and then perform
a splice-in, overwrite, or replace edit without adding an OUT
mark.
• You can mark an OUT point, then locate a frame for the IN mark,
and perform the edit without marking the IN point.
• You can mark the IN or OUT, play, step (jog), or shuttle through
the clip forward or backward, then press the Splice-in, Overwrite,
or Replace button to perform the edit on-the-fly without adding
the second mark.

To enable single-mark editing, open the Composer Window Settings

dialog box from the Settings list in the Project window and select the
Single Mark Editing option.

Using Phantom Marks

Phantom marks provide visual guidance when editing according to
the three-mark rules described in “Editing Additional Shots into the
Sequence” on page 447.

To enable phantom marks, open the Composer Window Settings dia-

log box from the Settings scroll list in the Project window and select
the Phantom Marks option.

When you enable phantom marks, the system displays blue IN or

OUT mark icons in the position bars below both the Source monitor
and the Record monitor. These phantom marks can indicate one, two,

450
 or sometimes three edit points calculated by the system to complete an
edit. The following are a few sample scenarios.

Setting One Mark

In this example, you set only the IN mark on the source side. By
default, the system uses the location of the position indicator as the IN
mark for the sequence, and calculates both OUT points based on the
length of the source clip.

One IN mark Three phantom marks

You can see the system calculations instantly and can make the edit
after setting just one mark, when appropriate.

Adding a Second Mark

If you decide that an OUT mark is required — to shorten the source
clip, for example — then the system recalculates and displays new
phantom marks.

Additional OUT mark New phantom marks

Phantom marks can help you see the results of marks you set before
you complete the edit, and is especially useful when doing Sync Point

451
 Editing or other complicated replace edits in which two or more marks
are calculated automatically.

Lifting, Extracting, and Copying Material

Extract/Splice-in and Lifting, extracting, and copying allow you to remove or reposition mate-
Lift/Overwrite are Seg-
rial quickly in your sequence. For example, you can move a clip from
ment mode functions
you can also use to the end of your sequence to the beginning; or you can remove the
remove and reposition material from the sequence altogether. Lifting, extracting, and copying
segments. For more place the removed material into the Clipboard. You can then paste the
information, see “Using
Segment Mode” on material elsewhere in the sequence, or in another sequence altogether.
page 485. These procedures are described in this section.

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 Shot X Material is placed in

the Clipboard.

Shot W Black Filler Shot Y Shot Z

To lift material:
1. Mark IN and OUT points at the start and end of the material in the
sequence that you want to lift.
2. Select the tracks containing the material. The system will perform
the function on selected tracks only.
Lift 3. Click the Lift button to complete the edit.
button

452
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.

Extracted Shot Y Material is

placed in the
Clipboard.
Before
Extract Shot X Shot Y Shot Z

Track is shortened.
After
Extract Shot X Shot Z

To extract material:
1. Mark IN and OUT points at the start and end of the material in the
sequence that you want to extract.
2. Select the tracks containing the material. The system will perform
the function on selected tracks only.
Extract 3. Click the Extract button to complete the edit.
button

Copying Material
For more information The Copy to Clipboard function makes a duplicate of selected material
on using the Clipboard,
in the sequence and leaves the material intact. When you copy mate-
see “Using the Clip-
board” on page 454. rial, 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 at the start and end of the material in the
sequence that you want to copy.
2. Select the tracks containing the material. The system will perform
the function on selected tracks only.

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 Copy to 3. Click the Copy to Clipboard button.
Clipboard
button The system copies the selected material to the Clipboard, and
leaves the sequence untouched.

Using the Clipboard

The Avid Clipboard is a cut, copy, and paste tool adapted to the special
needs of the editing environment. You can place a marked section of
the sequence into the Clipboard at any time by clicking the Lift,
Extract, or Copy to Clipboard buttons.

The Copy to Clipboard function is useful for moving or repeating

material in a sequence without moving multiple segments in Segment
mode, or 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.

Preserving Clipboard Contents

The Clipboard stores only one clip at a time; each time you copy, lift, or
extract additional material, you delete and replace the previous con-
tents.

To keep the Clipboard contents throughout a session, do one of the fol-

lowing:
• Choose Clipboard Contents from the Clip Name menu above the
Source monitor.
The contents appear as a clip in the Source monitor, and the name
“Clipboard Contents.n” appears above the monitor and in the Clip

454
 Name menu. The n is an incremental numbering of clips placed in
the Clipboard during the session.
• Press the Option key when you copy, lift, or extract the material.
The contents appear as a clip in the Source monitor, and the name
“Sequence name. Sub” appears above the monitor and in the Clip
Name menu.

Repeat these procedures each time you want to preserve copied, lifted,
or extracted material during a session. All the clips remain available in
the Clip Name menu until you choose Clear Menu or close the project.

n Material placed in the Clipboard does not appear as a clip in the bin, and is
deleted when you close the project. To save a portion of a sequence for future
use, mark the section and create a subclip.

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 mate-
rial by using the Undo function, the system also undoes all edits per-
formed in the meantime. The Clipboard provides the benefit of
restoring the material while maintaining subsequent edits.

To restore material from the Clipboard:

1. Load the Clipboard contents in one of two ways:
• Choose Clipboard Contents from the Clip Name menu above
the Source monitor to place the contents into the Source moni-
tor and the Clip Name menu list of clips.
• Open the Clipboard as a pop-up monitor by choosing Clip-
board Monitor from the Tools menu.

455
 2. Click the Mark Clip button to mark the entire segment.

Toggle (Optional) You can view the sequence segment as a source Time-
Source/Record line by clicking the Toggle Source/Record in Timeline button in
in Timeline
button the Timeline toolbar to mark and select specific tracks.
3. Locate the IN point in the sequence from which the segment was
removed. Place the position indicator here, or mark an IN.
4. Splice or overwrite the material back into the sequence.

Adding Comments to Sequence Clips

You can add comments to sequence clips to appear in the Timeline or
in lists that you create, such as an EDL or a cut list. Comments can
include such things as instructions for color correction, or for adjusting
an effect.

456
 To add comments to the sequence:
1. Click one of the Segment Mode buttons (located below the Time-
line) and highlight the clip to which you want to add a comment
Segment Mode buttons
in the Timeline.
2. Choose Add Comments from the Clip Name menu. The Com-
ments dialog box appears.
3. Type your comments in the text box and click OK.

n You can display the comments in the Timeline by using the Clip Text option
in the Timeline Fast menu.

4. Click one of the Segment Mode buttons again to leave Segment

mode.

Playing the New Sequence

After completing a rough cut, you can play the new sequence to see
the results of your editing. You can view the sequence in the Record
monitor or in the third, full-screen monitor.

n If you need to prepare a screening of the sequence away from the system, see
Chapter 19.

To review your work thus far:

If you have several 1. Make sure that the Video Track Monitor icon is located on the
tracks of audio, you
uppermost video track in order to display all video tracks and
might need to mix them
down and adjust levels effects during playback.
before playback. For
more information, see 2. Make sure the Audio Track Monitor button for the audio track is
Chapter 16. enabled to ensure proper playback of the audio tracks.
3. Go to the start of the sequence in the Record monitor by clicking
the left side of the position bar to reposition the position indicator
at the beginning, or press the Home key on the keyboard.

457
 4. Use the position indicator, buttons, mouse, or keyboard to play,
step, or shuttle through footage. View the sequence in the Record
monitor or in the third, full-screen monitor.

Starting a Playback Loop

You can play back your sequence in a continuous loop by augmenting
the Play IN to OUT command with the Ctrl key. You must set marks in
the sequence to determine the range of the playback loop.

n 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. Place IN and OUT marks in the sequence. To play back the entire
sequence, place the IN mark at the beginning and the OUT mark
at the end.

Play IN to OUT 2. Press the Ctrl key and the Play IN to OUT key or button.
button
The playback loop begins and continues until you press the space
bar on the keyboard or click anywhere with the mouse.

n You can also press the Ctrl key and the Play to OUT button. The location of
the position indicator acts as the IN point for a continuous loop.

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 system memory
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

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 page 100. If this number is large, reduce the number of media
objects by doing one of the following:
- Close bins that are not in use.
- Reduce the number of clips in the open bins.
- Unmount drives that are currently not in use by dragging
them to the Trash or by using the Eject command. See
“Mounting and Ejecting Media Drives” on page 52. 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.

Using the Play Length Toggle Feature

Long sequences with many effects can be time-consuming to work
with in the Timeline. Working with a smaller sequence can save time.
The Play Length toggle feature allows you to switch between playing
the entire sequence and playing a limited duration centered around
the current position of the sequence.

Play Length When you use the Play Length feature, first map the Play Length tog-
toggle button gle button from the Play tab of the Command palette to a Monitor
Command palette, then set the value for the Play Length toggle but-
ton. For information about mapping buttons, see “About Button Map-
ping” on page 114.

Changing the Value for the Play Length Toggle Button

To change the value for the Play Length toggle button from the
default:
1. From the Tools menu, choose Console.
2. In the Console window text box, type
playlength n

459
 Where n is the duration (in minutes) you want mapped to the Play
Length toggle button.

n The n variable must be a whole number set to 1 or higher.

3. Press Return.
The Console window displays the value for playlength. For exam-
ple, if you set playlength to 1, the Console window will display
playlength = 1 (half forward/half backward).

Playing a Sequence Using the Play Length Toggle Button

To select the Play Length toggle button to map to the Play button:
1. Click the Play Length toggle button. It switches between play
entire sequence and play length 1 minute.
2. Set the Play Length toggle button to play length 1.
With the Play Length toggle button activated, press the L key or
the Play button. The sequence will play from the position indica-
tor forward 30 seconds (half forward). If you press the J key or
click the Play Reverse button, the sequence will play from the
position indicator backward for 30 seconds (half backward).
3. To set the Play Length back to play the entire sequence, click the
Play Length toggle button again.

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How to Fine-Tune the Sequence
If you have finished a rough cut and are ready to fine-tune the
sequence, proceed with the following:
• To learn about the Timeline and Segment mode editing tech-
niques, see Chapter 14.
• To make frame-accurate adjustments to your edits by using Trim
mode, see Chapter 15.
• To edit with audio or mix audio tracks in preparation for playback
or output, see Chapter 16.
• To edit with synced tracks, see Chapter 17.
• To edit with multicamera material, see Chapter 18.
• To add effects to your sequence, see the Avid Media Composer
Effects Guide.
• To apply final correction and adjustments, see the Avid Media Com-
poser Effects Guide.

461
CHAPTER 14
Using the Timeline

Your Avid system represents each edit and effect in a graphical time-
line structure to help you track and manipulate the elements of your
sequence. The Timeline continuously updates as you work, displaying
an extensive array of icons and information that you can customize in
various ways.

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.
These features are described in the following sections:
• Customizing Timeline Views
• Restoring the Default Timeline View
• Navigating in the Timeline
• Using Segment Mode
• Using Advanced Timeline Techniques
• Working with Multiple Tracks
• Additional Offline Aids
• Printing the Timeline

462
 n Illustrations of the Composer window in this chapter show the full set of two
button rows, two information rows, and Center Duration display, as selected
in Composer Window Settings. For more information, see “Customizing
the Composer Window” on page 383.

Customizing Timeline Views

There are also a number You can customize your view of the Timeline to display a variety of
of on-the-fly procedures
information about your sequence as well as the clips and transitions it
for changing your view
of the Timeline (such as contains. You use the Timeline Fast menu to change the display. You
the Zoom and Focus can also save different custom views that you can call up instantly in
functions) that are not various circumstances.
saved as part of a Time-
line view.
The following are a few examples:
• Effects editing: If you are editing complex visuals with multiple
tracks and effects, you can display Effect contents, Effect and Dis-
solve icons, Clip Frames, and Clip Transition Durations within
enlarged video tracks in the Timeline.

463
• Complex audio work: If you are doing advanced audio work with
multiple tracks, or fine-tuning difficult audio edits, you can hide
video tracks and enlarge audio tracks while displaying waveform
plots.

• Film and animation editing: If you are working on a film or ani-

mation project, you can display the film track, show every frame
in the sequence, and display sync breaks where they occur.

• Editing for online: If you are editing offline with plans to generate
an EDL and finish the sequence in an online videotape suite, you
can track detailed clip and dupe-reel information by displaying
clip text and enabling Dupe Detection.

464
 • Basic trimming: If you are fine-tuning and trimming simple edits
at the early stages of a project, you can view the sequence in Heads
and Tails view to see a display of the first and last frame of every
shot.

Using the Timeline Fast Menu

To create a custom Timeline view, you choose various options from the
Timeline Fast menu. The Timeline Fast Menu button appears in the
bottom left corner of the Timeline toolbar.

To select an item from the Timeline Fast menu, click the Fast Menu
button and scroll through the menu to select or deselect an option.
Selected options have check marks next to them. You must select some
options from a submenu.

Clip Text submenu

465
 You can learn about the various Timeline view options as follows:
• For an overview of all Timeline Fast menu options, see the Help.
• For more information on Effect icons and displays, see the Avid
Media Composer Effects Guide.
• For information on different view types, see “Customizing Time-
line Views” on page 463.
• For information on Dupe Detection in the Timeline, see “Detect-
ing Duplicate Frames” on page 517.
• For information on displaying the film track, see “Editing with
the Film Track” on page 499.
• For more information on displaying sync breaks in the Timeline,
see Chapter 17.
• For more information on displaying energy and waveform plots in
audio tracks, see Chapter 16.
• For more information on manipulating the height of tracks or
moving tracks as part of a view, see “Additional Procedures for
Customizing the Timeline” on page 466.

Additional Procedures for Customizing the Timeline

In addition to the options provided in the Timeline Fast menu, you can
customize a Timeline view by enlarging or reducing the size of tracks,
or by moving tracks up or down in the Timeline hierarchy.

Enlarging and Reducing Tracks

You can enlarge or reduce the height of one or more tracks to improve
visibility and display more information within the tracks. You can save
these changes with a Timeline view.

To enlarge or reduce the height of tracks:

1. Select the tracks that you want to resize.

466
 2. Do one of the following:
• Choose Enlarge Track or Reduce Track from the Edit menu.

• Press and hold the Option key and move the pointer to the
bottom edge of the track selector until it appears as a bar inter-
Pointer sected by 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.
• Press k+L to Enlarge Track or k+K to Reduce Track to
change the height of all highlighted tracks quickly in the Time-
line.

You can use this enhancement 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

Moving a Track

You can move a track to reposition it vertically relative to the Timeline.

Surrounding tracks are repositioned above or below the track. You can
save these changes with a Timeline view. Moving tracks is especially
useful when you are working with multiple-layer effects and discover
that the tracks are built in the wrong hierarchy to apply the effect cor-
rectly.

To move a track, press and hold the Option key, click the Track button
for the track that you want to move, and drag the track to its new posi-
tion.

n Do not move a track when patching to another track would be more appropri-
ate. Moving whole tracks can throw effects and track monitoring out of place.

467
Changing the Timeline Background Color
To change the background color of the Timeline, you also have to
change the background color of the monitors.

To change the background color of the Timeline:

1. Click in a monitor to activate it.
2. Choose Set Composer Background from the Edit menu.
3. Choose a shade of gray for the background from the pop-up
palette.

Changing the Timeline Track Color

To change the track color in the Timeline:
1. Click in the Timeline to activate it.
2. Choose Track Color from the Timeline Fast menu.
3. Choose a color for the tracks from the pop-up palette.

If you want to choose a custom color for the tracks, press the Option
key while performing this procedure. When you release the mouse
button on the pop-up palette, the Macintosh Color Picker appears.

Assigning Local Colors to Clips in the Timeline

You can assign local colors to clips in the Timeline to indicate shots
that should be grouped together.

To assign a local clip color:

1. Click one of the Segment buttons and select a clip.

468
 2. Choose Clip Color from the Timeline Fast menu, and choose Local
from the Clip Color submenu.

A check mark indicates that Local is active.

3. Choose Set Local Clip Color from the Edit menu, and choose a
color for the clip from the submenu.

The assigned local color appears on the clip in the Timeline.

4. Click the Segment button. The clip displays the color you chose.

Displaying Local and Source Colors in the Timeline

You can display source colors and local colors for clips in the Timeline.
Source colors are assigned to clips in bins and local colors are assigned
to clips in the Timeline. By default, the Timeline is set to display no col-
ors.

n Displaying source colors and local colors overrides any track color assigned
from the Timeline Fast menu.

469
Displaying Source Colors

To display source colors in the Timeline:

1. Choose Clip Color from the Timeline Fast menu.
2. Choose Source from the Clip Color submenu.
The source colors assigned to clips in the bin appear in the
Timeline.

n Clip colors assigned to sequences, groups, and title clips do not appear in the
Timeline.

Displaying Local Colors

To display local colors in the Timeline:

1. Choose Clip Color from the Timeline Fast menu.
2. Choose Local from the Clip Color submenu.
The assigned local colors appear in the Timeline.

n If both Source and Local are selected in the Clip Color submenu, the local
color overrides the source color.

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. Choos-
ing 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.
3. Choose Offline from the Clip Color submenu.
Any offline media is displayed in red in the Timeline.

470
 n When working with nested layers, a clip that contains offline media appears
red even if the missing media is nested many layers deep.

Saving a Customized Timeline View

You can save a customized Timeline view. Timeline views appear in
the Settings scroll list in the Project window. You can save, rename,
and copy several views.

The system saves the following Timeline information with each view:
• Displayed tracks, track sizes, track positions
• Clip names and frames
• Audio waveforms
• Type of view (Time, Heads, or Heads and Tails)

Once you have created and saved several Timeline views, you can
choose alternate views at any time from the Timeline View pop-up
menu located in the Timeline toolbar at the bottom of the Timeline.
The Timeline view is labeled Untitled until you name and save a cus-
tomized Timeline view.

To name a Timeline view or to change a view’s name:

1. Choose Save As from the Timeline View pop-up menu.

Timeline View pop-

up menu

471
 The Name of This View dialog box appears.

2. Type a name for the view and click OK.

Replacing a Timeline View

If your saved views become extensive and there are views you no
longer use and would like to replace, use the following procedure:
1. Press and hold the Option key while you click the Timeline View
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 User Name in the Project window if you want.

Setting the Scroll Option for the Timeline

You can have the Timeline scroll over the position indicator while you
play a sequence.

To set the scroll option:

1. Click the Settings button in the Project window to display a list of
your current settings.

472
 2. Double-click Timeline to display a list of your current Timeline
settings. For more information on Timeline settings, see “Timeline
Settings Options” on page 473.
3. Select the Scroll While Playing option.
To turn off scrolling 4. Click OK.
while you play, dese-
lect the Scroll While When you play a sequence in the Timeline, the sequence scrolls
Playing option in the over the position indicator. When the Timeline has passed the
Timeline Settings dialog
box. playhead and the end of the Timeline is revealed, the Timeline
stops moving and the blue position bar travels the remaining dis-
tance.

n For the Timeline to scroll, you might need to display more detail in the Time-
line 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.

Timeline Settings Options

In addition to the Timeline options available from the Timeline Fast
menu, there are several options available from the Timeline Settings
dialog box. Double-click Timeline in the Settings scroll list in the
Project window to open the Timeline Settings dialog box.

Table 14-1 describes the Timeline Settings options.

Table 14-1 Timeline Settings Options

Option Description

Dupe Detection Choose the size of the handles, in frames, to use for dupe checking. The cho-
Handles sen 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.

Show Position Bar When this option is selected, the blue position bar is displayed in the
Timeline.

473
 Table 14-1 Timeline Settings Options (Continued)

Option Description

Show Effect Contents When this option is selected, the system displays effect information.

Show Marked Region When this option is selected, the system highlights the region from the IN to
OUT mark.

Show Marked When this option is selected, the system shows waveforms drawn between a
Waveforms marked IN or OUT point instead of over the entire composition.

Show Four-Frame When this option is selected, the system shows the head and tail of incoming
Display or outgoing frames of video when you drag a segment.

Scroll While Playing When this option is selected, the Timeline scrolls over the position indicator
while you play a sequence.

Double-Click to Show When this option is selected, the system allows you to double-click segments
Nesting in the Timeline to display the nested effects.

Auto-Patching When this option is selected, the system automatically patches the enabled
source tracks to the tracks enabled in the Timeline.

Auto-Monitoring 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. This option is selected by default.

Segment Drag Sync When this option is set, and you click the Sync Lock buttons in the Track
Locks Selector panel, you can drag clips in Segment mode while maintaining audio
and video synchronization. The Avid system adds filler where necessary. For
more information, see “Maintaining Sync in Segment Mode” on page 492.

474
Restoring the Default Timeline View
To restore the default view in the Timeline, choose Default Setup from
the Timeline Fast menu.

Navigating in the Timeline

The Timeline window 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 Time-
line scroll bar/position bar, the scale bar, Zoom In and Zoom Back
commands, or the Focus button. In addition, marked sections of the
sequence can be highlighted for visual reference.

Track Selector panel Position indicator

Segment Mode buttons Scale box Resize box

Step In and Step Out buttons
Toggle Source/Record in Timeline button
Timeline scroll bar/position bar
Focus button
Timeline Fast Menu button

Figure 14-1 Timeline Window

475
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 inter-
preted. For example, when you perform an edit, the system takes the
location of the position indicator as the mark IN in the absence of
established marks.

When you move the position indicator in the Timeline, the smaller
position indicator within the Record monitor’s position bar also
moves.

Using the Timeline Scroll Bar/Position Bar

By default the Timeline scroll bar appears along the bottom of the
Timeline window, on the right side of the Timeline toolbar, as shown
in Figure 14-1.

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.

You can change the Timeline scroll bar to a position bar that acts like
the position bar in the Record monitor, except that you can manipulate
it without deactivating the Timeline window.

To use the Timeline position bar:

1. Double-click Timeline in the Settings scroll list in the Project
window.

476
 The Timeline Settings dialog box appears.

For more information 2. Select Show Position Bar in the Timeline Settings dialog box.
on the Timeline set-
tings, see “Timeline A check mark appears in the box. To deselect an option, click it
Settings Options” on again.
page 473.
3. Click OK.
The scroll bar changes to a position bar.

477
An advantage of the position bar is that when you focus on only a por-
tion of the sequence, both the Timeline and Record monitor’s position
bars show a highlighted region around the position indicator. This rep-
resents the range of material displayed in the window.

Position indicator

Highlighted region

Position indicators
Highlighted region in Timeline

478
Displaying Detail in the Timeline
The scale bar stretches and contracts the Timeline area centered
around the blue 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.

Dotted blue line

Scale bar
Scale box Timeline scroll bar Scroll box

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.
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 back.

479
 2. Move the scale box back to the left.
The Timeline shrinks to its original size.

Zooming In and Out

The Zoom In and Zoom Back commands in the Timeline Fast menu
stretch out the Timeline like an accordion to allow you to focus on
detail, but with the following differences:
• The Zoom In command does not expand the Timeline incremen-
tally, but allows you to select a portion of the Timeline of any size
to instantly expand to fill the window.
• The Zoom Back command does not shrink the Timeline incremen-
tally, but instantly restores it to its former size.
• The Zoom In and Zoom Back commands are not dependent on the
position indicator. You can select any portion of the Timeline to
expand and contract.

To zoom in on a section of the Timeline and then zoom back to your

original display:
1. Choose Zoom In from the Timeline Fast menu. The pointer arrow
changes to a selection bar.
2. Position the pointer at either the start or end of the place you want
to zoom in on, and drag to select the chosen section.
When you release the mouse button, the material inside the Zoom
In box expands to fill the Timeline window.
3. To return to the previous Timeline display, choose Zoom Back
from the Timeline Fast menu.

480
Focusing the Timeline
The Focus button also allows you to zoom in on a section of the Time-
line. It is located in the Timeline toolbar next to the Fast Menu button.

Focus button

The Focus button allows you to center the position indicator quickly
and expand the Timeline. The Focus button always expands the Time-
line to a scale of 90 pixels per second. The position indicator is cen-
tered in the window. When you click the Focus button a second time, it
always returns the Timeline to its previous size.

To focus the Timeline:

1. Place the position indicator at the frame or transition you want to
expand.
2. Click the Focus button.
This centers and enlarges the region of the Timeline immediately
surrounding the position indicator.
3. Click the Focus button again to return to the previous view.

Using Full-Screen Timeline

As an alternative to constantly scrolling through the Timeline window
or resizing tracks to get a view of the material, you can resize the Time-
line window to full-screen display.

To resize the Timeline window:

1. Click the Maximize button in the top right corner of the window.
The Timeline expands to full-screen size.

481
 2. Click the Resize box at the lower right corner of the window and
drag it.

n To restore a resized Timeline window to its default position, click the Timeline
and choose Home from the Windows menu.

Maximize button

Resize box

Notice that a Timeline with reduced tracks wraps around to show

more of the sequence. As you reduce tracks in a full-screen Timeline,
the sequence wraps around, allowing you to examine a long sequence
in greater horizontal detail.

n If you want the Timeline to wrap around in the Timeline window, make sure
Wrap Around is chosen in the Timeline Fast menu.

You can also enlarge the tracks to view complex audio or video layers
in greater vertical detail. To enlarge tracks, select them and press k+L.

You can also continue to work in Source/Record mode by resizing the

Timeline window so that the two windows overlap.

482
 You can click in either window to activate it and bring it forward at
any time, or you can click in the title bar of the Timeline window and
drag it to the Bin monitor to place each window in its own monitor.

Displaying Source Material in the Timeline

The Toggle Source/Record in Timeline button allows you to view
multitrack source material quickly in the Timeline for selecting and
marking specific tracks.

By default, the Timeline displays only the available tracks for source
material.

When you click the button to display the source material, both the but-
ton and the position indicator turn green to indicate that you are view-
ing source material.

Source tracks

Button and
position indicator
change to green.

Toggle Source/Record in Timeline button

This feature is particularly useful when you are editing with a

sequence or subclip created from a sequence; you can also use it to
look at the contents of any source clip in a Timeline display.

n Heads or Tails views are disabled when you are displaying material from the
Source monitor.

483
Controlling Movement in the Timeline
While working in the Timeline window, you can use the Ctrl, k, and
Option keys to control the movement of both the position indicator
and any segments that you move in Segment mode.

The Timeline provides a small icon window called the motion mode
indicator in the Timeline toolbar.

Motion mode indicator

This small window displays a specific icon, depending on the key you
press to augment your movement within the Timeline. The keys and
movements are as follows:
• To snap to the head of transitions as you move through the Time-
line sequence, press the k key as you drag either the position
indicator or any segments selected in Segment mode.
• To snap to the tail of transitions, press the k+Option keys as you
drag either the position indicator or any segments selected in Seg-
ment mode.
• To move frame-by-frame, press the Option key as you drag either
the position indicator or any segments selected in Segment mode.
• To snap the selected segments to an edit point in the track above or
below the current track, click a Segment Mode button, and then
press the Ctrl key while dragging the segments.

484
IN to OUT Highlighting in the Timeline
When you mark a sequence with IN to OUT points, the system indi-
cates the selection by highlighting the marked region in the Timeline.
Only selected tracks are highlighted.

Highlighted region
All tracks selected

This visual guide helps you monitor track and segment selection more
carefully when mixing or applying effects across multiple tracks and
segments.

To turn the highlighting feature on and off, select Show Marked

Region from the Timeline Settings dialog box.

Using Segment Mode

Segment mode provides editing controls for moving, deleting, mark-
ing, and editing entire segments in the Timeline. A segment is a por-
tion of the sequence that includes two or more transitions. There are
two modes for editing segments or adding shots: Extract/Splice-in,
indicated by a yellow arrow, and Lift/Overwrite, indicated by a red
arrow.

Unlike traditional tape editing, Segment mode allows you to instantly

reposition entire segments by using visual controls as though you
were physically “dragging” portions of your sequence around on a
tape. You can move shots separately or together, on one track or across
tracks.

485
 Observe the following guidelines when editing in Segment mode:
• Transition effects on either side of a moved selection are deleted.
Transition effects inside the selection are preserved.
• You can track the audio while moving segments by pressing the
Caps Lock key to enable audio scrub. For more information, see
“Using Audio Scrub” on page 555.
• When you are finished, Segment mode continues to affect your
editing in Source/Record mode, or Trim mode unless you click the
active Segment Mode button to deactivate it.

Segment Mode Workflow

The following is the basic workflow for editing segments in Segment
mode:
• Select the segments by clicking with the Segment Mode pointer, or
by lassoing segments with the mouse, as described in “Selecting
and Deselecting Segments” on page 486.
• Move, mark, or delete the segments in either Extract/Splice-in
mode or Lift/Overwrite mode, as described in “Performing Seg-
ment Mode Edits” on page 489.
• Use Segment mode, if desired, to edit directly from a bin as
described in “Bin Editing into the Timeline” on page 497.

Selecting and Deselecting Segments

There are two basic methods for selecting segments for moving or
editing:
• Click a Segment Mode button, and select segments with the
pointer.
• Lasso one or more segments on one or more tracks by using the
mouse.

486
 Once you enter Segment mode by using either of these methods, you
can continue to select or deselect additional segments. The selected
segment or group of segments becomes highlighted, and remains in its
original position during the move until you select its new position.

Observe the following guidelines when selecting tracks:

• You cannot simultaneously move segments that are separated
along a track. You can, however, move segments separated on dif-
ferent tracks.
• You cannot overlap the source and destination tracks. For exam-
ple, 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 selected segment to drag the
entire group to a new position.
• You can select black filler as a segment.

Selecting Segments with the Segment Mode Pointer

When you enter Segment mode, the cursor becomes an enlarged

pointer that is yellow to indicate Extract/Splice-in mode, and red to
indicate Lift/Overwrite mode. Outside of the Timeline, the cursor
reverts 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. The arrow changes to an enlarged pointer.
2. Click a segment in any track to select it. Shift+click additional seg-
ments to select a group.

Lassoing One or More Segments

You can use the mouse to lasso a single segment or a group of seg-
ments across one or more tracks.

487
 To lasso segments, draw a lasso beginning in the area above the tracks
in the Timeline. Drag left to right and then down to select more than
one segment.

Lasso box
Begin

Segment

End

Extract/Splice-in mode is enabled by default when you draw a lasso.

To switch to Lift/Overwrite mode, 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 Ctrl key while you drag the
lasso.
• Lasso at least two transitions, or all transitions included in multi-
ple segments. If your lasso surrounds only one transition, you
enter Trim mode.
• Drag from left to right. If you drag from right to left, you enter
Trim mode with slip rollers selected.

Deselecting Segments

To deselect one or more selected segments, do one of the following:

• To deselect an entire track, click the Track button. 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.

488
 • Use the Shift key and the Segment Mode pointer to deselect spe-
cific segments on any track, leaving the remaining tracks selected.

Performing Segment Mode Edits

Once you have selected one or more segments and have entered Seg-
ment mode, you can reposition the segments by clicking and dragging
with the Segment Mode pointer. You can also delete or mark the seg-
ments in one step.

n 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).

About Four-Frame Display

When you begin to drag the segments, the interface changes to the
Segment mode four-frame display:
• The Source/Record monitors change to a four-frame monitor dis-
play. The two outer frames are updated while you drag the seg-
ment forward or backward in the Timeline, indicating the frames
you pass as you drag the segment. The outer two frames in the
four-frame display make it easy to view and analyze the frames
between which you might want to drop the selected segment.
• A centered numeric offset counter appears below the frame moni-
tors. The offset counter tracks the number of frames you move
while you drag the selected segment from its starting point.

489
 The two outer frames indicate ending and beginning
frames of shots before and after the segment.
Four-frame display

Offset counter

The two inner frames represent the start and end frames of the segment.

When you drag the segments, the original highlighted segment

remains in place, while a “ghost” segment enclosed in a dotted white
box moves along with the pointer until you release it at a new edit
point.

Selected segment is dragged to new position.

490
When you release the segment into its new position, the actual lift
(Overwrite) or extract (Splice-in) occurs. The preservation of the seg-
ment position in the Timeline until then allows you to maintain your
perspective of the sequence while selecting the new edit point.

Suppressing Four-Frame Display

The four-frame display of incoming/outgoing frames can occasionally

slow the movement of segments as you drag them through the
sequence. You can improve the speed of segment editing by suppress-
ing the four-frame display.

To suppress the four-frame display:

1. Double-click Timeline in the Settings scroll list in the Project win-
dow. The Timeline Settings dialog box appears.
2. Deselect Show Four Frame Display from the Timeline Settings dia-
log box and click OK.
3. Click either the Extract/Splice-in button (yellow) or Lift/Over-
write button (red) to enter Segment mode.
4. Click the segment and drag it to its new position.
As you begin to drag, notice that the monitors maintain their
Source/Record configuration, rather than shifting to the four-
frame display.

491
Maintaining Sync in Segment Mode

You can move segments in the Timeline and maintain sync between
audio and video by using the Segment Drag Sync Locks option. After
moving a segment in the Timeline, this option maintains sync by add-
ing filler to the following locations:
• Where the segment was moved from
• 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.

To move a segment and keep sync:

1. Double-click Timeline in the Settings scroll list in the Project
window.
The Timeline Settings dialog box appears.
2. Select Segment Drag Sync Locks in the Timeline Settings dialog
box.

Segment Drag Sync Locks option

492
 3. Click OK.
4. In the Track Selector panel, click the Sync Lock button for the
video and audio tracks that you want to keep in sync.
5. Click the Extract/Splice-in button.
6. Click an audio or video clip and drag it to the new location.
In the following example, notice that in the video track, the system
adds filler to the location where you moved the audio clip. All
clips remain in sync.

Before Segment Drag Sync Lock

This clip will be moved.

Filler added after

clip is moved
After Segment Drag Sync Lock

Filler left after clip is moved

Extracting/Splicing Segments

Use Extract/Splice-in to move the selected segments in the Timeline

without affecting any of the adjacent material. The total duration of
the sequence is unaffected.

493
 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” or removes the segment from its previous position
and closes the gap.

Before Splice-in
Shot W (selected shot) Shot Y Shot Z

After Splice-in Surrounding shots are unchanged.

Shot W Shot Y (selected shot) Shot Z

To perform an Extract/Splice-in edit:

1. Click the Extract/Splice-in button (yellow) in the Timeline toolbar.
2. Select the segments you want to move.
3. Click the segment and drag it to its new position. Use the four-
frame monitor display, the offset counter, and the segment image
in the Timeline to carefully determine the new position.
4. Release the mouse button. The system extracts the selected seg-
ment from its old position, closes the gap left by its removal, 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 Seg-
ment mode.

n To cancel a segment edit in progress, drag the edit out of the Timeline window
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.

494
 Like the standard Overwrite function, the Lift/Overwrite edit deletes
and replaces underlying material at the new position, effectively creat-
ing new edits. It also “lifts” the segments from the previous position,
leaving black or silence of the same duration.

Before Overwrite
Shot W (selected shot) Shot Y Shot Z

After Overwrite
Shot W Shot Y (selected shot) Shot Z

Blank Filler Underlying materials overwritten

To perform a Lift/Overwrite edit:

1. Click the Lift/Overwrite button (red) in the Timeline toolbar.
2. Select the segments you want to move.
3. Click the segment and drag it to its new position. Use the four-
frame monitor display, the offset counter, and the segment image
in the Timeline to determine the new position carefully.
4. Release the mouse button.
The system lifts the selected segment from its old position, leaving
black, then overwrites the material onto the sequence at the newly
selected location.
5. Click the Lift/Overwrite button again if you want to leave Seg-
ment mode.

n To cancel a segment move, drag the edit out of the Timeline window and
release the mouse button. Alternatively, choose Undo from the Edit menu.

Deleting Segments with Segment Mode

Segment mode allows you to delete whole segments in the Timeline

quickly without having to mark IN and OUT points first. In addition,
you can select multiple segments in separate tracks anywhere along
the Timeline to delete at once.

495
 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 short-
ened, 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.

n If the segment has an effect, the system deletes the effect first.

Marking Clips and Sequences with Segment Mode

As an alternative procedure to marking sections of the Timeline in

Source/Record mode for deleting, copying, subclipping, rendering, or
creating an EDL or digital cut, you can use Segment mode to mark
segments quickly, as follows:
1. Click one of the Segment Mode buttons. In this case, it does not
matter which Segment Mode button you click.
2. Click one or more segments to highlight a section of the sequence.
3. Click the Mark Clip button.

496
 The system marks an IN point at the start and an OUT point at the
end of the selected segments. If you have more than one track
selected, the IN and OUT points mark where the edit points across
tracks line up.

IN point OUT point

Using Advanced Timeline Techniques

There are several advanced techniques for displaying and editing in
the Timeline that you can use in any combination, including:
• Editing directly from a bin
• Cutting, copying, and pasting
• Editing with the film track
• Editing in Heads and Tails view

Bin Editing into the Timeline

For information on edit- You can use Segment mode to edit clips directly from a bin into the
ing multiple clips
sequence in the Timeline. Bin editing allows you to bypass the process
directly from the bin
into the Record monitor, of loading clips into the Source monitor, setting marks, and clicking
see “Creating an the Splice-in or Overwrite buttons.
Instant Rough Cut” on
page 444.
To perform a direct 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

497
 Footage” on page 416. 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 only can edit one
clip at a time.
The pointer changes to the selected Segment mode icon, and the
interface changes to the four-frame monitor display. As you drag,
a white outline of the clip indicates the segment position.
4. When you find the right placement for the clip, release the mouse
button. The Timeline reflects the new edit.

n Once the edit is completed, you remain in Segment mode until you click the
active Segment Mode button again to deactivate it.

Cutting, Copying, and Pasting in the Timeline

You can use the shortcut keys for cutting, copying, and pasting seg-
ments selected in the Timeline.

To cut or copy and paste:

1. Select the segment by using one of the Segment mode pointers.
2. Press k+C to copy, or k+X to cut.
3. Place the position indicator at the new IN point, and press k+V to
paste the segment in the Timeline.

498
Editing with the Film Track
You can use the film track to examine each frame of the sequence in a
linear display, much as you would when looking at a strand of film on
a flatbed or workbench. Unlike your view of the footage in the moni-
tors, which display one frame at a time, the film track within the Time-
line allows you to compare individual frames side by side within a
range of frames.

To display the film track, choose Film from the Show Track submenu
of the Timeline Fast menu.

A row of film frames appears at the top of the Timeline. The film track
displays as many representative frames as possible within the win-
dow.

Film track

To adjust your view of the Timeline quickly for frame-by-frame view-

ing and editing, choose Show Every Frame from the Timeline Fast
menu.

499
 The position indicator splits to surround each frame. The solid blue
line indicates the head, and the shadow line indicates the tail of each
frame.

Solid blue position indicator Shadow of position indicator

(head of frame) (tail of frame)

n The film track displays frames for the topmost video track only. You cannot
display more than one film track at a time.

To quickly view more frames as you scroll, drag the resize box in the
lower right corner of the Timeline for a full-screen view. You can
reduce the size of Timeline tracks to wrap the sequence around several
times.

500
 As you continue to scroll, each strand of the Timeline wraparound is
updated.

Editing in Heads and Tails View

While in the early stages of editing a project, you can easily rearrange
shots in the sequence visually by using Heads view or Heads and Tails

501
 view. These display formats are useful for quickly rearranging simple
straight-cut edits.

c If you rearrange a split edit (in which the audio extends beyond the
video, or the reverse), the system cuts all tracks to the same edit
point. To rearrange split edits, edits on multiple video tracks, or to
move audio and video separately, use Segment mode editing tech-
niques described in “Using Segment Mode” on page 485.

To edit in Heads view or Heads and Tails view:

1. Click the Track buttons to select the tracks to be edited.
2. Choose View Type from the Timeline Fast menu, then choose
Heads, or Heads and Tails, from the submenu.
The Timeline changes to one of the following displays.

Head frame for each clip

Heads view

Head and tail frame for each clip

Heads and
Tails view

3. Press and hold the Option key, click the frames representing the
shot you want to move, and drag the shot to its new position. The
sequence is rearranged to match the changes you made.

502
Working with Multiple Tracks
As your project progresses, you might need to add and edit with addi-
tional audio or video tracks. The Avid system allows you to edit up to
24 tracks of video and 24 tracks of audio. In addition, you can step into
tracks to create additional tracks for nested effects.

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, as described in this section.

n 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.

About Effects Editing

Your primary use for multiple tracks of video is in the use of effects.
Effects editing techniques in the Avid system 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 making the
transition 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. These often require multiple layers of
video.

n For more information on all types of effects editing, see the Avid Media
Composer Effects Guide.

503
About Nesting
Occasionally, effects editing involves a procedure known as nesting.
This involves stepping into existing tracks to reveal added layers for
combining multiple images and digital video effects. When the effect
is applied, you can step out to view and render the effect as one seg-
ment on the track.

Media Composer allows you to nest up to 24 additional tracks within

each track.

n For more information on nesting techniques, see the Avid Media Composer
Effects Guide.

Using the Track Selector Panel

The Track Selector panel provides numerous controls for working
effectively with multiple tracks. With this one resource you can select,
delete, monitor, enlarge, reduce, sync lock, patch, and move any video
or audio track.

The Track Selector panel also provides a quick display of track infor-
mation. You can see which tracks are available, active, patched, moni-
tored, or locked on the source and record side at any time. The
following configuration shows only one example. The Track Selector
panel can look very different depending on the nature of the source
material or the work underway in the sequence.

504
Figure 14-2 shows the Track Selector panel.

Source Track Monitor buttons

Source Track buttons

Sync Lock and Lock buttons

Record Track buttons

Record Track Monitor buttons

Timecode button

Sync Lock All button

Figure 14-2 Track Selector Panel

The source side of the panel displays only those tracks available for
the clip currently loaded and displayed in the Source monitor. For
instance, a clip that has audio digitized only for track A1 does not dis-
play 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
selected that does not yet exist on the record side, by default the track
appears on the record side after the edit takes place.

505
Selecting Tracks
You can select tracks on either the record side or the source side of the
Track Selector panel as follows:
• 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, regardless of
source track selections.

There are four methods for selecting tracks:

• Click the Track button of any inactive track to select the track.
Click the Track button of any active track to deselect the track.
• Drag a lasso around multiple tracks to select them at once.
• With the Timeline window active, choose Select All Tracks from
the Edit menu to select all tracks on the record and source side.
• Click the Cycle Picture/Sound button to cycle among a selection
of the video tracks, the audio tracks, and all tracks.

For example, you might select the source and record tracks for V1, A1,
and A2 to edit picture and audio from the source clip into the
sequence. Select only V1 source and record tracks to edit the picture
without sound. Or, select only A1 and A2 to edit the sound without
the picture.

n There are also keyboard equivalents for selecting tracks. Check your keyboard
or the Keyboard settings in the Settings scroll list in the Project window.

506
Monitoring Tracks
The Track Monitor buttons allow you to choose which tracks to moni-
tor in the Source monitor, the Record monitor, and the speakers.

You determine the monitoring of tracks by clicking a Track Monitor

button of either the source-side or record-side tracks to activate or
deactivate the track for monitoring. Video Track Monitor buttons and
Audio Track Monitor buttons behave differently in some circum-
stances, as described in this section.

Video Track Monitor button for V1 video track

Audio Track Monitor button for A1 audio track

Audio Track Monitor button for A2 audio track

Monitoring Video

The Video Track Monitor icon determines whether you see video dur-
ing 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. The Video Track Mon-
itor button displays a Monitor icon when the track is monitored for
playback and output.

When you edit with multiple tracks, you can activate the monitoring
of a lower track to monitor only the video on that track. This is espe-
cially useful when you have multiple layers of video effects, and need
to see one track without the additional layers.

n If you monitor a video track that is lower than the topmost track, be sure to
return monitoring to the topmost track to view, render, or record all the tracks
together. Unmonitored tracks are not included in playback.

507
Monitoring Audio

Your Avid system allows you to monitor up to eight audio tracks at a

time.

The following characteristics apply to audio track monitoring:

• The system pans odd-numbered tracks to the left speaker, and
even-numbered tracks to the right by default.
• If your sequence includes more than eight audio tracks, you can
select any eight tracks to monitor at any 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
a black Speaker icon when the audio track is selected for monitor-
ing playback and output.
• To hear more than eight tracks at once, you must mix some of
them down to a maximum of eight. For more information, see
“Mixing Down Audio Tracks” on page 632.
• The Audio Track Monitor button’s Speaker icon (either black or
green) indicates that the tracks are monitored for playback and
output. However, only the track with the green Speaker icon is
monitored for audio scrubbing.
• The topmost Audio Track Monitor button displays the green
Speaker icon (scrubbing) by default until you select another track
for scrubbing. To activate audio scrub for a particular track,
Option+click the track’s Audio Track Monitor button. For more
information, see “Using Audio Scrub” on page 555.
• The Audio Track Monitor button changes to green with a black
Speaker icon when selected for solo monitoring. For more infor-
mation, 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.

508
Monitoring a Solo Track

You can use the k key to quickly select an individual video or audio
track for monitoring during editing.
• To select a track for solo monitoring, press the k key and click the
Track Monitor button for the chosen track. The Monitor icon
changes to green to indicate solo monitoring.

Video track selected for solo monitoring

Audio track selected for solo monitoring

• To deselect solo monitoring, press the k key and click the Track
Monitor button again. The Monitor icon returns to monitoring all
tracks below the monitored track.

Solo monitoring provides several advantages:

• You can overcome slowed playback and cueing when working
with a complex sequence by isolating tracks for monitoring.
• You can quickly isolate an individual audio track without having
to click several Track Monitor buttons to deselect all other tracks.
• You can monitor the upper layers of a composited effect apart
from the lower layers.

Patching Tracks
When working with multiple tracks, you occasionally encounter a cir-
cumstance 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.

509
 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.
• To perform a patch, 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 New source track order

track to a record track identifies the patch.

During Patch After Patch

• To undo a patch, click in the Record monitor, or Timeline. Choose

the Restore Default Patch command from the Special menu, or
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.

After you make the edit, you can continue to work on the same track
or patch to a different track as necessary.

c When patching from one video track to another, the Video Track
Monitor icon moves to the track you patch to. Be sure to return to
monitoring the topmost track, when necessary, to play back and out-
put all video tracks.

510
Locking and Sync Locking Tracks
The system provides two ways of locking tracks:
• You can lock selected tracks to prevent further editing from being
performed on them.
• You can sync lock selected tracks, so that when you trim one track,
the other track follows.

The Sync Lock and Lock buttons of the Track Selector panel display a
Sync Lock icon for sync-locked tracks, and a Lock icon for locked
tracks. The procedure for applying the locks is different in each case.

Sync Lock icon

Lock icon

Locking Tracks

Locking tracks to prevent further editing is especially useful in circum-

stances like the following:
• For video editing, you can lock tracks when you have completed a
set of complex, multilayer edits and want to avoid making acci-
dental changes while you work on other adjacent tracks.
• For audio editing, you can lock audio tracks that contain sync dia-
log that should be maintained while you edit on adjacent video
tracks or audio tracks.
• For projects involving multiple editors, you can lock tracks to pre-
vent unnecessary or accidental changes.

511
 To lock tracks:
1. Select the tracks to be locked (Source, Record, or both).
2. 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 until you choose
Unlock Tracks from the Clip menu.

Sync Locking Tracks

For more information Sync locking affects trimming and splice-in edits. This feature is espe-
on using the sync lock
cially useful when you are working with multiple tracks and want to
feature in Trim mode,
see “Using Sync Lock” maintain sync between two or more tracks.
on page 642.
To sync lock the tracks, do one of the following:
• Click a Sync Lock button to activate the Sync Lock icon for each
synchronized track.
• Click the Sync Lock All button to switch sync lock on and off for
all tracks.

When you need to resume editing on individual tracks, click the Sync
Lock button again to remove the Sync Lock icons.

Adding a Track
To add a new track to a sequence, do one of the following:
• With a sequence loaded in the Record monitor, choose New Audio
Track or New Video Track from the Clip menu.
The new track appears in the Timeline.

512
 • If you want to manage the numbering scheme of tracks rather than
use the consecutive numbering default:
a. Press and hold the Option key and choose New Audio Track
or New Video Track from the Clip menu. The New Track dia-
log box appears.

Track Type pop-up menu

Track Number pop-up menu

b. If you want to switch from the type of new track you chose
(for example, from a new video to a new audio track), choose
the other option from the Track Type pop-up menu.
c. If you want to select a Track Number other than the default
consecutive numbering offered by the dialog box, choose
another number from the track number pop-up menu. You
cannot choose the number of an existing track.
d. Click OK. The new track appears in the Timeline and in the
Track Selector panel.

Deleting Tracks
You can remove one or more tracks from a sequence if you no longer
need the tracks.

To delete one or more tracks from the sequence:

1. Enable the tracks, and press the Delete key. The Delete Track(s)
dialog box appears.
2. Click OK. The tracks are deleted.

513
 When you delete a track, it is permanently removed. If you want to
remove the track temporarily, hide the tracks as described in “Custom-
izing Timeline Views” on page 463.

Adding an Edit (Match Framing)

The add edit function places an artificial edit point between 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

1 2 3 4 5 6 7

Footage continues to play back fluidly.

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 shots. In the Avid system, however,
add edits (or match frames) function differently. Use match frames pri-
marily to divide and isolate portions of a clip or sequence to modify
that portion without affecting the rest of the footage. Once you make
the adjustment, 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. Place the position indicator at the chosen frame.
2. Select the tracks where you want to add the edit.

514
 3. Click the Add Edit button. The edit appears in the sequence, with
an equal sign to indicate a match frame.

Equal sign indicates a match frame.

n By default, the match-frame indicator is white. If a change in level occurs, the

match-frame indicator changes to red.

Removing Match-Frame Edits

You can also remove If you make a mistake when adding an edit, or if you have finished
individual match
performing edit functions with multiple add edits and want to remove
frames by selecting
them in Trim mode and them, you can remove all add edits in the entire sequence, or within a
pressing the Delete key. selected portion of the sequence.
For more information
on Trim mode, see
Chapter 15. To remove match-frame edits:
1. Select the entire sequence or a portion as follows:
• 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.
• Select the entire sequence by removing any IN and OUT
points.
2. Select the tracks from which you want to remove the edits.
3. Choose Remove Match Frame Edits from the Clip menu.
The Avid system removes the edits.

515
 c You cannot remove match-frame edits between segments in which
audio pan or volume levels have been adjusted.

Alternatively, you can select the match-frame edit in Trim mode and
press Delete.

Backtiming Edits
Backtiming an edit is effectively the reverse of the process you nor-
mally 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 shot. You can backtime the edit to match the end
points of the tracks.

Consider the following concepts:

• The Avid system needs only three marks to perform a backtimed
edit. The IN and OUT points set on the record side always take
precedence.
• If you do not mark an IN point in the sequence, the Avid system
uses the position indicator as the IN point.
• If you do not mark an OUT point in the clip, the Avid system uses
the end of the clip as the OUT point.
• If you mark OUT points in both the Source monitor and in the
Record monitor, the Avid system uses the OUT point on the record
side.

516
 To backtime an edit:
1. Mark an OUT in the sequence where you want the edit to end.
Also mark an IN where the edit is to start.
2. Select the appropriate tracks.
3. Load the clip into the Source monitor.
4. Mark an OUT point in the Source monitor to synchronize to the
OUT point in the sequence.
5. Click the Overwrite button.
The source material is added to the sequence, with the synchro-
nized ending.

Additional Offline Aids

Your Avid system provides two features specifically designed to aid
the offline editing process by helping you track and adjust edits to
avoid extra work in the online suite. These features are Dupe Detec-
tion and Color Frame tracking.

Detecting Duplicate Frames

When editing offline with plans to generate an EDL, the Dupe Detec-
tion 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.

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 generat-
ing an EDL.

517
 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

by the automatic Dupe Detection option

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 edit-
ing to locate duplicate frames and remove them as the sequence
evolves.

To activate Dupe Detection, choose Dupe Detection from the Timeline

Fast menu.

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.

n The handle size used by Dupe Detection can be changed in the Timeline Set-
tings dialog box.

Tracking Color-Frame Shifts

If you are preparing for an online edit using 1-inch reel-to-reel sources,
you can enable the Color Framing options to track and correct
instances where an edit cuts between the four fields (two frames)
required to create a complete NTSC color sync signal phase (or eight
fields — four frames — required for PAL).

518
When Color Framing is enabled, green bars appear above the Over-
write and Splice-in buttons (Source and Record monitors) and blink
whenever a color sync signal is interrupted by an edit. The blinking
lights indicate that color framing is out of phase at the edit transition.

End Frame color phase indicator

Green color-frame phase bars
blink during an interruption.
Start Frame color phase indicator

Use the following procedure to enable color-frame tracking while edit-

ing:
1. Double-click Composer in the Settings scroll list in the Project win-
dow.
The Composer Window Settings dialog box appears.

Color Framing pop-up menu

2. Click the Color Framing pop-up menu and choose the appropriate
option:
• For NTSC video, choose the 4-field option.
• For PAL video, choose the 8-field option.
The dialog box displays the setting you selected.
3. Click OK to complete the setting selection.

519
 To correct color-frame interruption as you edit:
1. Note any edits that cause the green lights to blink. You can adjust
the edits now, or place locators to return to these edits and correct
them later.
2. To adjust the edit, enter Trim mode.
In Trim mode, the Avid system displays small green boxes on the
top adjacent frame corners. When the color sync signals are in
phase, the boxes are aligned horizontally.

Color-framing indicator lights

Incoming frame Outgoing frame

Boxes are out of alignment when color-

sync signal is out of phase.

3. Trim one frame at a time on one side of the transition or the other
until the indicator boxes are aligned, and the color-framing indica-
tor lights stop blinking.

If you are careful about color framing while editing, you will not need
to consider the subject again when assembling your master tape. If
you ignore color framing during the edit session, you might have to
make adjustments during online editing if your edits interrupted any
color-frame fields in the sequence.

520
Printing the Timeline
To print the Timeline:
1. Choose Print Timeline from the File menu. The Print dialog box
appears.

n The name of the printer and details of the dialog box will vary depending
upon facilities.

2. Select printing options, then click Print.

The system prints the current view of the Timeline. You can also
use the Print Timeline command to print the Timeline in Heads
view or in Heads and Tails view.

521
 CHAPTER 15
Working in Trim Mode

Basic editing in Source/Record mode and in the Timeline initially pro-

duces 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 shot or between whole segments. You can also trim edits
as you build a sequence, rather than creating a rough cut first. The fol-
lowing sections describe the Trim mode procedures:
• Customizing Trim Mode
• Using Basic Trim Procedures
• Creating Overlap Edits
• Extending an Edit
• Slipping or Sliding Shots
• Maintaining Sync While Trimming
• Using the Transition Corner Display

Customizing Trim Mode

Trim mode provides a unique set of controls within the Composer
window for fine-tuning edits with various trim procedures.

522
 There are two types of trimming modes. From any of the trim modes,
you can perform many of the same functions, such as removing or
adding frames, or slipping or sliding shots.
• Big Trim mode is the system’s default configuration for trimming.
• Small Trim mode is an optional display mode available from Big
Trim mode.

In Big Trim mode, the Source and Record monitors are replaced by dis-
plays of outgoing and incoming frames. Big Trim mode also shows
transition playback loop parameters.

Outgoing Incoming
frames frames

Big Trim Mode

Playback loop Trim buttons Play Loop button

parameters
Frame offset counters

523
 Small Trim mode leaves the Source monitor display intact, but has
smaller displays for incoming and outgoing frames.

Outgoing Incoming
frames Frames
Small Trim Mode

Frame off-
set counters
Trim buttons

Play Loop
button

Use the Trim Settings dialog box to configure basic displays and
functions.

You can learn about Trim settings as follows:

• For an overview of all Trim settings, see “Trim Settings Options”
on page 525.
• For more information on transition playback loop parameters, see
“Trimming During a Playback Loop” on page 536.
• For information on dual-image playback during trims, see “Dual-
Image Playback During Trims” on page 536.

524
 In addition, you can:
• Map trim-related buttons onto palettes in Trim mode, as described
in “About Button Mapping” on page 114.
• Configure a Trim-mode-specific Timeline view, as described in
“Using the Timeline Fast Menu” on page 465.

Trim Settings Options

Table 15-1 describes the Trim Settings options.

Table 15-1 Trim Settings Options

Option Description

Never use Small Trim mode This option sets the system to enter Big Trim mode when you per-
form any of the operations that activate Trim mode. In Big Trim
mode, both Source and Record monitors are replaced by displays of
outgoing and incoming frames. (Once in Trim mode, you can
switch between Big Trim and Small Trim modes using the Trim
Mode button.)

“Go to Transition” uses Small This option sets the system to enter Small Trim mode only when
Trim mode you click the Go to Previous or Go to Next button.

Always use Small Trim mode This option sets the system to enter Small Trim mode when you
perform any of the operations that activate Trim mode. Small Trim
mode leaves the Source monitor display, Information Row displays,
user tool palettes, and some Monitor menu functions intact. It
allows you to continue to perform basic editing functions. (Once in
Trim mode, you can switch between Big Trim and Small Trim
modes using the Trim Mode button.)

Auto focus when This option sets the system to enlarge the Timeline at the transition
entering Trim mode selected for trimming.

Arrows at selected This option sets the system to replace the standard trim rollers with
transitions arrows at selected transitions in the Timeline.

525
 Table 15-1 Trim Settings Options (Continued)

Option Description

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

Dual Image Play This option enables dual-image play while trimming (also known
as dual-roller trim). It displays outgoing and incoming frames in
real time while you trim your edit (adding or shaving the same
number of frames on both sides of a transition).

Transition Play Loop This option specifies the preroll, postroll, and intermission duration
before and after the transition. The Play Loop feature continuously
replays the last trim you performed for review purposes.

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 additional tracks.
• Switch between Big Trim mode and Small Trim mode.
• Switch between trim sides.
• Perform and play back the trim.

526
Entering Trim Mode
There are four alternative methods for entering Trim mode:
• Click the Trim Mode button.
By default, the system enters Trim mode and selects the tracks
nearest the position indicator for dual-roller trimming. This
method is useful for selecting straight-cut transitions on one track
or across video and audio tracks.

Track Selector panel

Default Trim mode selection
for a straight cut

When you deselect one or more tracks in the Track Selector panel,
by default, only the transitions in the highlighted tracks are
selected for trimming. If the transitions are not straight cuts (over-
lap cuts or L-edits), the system highlights the topmost track near-
est the position indicator.

527
 • Lasso the transitions in the Timeline.
Draw the lasso by clicking at a point above the top track in the
Timeline and dragging to surround the transitions. This method is
useful when you need to select multiple transitions staggered
across parallel tracks (overlap cuts) for simultaneous trimming.

Lasso drawn across three tracks

Transitions are selected for dual-roller trim.

You can drag from right to left, or left to right, and you can lasso
single transitions across several contiguous tracks. However,
avoid lassoing more than one transition on a single track because
this activates Segment mode.

n To select transitions located below several track layers, you can draw a lasso
within the Timeline by pressing the Ctrl key while you drag.

528
 • Click the Go to Previous Edit or Go to Next Edit buttons.
By default, the system selects the nearest transition in either direc-
tion of the selected track for dual-roller trimming.
If the transition is a straight cut, the system selects all edited
tracks. If the transition is an overlap edit, with staggered transition
points, the system selects the next transition where all selected
tracks have the transitions at the same point.
• Click the Play Loop button on a palette or the keyboard.
This is useful if you like to trim quickly as you edit, going back
and forth between Trim mode and other edit modes. This method
takes you to the last used transition. For more information on this
method, see “Trimming During a Playback Loop” on page 536.

n The Play Loop button does not appear in Source/Record mode by default. You
must map it to the keyboard or a palette in advance. For information on but-
ton mapping, see “About Button Mapping” on page 114.

Exiting Trim Mode

You can exit Trim mode at any time in one of several ways:
• Click the Source/Record Mode or the Effect Mode button.
• Click a frame step or press an arrow key to exit.
• Press the Escape key on the keyboard to enter Source/Record
mode by default.

529
 • Click a location in the Timecode (TC1) track at the bottom of the
Timeline to exit Trim mode. The position indicator moves to that
location.

Click in the TC track.

The system exits to Source/

Record mode and relocates
the position indicator.

Switching Between Big and Small Trim Modes

When you click the Trim Mode button, by default the system enters
Big Trim mode. If you click the Trim Mode button again, the interface
switches between Big and Small Trim modes.

If you prefer the larger monitors and controls of Big Trim mode, select
this as the default in the Trim Settings in the Project window. When
you need to use the Clip Name menu to switch between sequences, or
have occasion to edit source material into the sequence, you can click
the Trim Mode button to enable Small Trim mode, which includes the
Source monitor controls.

530
Selecting Between Trim Sides
There are three ways to select sides of a transition to trim:

A-side B-side A and B • In Big or Small Trim mode display, click the outgoing (A-side) or
incoming (B-side) monitor to define which side of the transition to
trim. Notice that the pointer changes to a single-roller A-side,
single-roller B-side, or double-roller icon depending on position.

A and B • You can also use the Trim-side keys on the default keyboard (or
A-side B-side map them onto one of the monitor palettes while in Trim mode) to
select side A, side B, or both.

• You can use the Cycle Trim Sides button to cycle between selection
of the A-side, B-side, or both.

Trim Counter The selected parts of the transition are highlighted, and the corre-
A-side B-side sponding rollers appear in the Timeline. Also, one or both of the
frame counter indicators below the monitors are highlighted to
reflect the active trim sides: A-side, B-side, or both. The number
Highlight indicates indicates how many frames have been added or subtracted from
active side. the transition. Click to choose a side. Shift+click to choose both.

Selecting Additional Transitions

While you are in Trim mode, you can select additional transitions for
trimming in different contexts in one of the following ways:

Select tracks on • To quickly select additional transitions on contiguous tracks for

the record side trimming on the same side, click the corresponding record-side
to add transitions.
track selectors in the Track Selector panel. For example, if you
select a single transition in track V1 for single-roller A-side trim-
ming, and want to add A1 and A2 tracks at the same transition,
click the corresponding track selectors.
Likewise, you can deselect tracks in the track panel to remove
transitions on those tracks from the trim procedure.

531
 • To select additional transitions for single-roller trimming in vary-
ing locations on different tracks, Shift+click the transitions in the
Timeline. This method is useful when you are working with stag-
gered 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.

Two A-sides and one B-side selected for asymmetrical trimming

A-side B-side Notice 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.
You do not see the dual roller within the Timeline. To select both
sides, you must first select one side, then Shift+click to select the
other.
• To quickly add multiple transitions to the currently selected transi-
tions, press 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 transi-
tions are trimmed the same number of frames. This allows you to
save time, and in some cases, maintain sync by performing a sin-
gle trim procedure across multiple tracks and transitions.
In this example, tail frames on both shots are
trimmed simultaneously across an overlap edit.

532
Performing a Basic Trim
With your transitions and trim sides selected, you can perform a basic
trim by using one of the following alternative procedures:

1 frame • Use the Trim buttons to trim forward or backward by 1-frame or

10-frame increments.
• Use the numeric keypad at the right side of the keyboard, as fol-
10 frames lows:
- 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 200F and press Enter.
- To move the transition to an exact point in the timecode, type
a timecode number larger than 99, including frames. For
example, type 102 to enter 1 second and 2 frames (1:02).
• Use controls in the Timeline by clicking a roller at the selected
transition and dragging forward or backward in the sequence.
• For greater control:
- Press the Option key as you drag one frame at a time.
- Press the k key 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
one or both trim sides, and the monitors display the new incoming or
outgoing frames.

Audio Solo in Trim Mode

Audio solo in Trim mode allows you to listen to a single audio track
while trimming multiple tracks.

533
 To solo an audio track in Trim mode:
1. Click the Trim Mode button.
2. Press k+click the Audio Track Monitor button next to the audio
track.
The Audio Track Monitor button changes to green with a black
Speaker icon to indicate solo monitoring.

Reviewing the Trim Edit

To review the most recent trim edit, or to play the currently selected
transition while in Trim mode:
1. To see the Timeline in a closer view while you review the trim,
click the Focus button. (Click the button again to return to your
original view of the Timeline.)

n You can also choose an option in Trim Settings to focus the Timeline automat-
ically when you enter Trim mode. For more information, see “Focusing the
Timeline” on page 481.

2. 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.
3. Set and alter the length of the preroll, postroll, and intermission
intervals by clicking in the appropriate timing field and typing a
new value.

Intermission timing

Postroll timing
Preroll timing

534
 4. Stop the playback loop by clicking the Play Loop button.
5. To leave Trim mode, click the timecode track in the Timeline or
click the Source/Record Mode button.

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 mark trim points. This is
similar to the procedure for marking footage on-the-fly, as described in
“Marking and Subcataloging Footage” on page 416.

For convenience, this method isolates the trim controls to just three
keys.

To trim on-the-fly:
1. Click either the outgoing (A-side) or incoming (B-side) monitor to
play in real time during the trim.
2. Select one or more transitions for single-roller or dual-roller trim-
ming.
3. Use the J-K-L keys to step (jog), play, or shuttle through the foot-
age at varying speeds:
• 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.

535
Dual-Image Playback During Trims
Dual-image playback allows you to view A-side and B-side frames in
real time while performing a trim. You can play through the transition
by using the J-K-L keys or the Play and Trim buttons.

To use dual-image playback during trims:

1. Double-click Trim in the Settings scroll list in the Project window
to open the Trim Settings dialog box.
2. Select the Dual Image Play option and click OK.
3. Enter Trim mode and select a transition for trimming.
4. Press one or a combination of the J-K-L keys.
As the transition plays, notice that both the A-side and B-side of
the trim play back in the Trim monitors.
5. When you see or hear the point to which you want to trim, press
the space bar to stop playback and update the transition in the
sequence.

Trimming During a Playback Loop

An alternative method for trimming is to view the transition continu-
ously in a playback loop, and use the keyboard to adjust the transition
in 1-frame or 10-frame increments until you achieve the trim you
want. You can perform this procedure in any of the Trim modes, using
either single-roller or dual-roller trims.

To trim during a playback loop:

1. Enter Trim mode and select transitions for trimming.
2. Click the Play Loop button to repeatedly play the selected transi-
tions.

n To make adjustments to the playback loop for preroll, postroll, or intermission

intervals, see “Reviewing the Trim Edit” on page 534.

536
 3. Press a keyboard equivalent to perform a Trim function. Also, if
you are having difficulty determining which side of the transition
to trim (for example, during a difficult audio edit), use the Go to
IN and Go to OUT keys to review only one side.
The system performs the trim before the next playback loop, so
you can view the trimmed transition during playback, then make
further changes until you are satisfied with the adjustment.
4. When you are finished, exit the playback loop by pressing the
space bar or clicking the Play Loop button.

Creating Overlap Edits

You can use an overlap edit to smooth a transition by giving the
viewer the illusion that the audio or video is shared between two sepa-
rate but adjacent shots. Perform a dual-roller trim to create overlap
edits.

Audio Overlap Example

Before V1 Shot A Shot B Shot C
Trimming A1
A2

After V1 Shot A Shot B Shot C

Trimming A1
A2
Shot B audio is extended Shot C audio is trimmed in

To create an overlap edit:

1. Perform a straight-cut edit between two shots, including audio
and video tracks:
• If the timing of the video edit is crucial, mark edit points
according to video.
• If the timing of the audio transition is crucial, edit to audio.

537
 2. Perform a dual-roller trim on either the video track or the audio
tracks, but not both:
• If the video transition occurs at the correct place, but you want
the audio from one shot 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.

You can also create an overlap edit for an audio track by using the
Audio Mark buttons. See “Marking Audio Clips” on page 421.

Extending an Edit
Use an extend edit to perform dual-sided (A-side and B-side) trims on
selected tracks from within Source/Record mode. Using an extend
edit allows you to quickly create a split edit without entering Trim
mode. It also allows you to establish the exact frame that you want to
trim to by using the position indicator. (When you enter Trim mode,
by default, the position indicator moves to the nearest transition.)

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.

538
2. Find the point in the sequence to which you want to trim. If the
trim point is before the edit, mark an IN. If it is after the edit, mark
an OUT.

Video track is selected for

extending back.

Mark IN

3. Click the Extend button. You can map the Extend button from the
Command palette. For information on the Command palette and
button mapping, see “About Button Mapping” on page 114.
The adjustment appears in the Timeline.

Video track is extended back.

539
Slipping or Sliding Shots
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

There are three ways to select segments for either slip or slide trim-
ming:
• While in Source/Record mode, make a selection for slipping and
siding. Then enter Trim mode by dragging a lasso from right to left
around a segment (two or more transitions). To select for slide
trimming, press the Option key while you drag.
Drag right to left around at least two transitions.

IN OUT

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.

c Be sure to draw the lasso from right to left; if you draw from left to
right, you enter Segment mode.

• While in Trim mode, double-click a segment to select it for slip

trimming. To select it for slide trimming, press the Option key
while you double-click.

540
 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.
• 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 shot and the incoming head frame of the
following shot in the sequence to prepare the clip for sliding.
You can also use this method to select two or more contiguous seg-
ments on the same track, and additional segments on other tracks
for slipping or sliding as a group.

n You must select all multiple selections for either slipping or sliding. You can-
not perform both functions simultaneously.

You can slip and slide the video and audio for a shot together. Alter-
natively, slip and slide a single segment of video or audio indepen-
dently from the rest of the shot. You can also slip shots in Source/
Record mode by using the Slip Left and Slip Right buttons.

The Slip/Slide Display

Once you select the clips for slipping or sliding, the Trim mode inter-
face changes to a four-frame display. For more information on four-
frame display, see “About Four-Frame Display” on page 489.

541
Outgoing and Incoming video (or A- and B-sides)

Tail and head frames

of the selected clip

542
 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.

Surrounding material
remains fixed. Slip 1 frame to the right.

Before Slip 1 2 3 4

Frames

After Slip 2 3 4 5

• 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.

Surrounding material Slide 1 frame to the right.

is selected.

Before Slide 1 2 3 4 1 2 3 4

Frames

After Slide 1 2 3 4 5 2 3 4

Performing the Slip or Slide Trim

To slip or slide a shot:
1. After selecting the segments, as described in “Selecting Segments
for Slip or Slide Trimming” on page 540, do one of the following:
• 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 time-
code values, and press Enter.

543
 • Use the trim keys or buttons to shift the selection by 1-frame
or 10-frame increments.
• Use the J-K-L keys.
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
shot, the trim stops. Similarly, when you reach the next transition
while sliding a shot along a track, the trim stops. A bright white
line at the transition indicates the limit. After completing the ini-
tial slide, you can perform another slide in the same direction.
3. When you finish, exit Slip mode or Slide mode either by clicking
another transition for trimming, or by clicking either the Source/
Record Mode or the Effect Mode button to exit Trim mode.

Slipping Shots in Source/Record Mode

You can use this alternative procedure to slip a shot in Source/Record
mode by using the Slip Left and Slip Right buttons, as follows:

n The Slip Left and Slip Right buttons do not appear on the interface or
keyboard by default. You must map them from the Trim tab on the Command
palette to use this procedure.

1. In Source/Record mode, select the tracks for the clips to be

slipped.
2. Place the position indicator within the shot that you want to slip.
3. Slip the shot by doing one of the following:
• Click the Slip Left button to slip the shot one frame left
(revealing later material from the source clip).
• Click the Slip Right button to slip one frame right (revealing
earlier material from the source clip).
• Press the Option key while you click the Slip Left or Right but-
ton to trim 10 frames at a time.

544
Maintaining Sync While Trimming
For more information Because single-roller (A-side or B-side) trims shorten or lengthen the
about sync relation-
duration of the track being trimmed, any relationships that exist with
ships, as well as addi-
tional procedures for other tracks downstream of the trim will be thrown out of sync. Trim
managing sync, see mode has two features to ensure that you do not break sync uninten-
Chapter 17. tionally between two or more video and audio tracks when perform-
ing single-roller trims.
• You can add black to the track while trimming.
• You can sync-lock tracks that maintain a synchronized relation-
ship.

n Because dual-roller trims do not cause sync breaks, you can only add black
while performing single-roller trims.

Adding Black When Trimming

If you are trimming a You can use the Ctrl key while trimming to add black on either the A-
video track and need to
side or the B-side to maintain the overall duration of the track and the
fill the black, you can
perform a replace edit sync relationships. The system adds a black segment to fill the dura-
to add another piece of tion of trimmed frames.
footage. For more infor-
mation, see “Perform-
ing a Replace Edit” on
page 449.

545
 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

(Ctrl key + trim)

Trimming with Sync-Locked Tracks

You can sync lock tracks to maintain a synchronized relationship when
you perform a single-roller trim.

Sync Lock icon Single-roller A-side trim

A1
Before
A2
Trimming
A3

Maintains the relationship

A1
After
Trimming A2
A3

546
 Trim with sync-locked tracks as follows:

n Sync-locked tracks aid only single-roller trim functions in Trim mode because
dual-roller trims do not cause sync breaks.

1. Sync lock the tracks as follows:

• Click the Sync Lock button in the Track Selector panel for the
track you want to keep in sync. The Sync Lock icon appears.
• Click the Sync Lock All button to switch sync lock on and off
for all tracks.

Sync Lock icon

Sync Lock icon

Sync Lock All button

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 indica-
tor, leaving fill.

547
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,

the additional sync-locked segments slide back in the
sequence to maintain sync until they encounter another seg-
ment 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 seg-
ments 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.
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 estab-
lished by the position indicator. Fill is added where the split
occurs.

n Slip and slide trims are not protected for sync. Be sure to select all synced
tracks for simultaneous slipping or sliding to avoid sync breaks.

548
Using the Transition Corner Display
The Transition Corner Display is a Trim Mode interface that shows six
important frames you use as reference points when trimming a transi-
tion effect:

The two frames between

Frames on which the Frames on which the
Transition Corner which a cut point defines
transition effect starts the transition transition effect ends
Display button

549
 Use the Transition Corner Display to trim the transition effect’s start
frames, end frames, and duration. As you trim the transition effect,
you will be able to see the corresponding frame adjustments in all six
monitors simultaneously.

c The Transition Corner Display is only applicable to the trimming of

transition effects (for example, dissolves, wipes, picture-in-picture,
and so on). It is not designed for trimming key, image, or segment
effects.

To trim a transition by using the Transition Corner Display:

1. Select a transition effect for trimming:
• Lasso the effect in the Timeline from right to left.
• Enter Trim mode and click on the transition in the Timeline.
• Use the Go to Transition buttons to enter Trim mode and step
through transitions until you highlight the transition you
want.
2. Click the Transition Corner Display button.
The button changes to green, and the display is enabled.
3. Trim the transition effect by clicking the outgoing or incoming
frame you want to trim, then use one of the following three trim
methods:
• Position your mouse on the rollers and drag the transition
backward or forward. (Hold the Option key to roll forward or
backward slowly one frame at a time.)
• Click the appropriate trim button to trim backward 10 frames;
trim backward 1 frame, trim forward 1 frame, or trim forward
10 frames.

550
 • You can either:
- Enter the number of frames you want to move forward on
the numeric keypad, then press Enter.
- Type a minus sign (–) and enter the number of frames you
want to move backward, then press Enter.
4. To review your edit, click the Play Loop button.

551
CHAPTER 16
Working with Audio

You edit audio by using many of the same techniques and tools you
use to edit video, including Source/Record mode, Segment mode, and
Trim mode functions. Your Avid 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 Equaliza-
tion (EQ) tool. These procedures are described in the following
sections:
• About Audio Tools
• Accessing Audio Effect Tools
• Audio Editing Aids
• Using the Audio Mix Tool
• Using Audio Gain Automation
• Using the Audio EQ Tool
• Using Digidesign AudioSuite Plug-Ins
• Recording Voice-Over Narration
• Fine-Tuning Audio Transitions
• Mixing Down Audio Tracks

552
About Audio Tools
The Avid 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:
• Use the Audio tool primarily for adjusting and calibrating global
input and output levels when digitizing from analog sources or
outputting to tape. For more information, see “Preparing for
Audio Input” on page 177 and “Preparing for Output” on
page 682.
• Use the Audio Mix tool primarily for adjusting pan and volume
levels on clips or whole tracks within a sequence. For more infor-
mation, see “Using the Audio Mix Tool” on page 563.
• Use the Audio Gain Automation feature in the Timeline for finer
control over volume keyframes and ramps within a sequence. For
more information, see “Using Audio Gain Automation” on
page 573.
• Use the Audio EQ 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 594.
• Use the Digidesign AudioSuite Plug-Ins to access third-party
audio plug-ins. For more information, see “Using Digidesign
AudioSuite Plug-Ins” on page 608.
• Use the Audio Punch In tool to record up to two channels of audio
directly into the Timeline for voice-over narration. For more infor-
mation, see “Recording Voice-Over Narration” on page 623.

553
Accessing Audio Effect Tools
You can access the following tools from the same window:
• Audio Mix (for adjusting pan and volume)
• Automation Gain
• AudioSuite
• Audio EQ

To access one of the audio effect tools:

1. Choose one of the tools from the Tools menu.
2. To switch to another tool, choose the name from the Audio Effect
menu.

Audio Effect menu

To keep more than one tool open at the same time, choose the tool
from the Tools menu or press and hold the Option key while
choosing a new tool from the Audio Effect menu.

n To prevent confusion, the Avid system allows only one copy of a given audio
effect tool to be open at any given time.

The following section describes two features that help you locate tran-
sitions and monitor audio samples while editing or adjusting sound
with the tools.

554
Audio Editing Aids
The Avid system provides 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.

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 helps isolate por-
tions of audio to accurately mark edit points, or to 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 mimics the variable pitch playback of tradi-
tional analog tape.
• Digital audio scrub 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 adjust-
ments.

Try both and see which works best in different situations.

555
Selecting Tracks for Scrubbing

By default, the system selects the topmost audio track for scrubbing.
The Audio Track Monitor button with a green Speaker icon indicates
that the track is selected for scrubbing. Always check which track is
selected for scrubbing and select the correct track, if necessary, to
avoid marking or trimming the wrong track.

Green Speaker icon indicates a

track is selected for scrubbing.

To select a track for scrubbing, press and hold the Option key while
clicking the Audio Track Monitor button in the Track Selector panel
beside the track in the Timeline.

The Audio Track Monitor button’s Speaker icon changes to green to

indicate that it is selected for scrubbing.

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 three times the nor-
mal speed and comes back in at two times normal speed.

556
 To monitor audio with three-button play:
1. Select the correct track and adjust playback volume as necessary.
2. Play the audio, using the three-button variable speed playback
procedures described in “J-K-L Keys (Three-Button Play)” on
page 413.

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 all the way from 1 to 300 fps
(NTSC), depending on manipulation of the mouse.

To monitor audio with the mouse:

1. Select the correct track and adjust playback volume as necessary.
2. 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 at different speeds.
To deactivate shuttle, press the space bar or the Escape key.
3. Play the footage with the mouse, as described in “Using the
Mouse” on page 415.

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:

557
 • The frames of audio you hear are always at your point of destina-
tion. 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 position indi-
cator (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 Incoming frames

(behind position indicator) (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 indica-
tor), and one frame of incoming audio (ahead of the position indica-
tor). For the common purpose of isolating 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 indi-
cator (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 loca-
tion of the position indicator.

558
 To adjust the parameters for digital scrub:
1. Open the Audio Settings dialog box, using one of the following
procedures:
• Double-click Audio in the Settings scroll list of the Project
window.
• If you have digital scrub parameters displayed in the second
row of information above the Source or Record monitors, you
can Option+click the digital scrub parameters.

Source-side digital Record-side digital

scrub parameters scrub parameters

The Audio Settings dialog box appears.

2. Click in a text box and type a new number of outgoing or incom-

ing frames on the source side, the record side, or both.
The new parameters are now in effect.

559
 n To display audio scrub parameters in the Source and Record monitors, open
the Composer Settings dialog box in the Project window’s Settings scroll list
and choose Digital Scrub Parameters.

Performing the Digital Scrub Procedure

To locate an audio edit point in either source-side or record-side audio

by using digital scrub:
1. Select an audio track for scrubbing, and adjust the output volume,
if necessary.
2. Press the Caps Lock key to activate digital audio scrub.

n 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 two ways to

hear the scrub:
• Drag the position indicator.
• Click the step buttons to step through in fixed increments:
1 frame backward, 1 frame forward, 10 frames backward,
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 parame-
ters, 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.

560
Using 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, that you choose from the Timeline Fast menu.

Displaying Audio Waveforms

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. Choose Audio Data from the Timeline Fast menu. A submenu
appears, containing two waveform plot options.
Choice of plot type is a matter of visual preference:
• The Energy Plot option displays only the peaks of the audio
amplitude in the waveform from the baseline. It is a graphical
representation of the mathematical Energy Function for audio
waveforms.

Waveform energy plot

561
 • The Sample Plot option displays the entire amplitude of the
audio waveform. This is the same as the sample voltage val-
ues you would see on an analog oscilloscope waveform.

Waveform sample plot

After you make a choice, the waveform appears in the selected

tracks.
3. To maximize the visibility of your waveform display, use any of
the following optional procedures:
• 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.
• Enlarge or reduce the height of selected audio tracks, and sub-
sequently the waveform displays, by pressing k+L to
enlarge or k+K to reduce.
• You can also increase or reduce the size of the sample plot
image itself, without enlarging its track, by pressing
k+Option+L to enlarge, or k+Option+K to reduce. This is
useful when viewing detail in quiet passages.

n 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 pro-
vides faster displaying of the Timeline because the waveform is only displayed
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 you have the position indicator at the point you
want in the waveform, you can mark, trim, or perform any other
function.

562
 n Audio waveform plots can slow your navigation through the Timeline. You
might want to use them selectively. To facilitate this, you can create a custom
Timeline view, as described in “Customizing Timeline Views” on
page 463.

Once you have created a customized waveform view, you can simply select it
from the Timeline View pop-up menu when needed, and return to another
view when done.

Muting the Audio

The Mute button, which is located in the Play tab in the Command
palette, allows you to quickly turn all sound tracks on and off during
editing. This is especially convenient when fine-tuning complex audio
and video edits, making it possible to shift quickly between the two.
You can set your audio levels and speaker volumes and mute them
whenever necessary without changing the settings.

Click the Mute button to mute all audio tracks. Click it again to turn
them on.

Using the Audio Mix Tool

For additional informa- The default volume for master clips is set to zero (that is, with no
tion on audio levels for
attenuation) when you first digitize the media. The pan option in the
digital cut output, see
“Preparing for Output” Audio Settings dialog box determines how the system plays back the
on page 682. 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 264.

The Audio Mix tool allows you to:

• Adjust pan and volume for an individual clip, a whole track, sev-
eral tracks at once, or a whole sequence.

563
 • Adjust the volume, pan, or both for one track at a time.
• Adjust the volume, pan, or both for multiple tracks simulta-
neously by ganging them together.

The system uses these adjustments for all playback, including output
to a digital cut.

n 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 informa-
tion, see “Using Audio Gain Automation” on page 573.

Open the Audio Mix tool by choosing Audio Mix from the Audio
Effect menu.

Output Options
Audio Effect menu Play Loop button pop-up menu Fast Menu button
Display/
Hide
Sliders
button

Track Stereo Mix

Selection Tracks
pop-up pop-up
menu menu

Volume
level

Pan level
and slider

564
Resizing the Audio Mix Tool
You can simplify the Audio Mix Tool display by clicking the Display/
Hide Sliders button to switch between hiding and displaying the vol-
ume sliders.

With the window 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.

You can resize the entire Audio Mix tool by dragging the edge or cor-
ner 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:
• To adjust a track in a source clip, make sure the Source moni-
tor is active.
• To adjust a track in a sequence, make sure the Record monitor
is active.
2. Select the track or portion of a track to be adjusted:
• To adjust the track in a single edited shot in a sequence, place
the position indicator in the shot.
• 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.

565
 3. Choose Audio Mix from the Tools menu to open the Audio Mix
tool.

Output Options Stereo Mix Tracks

Audio Effect menu pop-up menu pop-up menu

Track Selection
pop-up menu

Gang buttons

For Media Composer, the Audio Mix tool contains eight panels,
one for each audio track you can monitor and adjust. The Audio
Mix Tool window can only display tracks that exist in the
sequence, or tracks that were digitized with the source clip.
4. Choose the type of audio output from the Output Options pop-up
menu:
• Choose Stereo Mix to direct even tracks to the left channel and
odd tracks to the right channel.
• Choose Mono to make adjustments with all levels panned to
center between speakers.
• Choose Direct Out when performing a digital cut for output of
up to eight source tracks to a maximum of eight output

566
 channels. For more information, see “Adjusting Output on
Eight-Channel Audio Board Systems” on page 695.
5. Select the audio track to be adjusted by choosing the track from
the Track Selection pop-up menu in a panel.
6. Choose the type of mix you want when applying stereo mix out-
put from the Mix Tracks pop-up menu.
You can choose the following channel combinations: 1 & 2, 3 & 4,
5 & 6, or 7 & 8. The system sends a stereo mix to the two channels
you select. Material that is panned to the left will be sent to the
odd channel and material that is panned to the right will be sent to
the even channel.
7. With the Audio Mix Tool window 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 or Record monitor,
depending on which monitor was active when you opened the
Audio Mix tool. Switch your selection by clicking the appropriate
Monitor icon.
8. Decide whether to raise or lower the volume, or pan left or right.
This adjusts the volume or pan for a single clip.

Volume Level display

Click Gang buttons to select a track
or to gang multiple tracks.

Audio Level slider

Pan Value display

567
 To change a value in the panel, use any of the following methods:
• Click a number along the vertical edge of the Audio Level
slider.
• Click the slider and type a value.
Values are cumulative until you press Return. For example, if
you want to enter the value 12, simply type it. However, if you
enter 1 and then want to change the value to 2, press Return
before typing the 2.
• Click the slider and then drag it.
• Click the Volume Level display box 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 volume slider.
• Adjust pan by clicking the Pan Value display to reveal the
pop-up slider, then drag the slider to a new position.
If the sequence is playing, notice that play stops when you make
Pop-up slider for pan
an adjustment (the Audio Mix tool window does not provide real-
time audio control). You can adjust volume while playing the clip,
see “Adjusting Volume While Playing an Audio Effect” on
page 572.
9. Apply the adjustments to a chosen region of the track by using the
Audio Mix Fast menu located at the upper right of the tool.

Stereo Mix Tracks Fast Menu

pop-up menu button

Options in the Fast menu appear dimmed until you select a track
by clicking the Gang button. (To apply the adjustments to multiple
tracks, click additional gang buttons.) The options vary depending

568
 upon the types of marks you set within the clip or sequence,
as follows:

n The Clip Gain values set by the Audio Mix tool are the values for the entire
segment that was set; for example, you cannot set a subsection of a segment
without affecting the entire segment.

• With IN and OUT marks: Commands apply adjustments to

selected tracks between the marks.
• With an IN mark (no OUT mark): Commands apply adjust-
ments to full clips from the IN point to the end of selected
tracks.
• With no marks: Commands apply globally (across entire
tracks).
To apply the adjustments, do one of the following:
• The Set commands (Set Pan, Set Level) apply the same pan or
volume levels currently set in the Audio Mix tool to all seg-
ments in the marked region of the tracks.
• The Adjust Pan/Vols command opens a dialog box for adding
incremental adjustments to all current settings across seg-
ments in the marked region of selected tracks.

For example, when you enter –1 into the Gain Adjustment

field, the various audio level settings across all segments of

569
 the marked region of selected tracks will be lowered by
exactly 1 dB when you click OK.
• The Remove Pan/Vols command deletes all audio mix adjust-
ments that have been applied to segments in the marked
region of selected tracks. Each audio clip is restored to its pre-
vious pan and volume settings.
10. Play through the audio again, using the J-K-L keys. Repeat steps 8
through 10 until you are satisfied with the pan and volume levels.
The system uses the new settings whenever you play back or
record the sequence.

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
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 button in the first track panel.
2. Click the Gang button of any additional panels. Click the button a
second time to deselect it.
3. Adjust either volume or pan for one of the tracks by using any of
the techniques described in the previous section, and the other
tracks will maintain the same relative levels.

When you gang two or more panels, you gang both the volume and
pan sliders.

570
 To set all ganged sliders to the same value:
• For volume, click the number along the vertical edge of the vol-
ume slider or enter a value into one of the Volume Level displays.
• For pan, click the Pan Value display box and enter a value.

Ignoring Existing Volume and Pan Settings

You can have the system ignore the volume settings established with
the Audio Mix tool when playing back or recording a sequence. You
can also deactivate the pan settings by choosing Mono or Direct Out
from the Output Options pop-up menu.

To turn off current volume adjustments, click the Ignore Volume check
box located next to the Output Options pop-up menu at the top of the
Audio Mix tool.

The volume controls disappear. Deselect the option to restore the cur-
rent settings.

To turn off pan adjustments, choose one of the following from the Out-
put Options pop-up menu:
• Direct Out plays back the tracks with their default pan settings.
• Mono pans all tracks to center during output.

When you choose the Direct Out option, the pan controls disappear in
the Audio Mix tool. Choose Stereo Mix to restore the current settings.

571
Adjusting Volume While Playing an Audio Effect
You can use the Play Loop button to create or change the volume on an
Audio Mix effect while you play the clip.

Play Loop button

To adjust volume while playing an effect:

1. Choose an existing Audio Mix effect or identify an area of the clip
with IN and OUT marks.
2. Click the Play Loop button. The Avid system repeatedly loops
through the audio effect.
3. Adjust the volume as necessary.
4. Click the Play Loop button to stop. The Avid system automatically
saves your changes as part of an Audio Mix effect.

Limitations

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 Play Loop 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 system to apply the changes to the clip. The response time for
this feature is considerably longer than for changing EQ parameters
while using Play Loop. You might need to click the Play Loop button
to complete the edit and then play the effect to hear the result.

572
 To improve the response time, you can do the following:
• Monitor as few audio tracks as possible.
• Deselect the video track if practical.
• Use IN and OUT marks to choose a narrow interval to adjust.

n For additional ways to change the volume while playing an audio effect, see
“Recording Audio Gain Information” on page 585.

Using Audio Gain Automation

Audio Gain Automation (also known as audio volume rubberband-
ing) allows you to change the volume of a segment by adding and
manipulating gain keyframes in the Timeline. The following illustra-
tion shows an expanded audio track containing gain keyframe infor-
mation.

Graphic representation of keyframes and gain

Gain values in decibels ramps in the Timeline

The Avid system uses a linear ramp to change the volume from one
gain keyframe to the next.

573
Automation Gain Values and System Clip Gain Values
When you add a keyframe, the Avid system adds the point at the level
currently set for that track in the Audio Mix tool.

Values set by the volume sliders in the Audio Mix tool window are
referred to as system clip gain values. Audio gain keyframes are not
additive to the system clip gain values. When you move a gain key-
frame up or down, it cancels the system clip gain for that point in the
sequence. Use of Automation Gain disables gain sliders in the Audio
Mix tool. For more information, see “Using the Automation Gain
Tool and Audio Mix Tool Windows” on page 592.

Adjusting Volume in the Timeline

To use Audio Gain Automation to adjust volume:
1. Select an audio track for adjusting volume.
2. Choose Volume from the Audio Data submenu of the Timeline
Fast menu.

n If there is audio volume data on a clip and Audio Data 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.

n You can enable both Volume and Energy Plot or Sample Plot in the Audio
Data submenu of the Timeline Fast menu to display audio gain meters and
keyframe information superimposed over waveform plots in the Timeline.

574
3. (Option) Expand the audio track by pressing and holding k+L,
or by pressing and holding the Option key and dragging in the
Track Selector panel. To drag in the Track Selector panel, press and
hold the Option key and move the pointer in the panel. When the
pointer changes to a cross, drag the cross to expand or shrink the
track as shown in the following illustration.

The following illustration shows the expanded audio track with

volume data:

4. Click the Add Keyframe button in the FX tab of the Command pal-
ette to add keyframes along the Timeline. The Avid system adds a
keyframe to each enabled track.

575
 A straight line appears in the selected audio track. The line shows
the current gain level for that track in the Audio Mix tool.

n You adjust gain in the Automation Gain Tool window by dragging keyframes
in the Timeline or by placing the position indicator on a keyframe and adjust-
ing the slider.

After you add one keyframe to a segment, you can adjust the gain for
the entire clip. When you move the keyframe up or down, the corre-
sponding Volume slider in the Automation Gain window moves, also.

By default, the Add Keyframe button is mapped to the double quote

key (“). You can map the button to another key or to existing button
locations in the Source/Record monitor.

Deleting Audio Gain Keyframes

To delete keyframes, do one of the following:

• To delete a single keyframe, move the pointer over the point.
When the pointer changes into the hand pointer, press the Delete
key. If there are identical keyframes in other active tracks, the sys-
tem deletes them also. (Do not press the mouse button.)
• To delete groups of keyframes, mark an IN to OUT or mark the
entire segment, then delete any keyframe in the marked area.

Moving Audio Gain Keyframes on the Timeline

To move keyframes, do one of the following:

• 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.

576
n To snap to the decibel lines, press and hold the k key while you drag the
point.

• Move a keyframe horizontally to move the start or end of a ramp.

Place the pointer over a keyframe. When the pointer changes into
the hand pointer, press and hold the Option key, click the key-
frame, and drag it.

• Move several keyframes vertically on a track at the same time by

placing IN and OUT marks to select the area you want. When you
move one keyframe up or down within the marked area, all key-
frames within the marked area move in relation to each other. This
works for all enabled audio tracks.

This is similar to ganging sliders on an audio mixing board or in the

Audio Mix tool.

577
Using an External Fader Box to Adjust Volume
Your Avid system supports the following two external fader boxes:
• 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 sliders don’t move automatically as you record audio
gain information and they must be manually zeroed prior to
recording. See “Position Indicator Lights” on page 583 for
information on setting the sliders manually.
• JL Cooper MCS-3000X MIDI Automation controller. This unit
supports flying faders. While recording gain, the sliders auto-
matically move. You can grab a slider and move it during an
automation gain recording to quickly punch in a small change
in volume.

n The external fader is optional. It is not required to perform Audio Gain Auto-
mation recording.

For more information on these external fader boxes, see “Recording

Audio Gain Information” on page 585.

Using an External Fader to Adjust the Volume of Individual Keyframes

You can use an external fader to edit the volume for individual key-
frames as follows:
1. Click the HW button on the Automation Gain Tool window. The
button changes to pink to indicate that the Avid system is receiv-
ing input from the fader box.
2. Click an audio gain keyframe. (On the MCS-3000X, the sliders
automatically adjust to the volume setting.)
3. Move the corresponding slider to adjust the volume for the key-
frame.

578
 For information on connecting a fader, see “Connecting an External
Fader to Your Avid System” on page 589.

About the Automation Gain Tool Window

Before this section discusses recording volume in the Timeline, it
describes the Automation Gain Tool window in detail. The following
illustration shows the Automation Gain Tool window:

Recording status light Hardware Toggle button

Cancel button Fast Menu button

Record button

Track Solo
button

External fader box

position indicators

Gang button

579
Some portions of the Automation Gain Tool window are identical to
the Audio Mix Tool and Audio Punch In Tool windows. For example,
the following record features are identical to the Audio Punch In Tool
window:
• The Record button starts and stops the recording.
• The Cancel button stops a recording without saving the recorded
data.
• The Recording status light is black when there is no activity, green
during a preroll, red during recording, and blue during a postroll.
• The PreRoll text box allows you to provide a visual cue before the
recording begins. The Avid system backs up the blue position
indicator for the prescribed number of seconds. During the preroll,
the Recording status light is green.
• The PostRoll text box gives the same kind of visual cue at the end
of the recording. During the postroll, the Recording status light is
blue.

The remainder of the features described in this section are specific to

the Automation Gain Tool window.

580
Hardware Toggle Button

The Hardware Toggle (HW) button indicates which sliders are control-
ling the volume: the external fader sliders or the Automation Gain
Tool window sliders.

Button Color To Enter the Mode Description

Gray (default) Click the button or turn off The sliders in the Automa-
the external fader. tion Gain Tool window con-
trol volume for automation
gain recording. The system
ignores the external fader.

Pink Click the button or press the FaderMaster Pro:

Record button while the The external fader sliders
external fader is on. control volume. The sliders in
The HW button changes to the Automation Gain Tool
pink when you are using an window do not allow user
external fader box to record input.
automation gain.
MCS-3000X:
The hardware and software
sliders move at the same
time, and either one can be
used to control volume.

Blue Option+click the button. The external fader sliders

control the sliders in the
Automation Gain Tool win-
dow. This is a test mode. You
cannot edit volume data
when the button is blue.

581
Track Solo Button

The Track Solo button (Speaker icon) lets you mute and solo individ-
ual audio tracks during audio gain automation recording.

Button Color Description

Gray The audio track is muted.

Yellow The track is soloed. You can solo more than one track
at a time.

Green (default) The audio track is on.

Click the Track Solo button or press the number keys 1 to 8 to switch
between solo and on. The number keys (at the top of the keyboard) let
you quickly select a track.

To switch between on and mute, use the Option+click or Option+num-

ber keys.

When you turn off solo, the button returns to its previous state (mute
or on). To change the previous state of a button, Option+click the but-
ton.

c While the Automation Gain Tool window is active, the Avid 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.

582
 You can also use the buttons above each slider on the external fader to
solo or mute an individual audio track as follows:
• The FaderMaster Pro has one button that you can use to solo or
mute an individual audio track during audio gain automation
recording:
- Press the button above the slider once to switch between solo
and on.
- Press the button above the slider twice quickly to switch
between mute and on.
• The MCS-3000X has separate buttons for Solo and Mute. Mute
buttons are on the bottom row and Solo buttons are above the
Mute buttons. See “Connecting an External Fader to Your Avid
System” on page 589 for more information.

Position Indicator Lights

Position The position indicator lights provide information about the current
indicator location of the sliders on the external fader.
lights

Colors Description

Both lights are blue. The fader slider matches the current Timeline
volume.

Only top light is blue. The slider is higher than the Timeline volume.

Only bottom light is blue. The slider is lower than the Timeline volume.

Both lights are gray. Either there is no fader attached to the sys-
tem or the Avid system does not recognize
the fader. If the system does not recognize
the fader, check the connection as described
in the Avid Media Composer Products Setup
Guide.

583
 The position indicator lights are especially useful for the FaderMaster
Pro because it is important to position the fader sliders close to the
track volume before you start recording. Otherwise, you might create
an unwanted jump in the volume when you move the sliders during a
recording.

n The Avid system does not record values from a slider on the FaderMaster Pro
until you move the slider. Then it reads the current position of the slider 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 sliders on the MCS 3000-X because
the unit automatically resets the sliders to match the volume data in
the Timeline.

Automation Gain Tool Fast Menu

To make the Automation Gain Tool Fast menu active for a given track,
click the Gang button for that track.

The following illustration shows the Fast menu when an In/Out area
Gang is marked. When no area is marked, the words In/Out are replaced by
button
the word Global. This allows you to perform the operation on the
entire clip rather than only the marked region.

The Automation Gain Fast menu is similar to the Audio Mix Tool Fast
menu with the addition of the following items:
• Filter Automation Gain — In/Out removes approximately 50 per-
cent of the keyframes in the marked region. If you press and hold
the Option key while selecting the menu item, the system removes
all keyframes in the selected area, except for the minimum and

584
 maximum peaks.The Avid 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. For
more information, see the examples later in this section.
When there are no In/Out marks on the track, the menu item is
Filter Automation Gain — Global. This option allows you to
remove keyframes from the entire track.
• Remove Automation Gain — In/Out removes all of the audio key-
frames within the marked region.
When there are no In/Out marks on the track, the menu item is
Filter Automation Gain— Global. This option allows you to
remove all of the audio keyframes on the track.

Recording Audio Gain Information

You can instruct the Avid 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.

The Avid system supports two methods for recording audio gain
information:
1. Use the sliders on the Automation Gain Tool window to adjust
volume while you play the clip.
2. Attach an optional fader box to the system and use the sliders on
the fader box to adjust volume.

Using the Automation Gain Tool Window Sliders to Record Gain Information

This procedure describes how to record audio gain information with-

out using an external fader box.

585
 To record audio gain information by using the Automation Gain Tool
window sliders:
1. Select an audio track for adjusting volume.
2. Choose Volume from the Audio Data submenu of the Timeline
Fast menu.

n If there is audio volume data on a clip and Audio Data 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.

3. (Option) Expand the audio track by pressing k+L, or by pressing

and holding the Option key and 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 and OUT points.
5. Click the Record button to start recording your actions.
6. Listen to the audio and adjust the Volume sliders on the Automa-
tion Gain Tool window as necessary.
The Avid system adds volume keyframes to the audio in the Time-
line. Because it records every movement of the sliders, there are
usually more keyframes than you need.
7. To decrease the number of keyframes:
a. Click the Gang button for the track to enable the Fast menu.
b. Choose Filter Automation Gain Control — In/Out from the
Automation Gain Tool Fast menu.

586
 8. Repeat step 7 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 desired 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 574.

Using a Keyboard Shortcut

You can map the Fast Forward and Rewind buttons to your keyboard
to speed your editing of audio keyframes. With the Automation Gain
tool active, click the Gang button on a track to turn it green. Then you
can use the Fast Forward and Rewind buttons to jump to the next or
previous audio keyframe.

Using an External Fader Box to Record Audio Gain Information

To record audio gain information by using an external fader:

1. Attach the fader box to your system (see “Connecting an External
Fader to Your Avid System” on page 589).
2. Move the blue position indicator to the section of audio that you
want to adjust and mark IN and OUT points.

Position 3. (FaderMaster Pro only) Note the color of the position indicator
indicator lights for the track you want to adjust. Move the fader slider until
lights
both lights are blue. If you cannot adjust it to the exact position
where both 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.

587
 6. Depending on the fader box, listen to the audio and do the
following:
• (FaderMaster Pro) When you want to start recording volume
information, move the corresponding slider. The system does
not begin recording until you move a slider.
• (MCS-3000X) When you want to start recording volume infor-
mation, either touch or move the corresponding slider. The
MCS-3000X sliders are touch sensitive.

n If the clip you are listening to contains audio volume keyframes from a previ-
ous automation gain recording, the MCS-3000X automatically moves to dis-
play the changing values. This allows you to make quick adjustments to
existing automation gain recordings.

7. Click the Play Loop button to play the clip and test your results.
8. To decrease the number of keyframes, choose Filter Automation
Gain Control— In/Out from the Automation Gain Tool Fast
menu. (Click the Gang button for a track to enable Filter Automa-
tion.)
If you delete too many keyframes, use the Undo command to
restore them.
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 desired volume changes.

Using the Snap Mode Feature on the MCS-3000X Fader

The MCS-3000X has a Snap Mode button for each track 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. See “Connecting an External Fader to Your Avid Sys-
tem” on page 589 for more information on button locations.

588
 In Snap mode, the slider automatically stops recording as soon as you
release the slider. In addition, the slider continues to display the vol-
ume 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 record-
ing session.
2. Set your IN and OUT marks and click the Record button. The sys-
tem begins playing the section and the sliders move accordingly.
3. When you want to make an adjustment, grab the slider and move
it to change the volume. The system immediately begins record-
ing.
4. When you are finished adjusting the section, release the slider. 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 slider. Press the Select
button (top row) to stop recording and snap the button back to its cur-
rent 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.

Connecting an External Fader to Your Avid System

Your Avid system supports the following external faders:
• JL Cooper FaderMaster Pro MIDI Automation controller
• JL Cooper MCS-3000X MIDI controller

See “Using an External Fader Box to Adjust Volume” on page 578 for
a comparison of the two units.

589
 The setup procedure is similar for both units. To connect and initialize
the fader, see the Avid Media Composer Products Setup Guide.

c For the MCS-3000X to recognize the Avid application software, you

must set the rear DIP switch #4 down (ON).

To test the external fader:

1. Choose Automation Gain from the Tools menu. The Automation
Gain Tool window opens.
2. Option+click the HW Toggle button in the Automation Gain Tool
window. The box changes to blue.

Position 3. Check the color of the position indicator lights. If the external
indicator fader is connected, at least one of the lights should be on (blue). If
lights
the external fader is not connected properly, the lights will proba-
bly be gray.
4. Move the sliders on the external fader. The corresponding slider
should move in the Automation Gain Tool window.

n The external fader is optional. It is not required to perform Audio Gain

Automation recording.

The MCS-3000X Buttons

There are four rows of unlabeled buttons at the top of the MCS-3000X
fader.

590
 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
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 slider,
the Select button light turns on to indicate that you are record-
ing. When you release the slider, the Select button light turns
off and the slider begins moving with the Timeline volume.
When the track is not in Snap mode, as soon as you touch the
slider, the Select button light turns on to indicate that you are
recording. However, when you release the slider, 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 588.
• Solo buttons: These buttons solo the selected tracks.
• Mute buttons: These buttons mute the selected tracks.

Ganging Sliders on the FaderMaster Pro Fader

You can use the features available on the FaderMaster Pro to gang slid-
ers. When the sliders for two tracks are ganged, the fader sends identi-

591
 cal volume messages for both tracks when you move one slider. This
can be useful when you have stereo tracks.

Note that the ganged sliders do not move together physically. For
information on ganging the sliders, see the FaderMaster Pro user’s
manual. 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.

Now, when you move slider 1, the Avid system will receive identical
volume information for slider 2.

To turn off the group feature, repeat steps 1 to 3, but assign fader 2 to 0.

n You cannot gang sliders on the MCS-3000X fader.

Using the Automation Gain Tool and Audio Mix Tool Windows
This section describes the interactions between the Audio Mix Tool
window and the Automation Gain Tool window.

When you add the first audio keyframe to a track, the Avid system
adds the point at the level currently set for that track in the Audio Mix
tool.

Values set by the volume sliders in the Audio Mix Tool window are
referred to as system clip gain values. Audio gain keyframes are not
additive to the system clip gain values. When you move a keyframe
point up or down, it overrides the system clip gain for that point in the
sequence.

592
 You can add keyframes to some tracks and use the Audio Mix Tool
window to control the volume on other tracks. The Avid system pro-
vides visual clues to let you keep track of which type of audio effect is
on a given track.

The following illustration shows the Audio Mix Tool window and the
Automation Gain Tool window with audio data on two tracks. In this
example, there is audio gain automation information on track A1 and
a system clip gain setting on track A2.

Track A1 has
audio gain
automation.

Track A2 has system clip

gain settings from the
Audio Mix Tool window.

When you have audio gain automation on a track, the slider for the
track does not appear in the Audio Mix Tool window. The system dis-
plays the word Auto in the Volume Level display to indicate that
audio gain automation is associated with the track.

593
 Likewise, when you use the Audio Mix Tool window to change vol-
ume for a track, the slider for the track disappears from the Automa-
tion Gain Tool window. The word Clip appears in the Volume Level
display.

To add audio gain automation to a track that contains system clip gain
information, you simply need to add an audio keyframe. To use the
Audio Mix sliders on a track containing audio gain automation, you
must first remove all of the audio keyframes from the track. Choose
Remove Automation Gain — Global from the Automation Gain Tool
Fast menu. You need to remove any IN and OUT points on the track
before the menu item changes from In/Out to Global. (Click the Gang
button for a track to enable the Automation Gain Tool Fast menu.)

Using the Audio EQ Tool

The Audio Equalization (EQ) tool supports real-time, segment-based
frequency equalization on individual clips. This 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.

You can access the Audio EQ tool in one of two ways:

• Choose Audio EQ from the Tools menu.
• If one of the Audio tools is already open, choose EQ from the
Audio Tools menu.

594
 The Audio EQ tool opens.

Play Loop button Effect icon Render Effect button

Fast Menu button

Track Selection Enable/disable

pop-up menu current EQ effect

Low shelf

Parametric
midrange 3-band controls

High shelf

EQ Range slider

Audio EQ Tool 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 frequency values 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.

595
• 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. 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 deempha-
sized frequencies to emphasized frequencies.

The IN button allows you to turn off an individual EQ effect (the cur-
rently selected effect). The button is yellow when the effect is on
(inline) and gray when the EQ effect is off.

The Ignore EQ check box turns off all EQ effects for the sequence. Ren-
dered EQ effects still play correctly.

To apply Audio EQ effects:

• Audio EQ can only be applied to entire segments. You cannot iso-
late portions of a segment for an Audio EQ effect by using IN and
OUT marks. You must use add edits (match frames) to mark off a
smaller segment.
• You can use IN and OUT marks to select a range of complete seg-
ments for applying an Audio EQ effect. Segments that fall within
the marks, either in part or in whole, will have the effect applied to
them.

596
 The following illustration shows the Audio EQ tool with the frequency
response curve displayed and identifies the related areas of the
window.

Bandwidth around the center

point of the parametric curve
– 1/4 octave (narrow) or
The current value of the 2 octaves (wider)
EQ parameters

Turnover point where low Turnover point where high

shelf curve starts moving shelf curve starts moving
back toward 0 back toward 0

Center point of the

parametric midrange curve

0 line

High shelf

Low shelf Parametric midrange

The Audio EQ tool allows you to emphasize or deemphasize audio

frequencies. The height of the curve 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.

Applying Audio EQ Effects

To adjust audio EQ for a track:
1. Load the sequence containing the audio track.

597
 2. (Option) Isolate a portion of an audio segment by placing add
edits.
3. (Option) Mark off a range of audio segments by adding IN and
OUT marks 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

Notice that the Track Selector panel in the Timeline window is

updated to reflect your selection.
6. Click the Play Loop button to play the currently selected audio
clip within the current In/Out range. To stop playing the loop,
click the button again or click anywhere in the Timeline.
7. Use any of the following methods to change a value in the Audio
EQ tool:
• Click a number along the vertical edge of the Volume slider.
• Click the slider and type a value.
Values are cumulative until you press Return. For example, if
you want to enter the value 12, simply type it. However, if you
enter 1 and then want to change the value to 2, press Return
before typing the 2.
• Drag the slider.
• 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 Volume slider.

598
 8. Apply the adjustments to a chosen region of the track by using the
Audio EQ tool Fast menu located at the upper right of the tool.

Fast Menu button

The Fast menu on the Audio EQ tool allows you to remove or

apply an EQ effect to clips included within the current IN to OUT
range. It also provides access to a number of predefined EQ tem-
plates. For a description of predefined audio templates, see
“Using Audio EQ Templates” on page 605.
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.

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

599
 Clip 3 in the following example, Set EQ In/Out deletes the EQ
effect from Audio Clip 1 and Audio Clip 2.

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 dif-
ferent track.
9. Play through the audio again, using the Play Loop button.
10. Repeat steps 8 and 9 until you are satisfied with the EQ adjust-
ments.

600
Saving Audio EQ Effects
The Avid system treats an EQ setting as an effect. You can save EQ set-
tings 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.

EQ effect template
in a bin

EQ effect in the Timeline

Use the Effect icon in the Audio EQ Tool window to save EQ settings
in a bin or to copy the settings to another audio clip. Either drag the
icon into a bin or drag the icon to another audio clip in the Timeline.
For more information on using effect templates, see the Avid Media
Composer Effects Guide.

601
Removing Audio EQ Effects
To remove an effect:
1. Place the position indicator on the effect.
2. From Source/Record mode, click the Remove Effect button.
From Trim or Effects mode, press the Delete key.

Audio EQ Examples
The following examples show two different ways to use the Audio EQ
tool to remove excess bass from an audio track. In this example,
assume that a bass drum in the sound track is very pronounced and
we use the Audio EQ tool 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 fre-
quencies 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 drop-
ping the low shelf down –20 dB, we are able to deemphasize it. How-
ever, there are voices on this track, and simply dropping the low shelf
also removes some bass from the voices. So we did the following to
compensate for this:
1. Use the 2-octave midrange setting to create a wide midrange.
2. Move the midpoint of the parametric curve to 90 Hz.

602
 3. Boost the midrange of the parametric curve to +7.7 dB.

Small Octave Range Example

This example isolates the particular frequency that we want to deem-

phasize. In this example, we do not use the low shelf, but instead use
the parametric midrange to isolate the frequency.
1. Use the 1/4-octave influence range.
2. Set the midrange EQ parameter to –15 dB.

603
 3. Use the 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.

Use this slider to move

the center point of the
parametric curve and
locate a specific
frequency.

This 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 deci-
bel value.
• Keep both the high shelf and low shelf set to zero.
• Use the 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.

604
Using Audio EQ Templates
Your Avid 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 on the Audio EQ tool.
You can also add your own custom EQ templates to the Fast menu list.

The Fast menu on 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 are often encoun-
tered with audio clips. For example, Tape Hiss Filter rolls off frequen-
cies above 4 kHz. NTSC Hum Buster cuts the bass on frequencies that
often cause hum on NTSC systems.

605
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. Choose the template from the Audio EQ Tool Fast menu.
The Avid system places the EQ effect on the audio clip.

The following illustration shows the contents of the Audio EQ Tool

window when you select the Female Voice with Presence template in
the Timeline. As explained in the window, you cannot change the
parameters of a predefined EQ template.

n 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 win-
dow, choose Console from the Tools menu.

606
Creating Your Own Templates

If you create an EQ effect that you want to use again in another

sequence or on another track, simply drag the Effect icon from the
Audio EQ Tool window to a bin. The system creates an EQ effect in the
bin. Rename the template by clicking the text and typing a new name.

Effect icon

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 pre-
defined templates.

Adjusting EQ While Playing an Audio Effect

You can use the Play Loop button to create or change an EQ effect
while a clip is playing.

Play Loop button

To adjust EQ while playing an effect:

1. Choose an existing EQ effect or identify an area of the clip with IN
and OUT marks.
2. Click the Play Loop button. The Avid system repeatedly loops
through the audio effect.
3. Adjust the EQ as necessary.

607
 4. Click the Play Loop button to stop. The Avid system automatically
saves your changes as part of an EQ effect.

Limitations

If there is no existing EQ effect on the clip before you start, you will not
hear any changes until you click the Play Loop button to stop and
replay the effect.

As you are adjusting 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. To improve the response time, you can do the
following:
• Monitor as few audio tracks as possible.
• Deselect the video track if practical.
• Use IN and OUT marks to choose a narrow interval to adjust.

Using Digidesign AudioSuite Plug-Ins

Your Avid 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, including Waves, Arboretum, DUY, S.A., Steinberg, and
others. For example, plug-ins are available to perform pitch process-
ing, 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. Contact
Digidesign at 800-333-2137.

For information on plug-ins that are not supported by your Avid sys-
tem, see “Plug-In Limitations” on page 620.

608
Installing AudioSuite Plug-Ins
The Avid 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 set-
tings 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 system
requires this file; do not delete it.

Several basic plug-ins are installed automatically. See Appendix A for

a description of the plug-ins.

When you purchase additional plug-ins, the third-party vendor will

provide instructions on how to load the plug-ins. Some might require
you to drag the plug-in to the Plug-Ins folder. Others might perform
the task automatically for you by using an installation program.

Starting and Quitting the DAE Application

When you open the Digidesign AudioSuite window (see “Using
Digidesign AudioSuite Plug-Ins” on page 610), the Avid system
automatically starts the DAE application. The application continues
running even after you close the window.

609
 To quit the DAE application while the AudioSuite window is open,
k+click the status display in the AudioSuite window.

Plug-In
Selection menu
Drive Selection
menu
Status display

n 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 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.

Setting Playback Buffer Size

While the DAE application is running, you can choose Set Playback
Buffer Size from the DAE application’s File menu. However, this com-
mand has no effect on the Avid system performance. For an example
of how to use this command, see “Addressing Memory Allocation
Problems” on page 621.

Using Digidesign AudioSuite Plug-Ins

There are two ways to use AudioSuite Plug-Ins:
• Apply a plug-in to a clip in the Timeline. The end result is a ren-
dered 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 dura-

610
 tion than the source media. For more information, see “Creating
New Master Clips” on page 615.

By default, the AudioSuite window displays the controls for applying

a plug-in to a clip in the Timeline. When you drag a master clip into
the window, the window expands to display additional parameters for
working with master clips. The following illustration shows the
expanded view.

Additional parameters for

working on master clips

Status display

611
Applying an AudioSuite Plug-In to a Clip in the Timeline
The following illustration shows the default layout of the AudioSuite
window:

Audio Effect Mode Selector Effect icon

pop-up menu
Render Effect
Play Loop button button Fast menu

Open/Close triangle

Plug-In Selection menu

Drive Selection menu

Status display

Track Selection menu Apply Plug-In button

To apply an AudioSuite Plug-In to a clip in the Timeline:

1. Open the AudioSuite window and do one of the following:
• Choose AudioSuite from the Tools menu.
• If an audio tool is already open, choose AudioSuite from the
Tool Selection menu.
2. Use the Track Selection menu to select the track that you want to
modify.

n When you apply a plug-in to a clip, you can only work on one track at a time.

3. Choose a plug-in from the Plug-In Selection menu.

The Avid system automatically applies the plug-in effect to the
track in the Timeline.
4. Click the Plug-In button to open the dialog box associated with the
plug-in.

612
 5. Make any necessary adjustments and click the Play Loop button to
preview the effect. For more information, see “Using a Plug-In
Dialog Box” on page 613.
6. (Option) To save the effect as a template, drag the Effect icon to a
bin.
7. To save the effect, click OK. To close the dialog box without saving
the effect, click Cancel.

n 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 Mas-
ter Clips” on page 615.

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 is
dimmed. The following illustration shows the Digidesign Gain plug-
in:

These six buttons

appear on all
AudioSuite Plug-In
dialog boxes.

• OK saves the effect and closes the dialog box.

• Cancel closes the dialog box and does not save the effect.
• Render renders the effect and creates a new audio media file.
• Preview plays back a portion or all of the currently selected audio
clip with processing.

613
 Some plug-ins can preview in real time and some cannot. If the
plug-in cannot preview in real time, the Avid system plays back
the processed audio in 2-second intervals. The Avid system pro-
cesses 2 seconds of audio, plays it, processes the next 2 seconds,
plays it, and so on.
• Bypass plays the selected audio without processing. This is useful
for comparing the audio with and without processing applied.
• Optional performs an analysis pass on the audio data.

Some plug-ins require an analysis pass on the audio data before they
can process the information. If so, they perform the first pass automat-
ically. 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
will be dimmed.

AudioSuite Plug-In Fast Menu

The Fast menu allows you to render or remove AudioSuite Plug-Ins.

The menu text differs depending on whether you have IN and OUT
marks on the sequence.

The following describes the text that appears on the menu:

• Global: There are no IN marks on the segment. The command
affects all the plug-ins on the segment.
• IN/OUT: There are IN and OUT marks on the segment. The
command affects the plug-ins within the marked region.
• From IN: There is an IN mark and no corresponding OUT
mark. The command affects all plug-ins starting with the IN
mark.

614
Rendering Plug-In Effects
Some plug-ins can process a file in real time and some cannot due to
the complexity of the effect. Even if a plug-in can run in real time, you
must render it before you can add it to the following:
• An audio mixdown
• An EQ effect

If you do not render the effect manually, the Avid system automati-
cally renders the effect before it creates an audio mixdown or audio
dissolve containing the effect.

For more information, see “Troubleshooting AudioSuite Plug-Ins”

on page 621.

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. These
plug-ins use parallel processing as described in the next section.
• 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 Pitch
Shift plug-in to change the length of the audio file. These plug-ins
may use either parallel or serial processing.

615
 • Apply one mono AudioSuite effect to any number of inputs of a
master clip in a multiple-mono fashion. These plug-ins use serial
processing.

Serial Versus Parallel Processing

Each AudioSuite Plug-In allows one or both of the following process-

ing modes:
• Serial Processing (default): The Avid system applies the effect to
each source track one after another, in a serial manner. The system
creates a new master clip with the same number of tracks that you
selected in the AudioSuite window.
• Parallel Processing: This option is available if the plug-in allows
more than one input source and more than one output source. The
plug-in determines what processing occurs and how it operates
across the multiple sample streams. The system creates a master
clip with the number of tracks equal to the number of output
streams from the plug-in.
Parallel processing ensures that the system applies the audio effect
simultaneously to each of the selected tracks. This is important
when working with tracks that you want to treat as stereo pairs.

You choose the processing mode from a menu in the AudioSuite win-
dow as described in the next section.

AudioSuite Controls for Creating New Master Clips

When you drag a master clip into the AudioSuite window, the win-
dow automatically expands to display additional controls. You can
also click the Open/Close triangle to display or hide the additional
parameters.

616
 The following illustration identifies the controls that appear when you
expand the AudioSuite window.

Open/Close
triangle
Apply Plug-In
button

Toggle Master
Clip Selection menu Clip Mode
button
Input source track
selectors Mark IN/OUT
indicators
Processing Mode
Selector menu Match Frame
button

Target bin for new Load In Source

master clip Monitor button
Status display Load Result In Monitor check box

• Clip Selection menu — allows you to choose the active clip. This
menu selection is available in case you drag more than one master
clip into the AudioSuite window. The window controls change to
reflect the active clip.
• Input Source Track selectors — 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,
Option+click 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 Selector menu — displays the current mode of
the AudioSuite effect on a given clip (serial or parallel). See “Serial
Versus Parallel Processing” on page 616 for more information.
When you select Parallel Processing, the status display identifies
the maximum number of tracks that can be processed. If more

617
 than the maximum are initially selected, the system automatically
disables tracks until it reaches the plug-in’s maximum number.
• Target bin — allows you to choose the target bin. The system will
place the new media and a corresponding AudioSuite effect tem-
plate in the bin. The template allows you to modify the effect at a
later time.
• Toggle Master Clip Mode button — activates the master clip pro-
cessing 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.
• Match Frame button — allows you to find the master clip associ-
ated 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.

n The template you drop in the window must reference an existing master clip.

• Load In Source Monitor button — loads the current source mas-

ter clip into the Source monitor. This is useful if you want to add
or change IN/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 monitor.
• Status display — for parallel processing plug-ins, the status dis-
play identifies the maximum number of tracks that can be pro-
cessed. If more than the maximum are initially selected, the
system automatically disables tracks until it reaches the plug-in’s
maximum number.

618
Using the AudioSuite Plug-Ins to Create New Master Clips

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 use the Open/Close triangle to display or hide the con-
trols for processing a master clip. To enter or leave master clip pro-
cessing mode, click the Affect Master Clip button. The button is
yellow when master clip processing mode is active
2. If you dropped more than one master clip in the window, select a
clip to work on from the Clip Selection menu.
3. Choose the input sources from the input source track selectors.
4. (Option) Change the preview source track by Option+clicking the
input source track selector.
5. Select a plug-in from the Plug-In selection menu.
6. Click the Apply Plug-in button to open the plug-in’s user inter-
face. See “Using a Plug-In Dialog Box” on page 613 for more
information.
7. Make any changes and use the Play Loop button to preview the
effect.
8. Either render the plug-in from the Plug-In dialog box or return to
the AudioSuite window. See “Rendering Plug-In Effects” on
page 615 for more information on rendering.
When you press the Render Effect button, the system creates a
new master clip in the target bin. The system names the new mas-
ter clip by combining the original clip name with the effect name
(for example, QuietClip.Normalize).
The system also creates an AudioSuite effect template in the bin as
described in the next section.

619
Using an AudioSuite Effect Template

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 that the effect was applied to. The
system names the template by combining the original clip name with
the effect name and adding a .effect extension (for example, Quiet-
Clip.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 win-
dow.
The system activates the Match Frame button in the AudioSuite
window.
2. Click the 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 Creat-
ing New Master Clips” on page 616.

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 615.
The method of applying an effect to a clip on the Timeline does not
work for these operations.

620
Troubleshooting AudioSuite Plug-Ins
This section describes problems you might encounter when using the
AudioSuite Plug-Ins.

Addressing Memory Allocation Problems

The DAE application requires between 9 and 16 MB of RAM, depend-

ing 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 in the DAE folder. If you have a lot of plug-ins (for example,
more than 10), the application might not be able to allocate enough
memory for all of them.

If you receive memory allocation errors or if the screen does not

redraw correctly when you use the AudioSuite Plug-Ins for the first
time, do the following:
1. Quit the Avid application.
2. Locate the DAE folder in your System folder and click the DAE
application icon within the DAE Folder.
3. Press k+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.

621
 7. Choose Set Playback Buffer Size and set the buffer size to 0.

n The Set Playback Buffer Size setting has no effect on the Avid system’s perfor-
mance.

8. Quit the DAE application.

9. Open the Get Info dialog box again and change the Preferred Size
value back to the Suggested Size.
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 in the
DAE folder. Move some plug-ins from the 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 k+period to cancel a render operation. However, be

careful not to press k+period multiple times. If you press k+period
after the render operation has been stopped (from a previous
k+period), the Avid system closes the window after it cancels the
render operation.

622
Addressing Error Messages 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
choices:
• Cancel stops the rendering process. This allows you to start the
DAE application and then start rendering again.
• Bypass continues rendering but doesn’t render the plug-in effect.

In most cases, you should click Cancel and restart the DAE applica-
tion. Either open the AudioSuite Plug-In window, or if the window is
already open, Option+click the status display in the AudioSuite win-
dow.

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 as previously
described.

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 saves the extra
steps of recording the narration to tape first, digitizing, and then edit-
ing the audio clip into the sequence.

You access the Audio Punch In tool from the Tools menu.

623
 The following illustration identifies the various elements of the tool.

Recording status light

Record button Cancel button

PreRoll and PostRoll text boxes

Audio Tool button

Handles text box

Input Channel
Selection buttons Timeline Track Selection menus
and menus
Bin Selection menu

Drive Selection menu

Features of the Audio Punch In tool are as follows:

• The Record button starts and stops the recording.
• The Cancel button stops a recording without saving the recorded
data.
• The Recording status light is black when there is no activity, green
during a preroll, red during recording, and blue during a postroll.
• The Audio Tool button displays the Audio tool so that you can
monitor and adjust the audio levels during recording.
• The Preroll text box allows you to provide a visual cue before the
recording begins. The Avid system backs up the blue position
indicator for the prescribed number of seconds.
• The Postroll text box gives the same kind of visual cue at the end
of the recording.
• The Handles text box instructs the Avid system to record audio at
the beginning and end of the clip. This allows you to perform trim
edits on the audio.

624
 • The input channels identify the channels on the audio hardware
that are used for recording. Click the button to select the channel.
The button changes to pink when it is selected. Option+click the
button to display a menu and select another channel.

n The selected input channels are not used for playback. Do not select the same
channels as mix output on the Audio Mix tool.

• The Timeline Track selection menus allow you to specify where

the Avid system places the audio in the Timeline. Either choose
New Track or choose an existing track. When you choose an exist-
ing track, the Avid system overwrites the audio on that track
between the IN and OUT points.

Using the Audio Punch In Tool

This section provides an overview of how to set up and use your Avid
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 system.
• Connect a microphone to a microphone preamplifier and connect
the preamplifier to the audio interface I/O device on your Avid
system.

For information on connecting the hardware, see the

Avid Media Composer Products Setup Guide.

625
Creating the Voice-Over
You can replace part (or all) of an existing track or you can instruct the
Avid system to create a new track for the voice-over. The following
procedure shows how to use the tool when you want to mark IN and
OUT points and plan to create a new track for the voice-over.
1. Mark the IN and OUT points in the Timeline as shown in the fol-
lowing illustration.

2. Choose Audio Punch In from the Tools menu.

The Audio Punch In tool appears.

Recording status light

Record button Cancel button

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 3. Choose the channels that correspond to your hardware setup and
set other values in the dialog box as appropriate.
4. To start recording, click the Record button.
If you started with both IN and OUT points in the Timeline, the
Avid system automatically stops recording when it reaches the
OUT point (or after it adds the appropriate audio handle after the
OUT point). If you only added an IN point, click the Record but-
ton a second time to stop the recording.

The following illustrations show the results after adding a voice-over.

The system automatically names the voice-over. You can change the
name as you would 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 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 system looks
at either an individual clip in the Source 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 func-
tion 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.
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.

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 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.

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 to a lower level
• Crossfading between audio elements on two separate channels

With the Avid system, these effects are more accurately termed audio
dissolves because they occur instantly when you apply the same dis-
solve 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 573, or you can use the
procedure described in this section.

Fading and crossfading audio are easy effects to achieve. The proce-
dure 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, then fade up the second on an
overlapping section. With the Avid 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 (it appears by default on the second
row of buttons below the Record monitor).

629
 The Quick Dissolve dialog box appears.

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 for 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.

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 6. If you chose Custom Start, enter the number of frames before the
transition to begin the effect in the “Starts x frames before cut” text
box. Otherwise, leave the default value in the text box.
7. (Option) Choose a media drive other than the default from the
Target Disk pop-up menu.
8. Click Add to place the effect at the transition point without ren-
dering. Click Add and Render to do both at once.

n In most cases, you can choose the second option, Add and Render, to allow
immediate real-time playback of the audio effect (rendering of audio dissolves
is usually instantaneous).

The effect is completed.

Dipping Audio

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 573, or you can 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. Do the same 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 the
section “Using the Audio Mix Tool” on page 563.
5. Apply a Quick Dissolve to both Add Edit points, using the tech-
niques described in “Fading Audio” on page 629. Be sure to

631
 choose “Centered on Cut” or “Custom Start” from the Position
pop-up menu.

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 mate-
rial, you might need to mix the final audio down to two tracks.

After you edit a number of tracks of audio, mix them down to one or
two tracks of audio by following these steps:
1. Load a sequence into the Record monitor.
2. Click the Track buttons to select the audio tracks you want to mix
down.
3. Mark an IN 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 Special menu.
The Audio Mixdown Parameters 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 have selected to mix
down.

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 Destination tracks Selected section of audio

5. Click Mono and select the target track to which you want to mix
down the audio.
If you want stereo, click Stereo and select two target tracks for the
mixed-down audio.
6. Choose a target disk and target bin.
The target disk 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 Avid displays the new master clip
in the bin.

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CHAPTER 17
Syncing Methods

Your Avid system provides special tools that help you establish and
maintain sync relationships between various clips. This includes man-
aging sync between unrelated clips or clips with the same timecode,
ganging footage, match-framing footage, and using Sync Point Edit-
ing.

These topics are discussed in the following sections:

• Autosyncing Clips
• Managing Sync Breaks
• Managing Sync with Multiple Tracks
• Using Sync Point Editing
• Ganging Footage in Monitors
• Using Match Frame

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Autosyncing Clips
For more information When you digitize footage that includes both audio and video, the sys-
on tracking sync breaks,
tem automatically establishes sync when it creates clips in the bin.
see “Displaying Sync
Breaks” on page 638. 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.

Sync break displayed in

the Timeline

Autosyncing is often used for film projects in which picture and sound
are captured separately. These clips are often synced based on com-
mon film timecode, sound timecode, or auxiliary timecode. You 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. To link two or
more video clips or audio clips, use the Grouping option described
in “Grouping and Multigrouping Clips” on page 662.
• 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 auxil-
iary timecode, you must establish common sync frames. To do
this, mark IN points (or OUT points) on both clips before auto-
syncing. When you autosync using this method, the whole clip is
taken into the subclip.
• If you are autosyncing clips of different lengths, the longer clip is
truncated to the length of the shorter clip.

635
• If you autosync according to common timecodes that are stag-
gered (one clip starts later than the other), the later starting time-
code 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. Choose AutoSync from the Bin
Fast menu.
The AutoSync dialog box appears.

2. Select an option, based on the following:

• Film TC/Sound TC if you are syncing clips with matching film
and sound timecode recorded in the field; this option appears
dimmed if you are not working on a film project.
• 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.

636
 • Auxiliary TC1–TC5 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 file name extension .sync.n, where n is the
incremental number of subclips created with the same name.

You can change the name according to preference. You can load an
autosynced subclip into the Source monitor and immediately edit it
into a sequence.

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 off-
set during editing. Often this happens unintentionally when you per-
form 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 remov-
ing frames in Trim mode.

Your Avid system provides several features for avoiding, tracking, and
removing sync breaks, as described in this section.

637
Editing to Avoid Sync Breaks
One way to avoid breaking sync is to maintain the duration of the
track when adding or removing material, as follows:
• When adding material to a track, use the Replace or Overwrite
functions 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 removing
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
use the Ctrl key function for adding black during trims, as
described in “Maintaining Sync While Trimming” on page 545.
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. The follow-
ing sections describe features for tracking and fixing sync breaks in
those circumstances.

Displaying Sync Breaks

By default, the Timeline displays sync breaks whenever they occur
during editing. These appear at break points as white numbers indi-
cating negative or positive offset values relative to zero. The Sync
Breaks option also displays match-frame edits by displaying an equal
sign (=) on the edits.

638
 You encounter sync breaks and match frames in different circum-
stances:
• You can encounter sync breaks in one or several video tracks,
audio tracks, or both. Sync-break offset numbers appear by default
only in the affected tracks.
For more information • You encounter match-frame cuts whenever you perform an add
on match frames, see
edit or whenever you move a segment up against footage from the
“Adding an Edit
(Match Framing)” on same clip, and the timecode is continuous across the edit.
page 514.
You can also customize the Timeline view to display sync breaks and
match-frame edits in video tracks only, audio tracks only, or none.

To customize the sync break display, choose Sync Breaks from the
Timeline Fast menu, and choose an option from the submenu.

n This feature applies only to master clips in which audio and video tracks were
digitized simultaneously, to autosynced subclips, or to any other subclip with
video and audio tracks.

Fixing Sync Breaks

Sync breaks are displayed only when the out-of-sync tracks overlap. 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 upon the type of break and the
needs of your sequence.

639
Fixing Sync in Trim Mode

For more information In Trim mode, restore the frames to sync by performing one or more
on trimming, see
single-roller trims on the out-of-sync tracks. Trim the exact number of
Chapter 15.
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.
• 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
segment.

Fixing Sync in Source/Record Mode

For more information In Source/Record mode, restore sync by either adding new material or
on editing in Source/
extracting material from the out-of-sync track. Add or extract the exact
Record mode, see
Chapter 13. number of offset frames displayed in the Timeline, with the following
considerations:
• Do not use the Overwrite or Lift functions. These functions do not
remove the sync break. You can, however, overwrite or lift the out-
of-sync material entirely to eliminate the break.
• You can splice in or extract selected frames of filler when
necessary.
• You can use the Add Edit function to isolate only a portion of a
clip or filler segment in the sequence for extracting or replacing.

640
Fixing Sync in Segment Mode

For more information In Segment mode, you can restore sync in some circumstances by
on editing in Segment
selecting and moving the entire out-of-sync segment. You can move
mode, see “Using Seg-
ment Mode” on the segment forward or backward in the opposite direction of the
page 485. break to reverse it, but with the following considerations:
• Use Lift/Overwrite (the red arrow) to leave filler behind and
maintain any other sync relationships that might be affected by
the move.
• Use Lift/Overwrite to delete the entire segment and leave fill to
eliminate the break.
• Use the add edit function to isolate a portion of the clip for moving
or deleting.
• 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 Sync Breaks display 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 your work with four or more tracks.
They include the sync lock feature, tail leaders, and add edits.

641
Using Sync Lock
For more information The sync lock feature allows you to maintain sync among several tracks
on sync locking tracks
while adding or removing frames in Trim mode. For example, if you
in Trim mode, see
“Maintaining Sync insert an edit into one track that is sync locked to a second track, the
While Trimming” on system automatically inserts filler in the second track to maintain sync
page 545. between the two.

Sync Lock icon

Sync Lock All button

You activate sync locking by clicking a 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 a Trim mode feature only. Edits performed in
Source/Record, Segment, or Effect mode will override sync-
locked tracks.
• Sync locking applies to single-roller trims only, because 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 seg-
ments in other sync-locked tracks are affected when you trim any-
where in the sequence.

642
Syncing with Tail Leader
You can add tail leader to the audio or video material in your Avid sys-
tem 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 specifica-
tion, as described in “Creating Leader” on page 317.

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
leaders are lined up. If they are out of line, this indicates a sync break
that you can measure and eliminate as follows:
1. Place the position indicator in the black segment that follows the
out-of-sync leader.
2. Select the track, then click the Mark Clip button. You can measure
the break by checking the IN to OUT duration of the marked seg-
ment.

Mark Clip allows you to

measure the break.

3. To restore sync, find the point at which the sync was lost. Add or
remove frames by using the appropriate edit function, as
described in “Fixing Sync Breaks” on page 639.

643
 As a quick fix, you can enter Extract/Splice-in Segment mode by click-
ing the yellow arrow 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 using
Extract/Splice-in.

Syncing with Locators

For more information Like tail leaders, you can add locators to material in the Timeline to
on using locators, see
track and adjust breaks in sync between any number of tracks. You can
“Using Locators” on
page 422. place locators anywhere in the sequence and you can add specific
notes.

To mark sync points with locators:

1. Place the position indicator at the point in the sequence where you
want to maintain sync between two or more tracks.
2. Select the first track and click an Add Locator button.
The system adds a locator to the track in the Timeline and in the
Record monitor.
3. To add a note that will appear in the Record monitor whenever
you park on the locator frame — such as Music sync or Sound Effect
sync — double-click the locator in the Record monitor, type the
text into the Locator Info text box, and click OK.

644
 4. Repeat the procedure for subsequent synchronized tracks. Make
sure you keep the position indicator in the same location to line up
the locators in sync.

Locators in sync

Focus button

You can use the Find 5. After completing an edit that you think might have affected the
procedure to go to a sync, return to the segment that contains the locators and click the
locator quickly with
text. For more informa-
Focus button. If the locators are not lined up, the sync is broken.
tion, see “Finding
Frames, Clips, and To adjust the sync break:
Bins” on page 427.
1. Measure the sync break by first placing the position indicator on
the leftmost locator and clicking the Mark IN button. Then place it
on the other locators and click the Mark OUT button.
2. Check the IN to OUT duration of the marked section.
3. To restore sync, find the point at which the sync was lost. Add or
remove frames by using the appropriate edit function, as
described in “Fixing Sync Breaks” on page 639.

Using Add Edit When Trimming

When trimming with several audio tracks in sync, you can use the
Add Edit button to create an edit in the silent or black areas of the
synced tracks. These occur in line with the track you are trimming, and
they trim all the tracks at once to maintain sync.

645
 To use the Add Edit button while trimming:
1. Place the position indicator on 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 indi-
cator in the Timeline.
3. Select the transition and trim (be sure to select all the synced
tracks).
As you trim, frames are added or removed from the additional
tracks as well.
4. When you are finished trimming, remove the add edits from the
sync tracks by choosing Remove Match Frame Edits from the Clip
menu.

Using Sync Point Editing

Sync Point Editing (SPE) allows you to overwrite material onto your
sequence in such a way that a particular point in the source material is
in sync with a particular point in the sequence. For example, you can
sync an action in the source video with an audio event, such as a musi-
cal beat in the Record monitor, then edit it so that the action occurs on
the beat.

Like a replace edit, Sync Point Editing uses the relative location of the
position indicator in both the source and record material as the sync
point. However, Sync Point Editing determines the duration of the
new edit according to marks that you set, as opposed to a replace edit,
which uses the head-to-tail frame duration already established in the
Timeline. You can apply these marks across multiple tracks when
marking a sequence. This allows you to add overlap cuts.

646
 SPE requires two pieces of information:
• The sync points: These are the points where the synchronized
relationship between the source and record material is established.
• The duration of the relationship: This is determined by the posi-
tions of the head and tail frames (and sometimes by the position
indicator). Both marks can be in one monitor, or one mark can be
in one monitor and the other mark in the other monitor. The dura-
tion of the material being edited into the sequence must be suffi-
cient for the size of the edit.

To perform a sync-point edit:

1. Load a clip or sequence into the Source monitor.
2. Load a sequence into the Record monitor.
3. Mark the material in one of the following ways:
• Mark the IN and OUT points in either the Source or Record
monitor, leaving the opposite monitor clear of marks.
• Mark an IN or OUT point in the Source monitor, or an IN or
OUT point in the Record monitor. For example, if you marked
an IN point in the Source monitor, mark the OUT point in the
Record monitor.
4. Move the source position indicator to the sync frame in the clip.
This establishes the source sync point.
5. Move the record position indicator to the sync frame in the
sequence.
6. Select Sync Point Editing in the Composer Settings dialog box, or
choose Sync Point Editing from the Special menu.
Notice the orange box on the Overwrite button that signals that
Sync Point Editing is active.
Orange mark
7. Select the source and record tracks for this edit. Click the Over-
indicates Sync
Point Editing. write button.
The sync point edit is completed.

647
 To turn off Sync Point Editing, deselect the option from the Composer
Settings dialog box or from the Special menu.

Ganging Footage in Monitors

The Gang function does not combine tracks into a synced relationship,
but rather locks monitors in sync so that you can move through foot-
age in two or more monitors simultaneously. This is convenient for
viewing and marking the sequence and source material simulta-
neously, based on syncing of the position indicators in each monitor.

You can gang the Source monitor and any number of pop-up monitors
with the Record monitor. For instance, before editing them into a
sequence, you can gang a music track in a pop-up monitor, source
footage in the Source monitor, and a sequence in the Record monitor.
Then you can view the footage, adjust the sync points, and mark them
before completing the edit.

To gang footage in monitors:

1. Load a sequence into the Record monitor.
2. Load one or more clips into the Source monitor and pop-up moni-
tors.
3. Click the Gang button for each monitor that you want to synchro-
nize (the Record monitor is always ganged). The button changes to
green when enabled.

n The Gang button appears by default in the second row of buttons below the
monitors, and in the second row of information above the Source/Record
monitors.

4. View the footage in any of the monitors by using standard play-

back methods.
Notice as you move through footage in one monitor, the footage in
all other monitors freezes. The footage is updated when the play

648
 stops. Simultaneous full-motion playback is not possible, although
sync is maintained at all times.

Using Match Frame

The Match Frame feature allows you to call up and display matching
footage in the Source monitor from the Record monitor. Reverse Match
Frame lets you load a source clip and locate its sync frame in the
sequence.

Like the Gang function, match framing does not create a permanent
sync relationship between clips, but instead provides you with a con-
venient way of locating, marking, and editing matching material.

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.

The Match Frame button appears by default in the second row of but-
tons below the Source monitor. To match frame from footage in the
Record monitor, you must map the button to the Record monitor
palette.

Performing a Match Frame

To use Match Frame:
1. Load a sequence into the Record monitor.
2. Select a track for the footage you want to match, and place the
position indicator on a selected frame.
3. Click the Match Frame button.

649
 The system loads the source clip into the Source monitor, parks on
the match frame, and marks a new IN point to prepare for making
an edit.

n Any previous IN or OUT marks are removed when you use match frame. To
override this, Option+click the Match Frame button.

Performing a Reverse Match Frame

To perform a reverse Match Frame:
1. Place the position indicator on the frame you want in the source
footage.
2. Make sure the appropriate tracks are selected in the Timeline.
3. Click the Reverse Match Frame button.

The system cues the sequence to the matching frame on the record
side. If the shot exists in more than one place, the sequence cues to the
first location of the match frame, and continues through the sequence
to subsequent locations each time you click the Match Frame button.

Matchframing Tracks
You can matchframe a single track without having to turn off all other
tracks. With audio, you can select the audio track you want to match-
frame instead of the system matchframing the top audio track.

To matchframe a selected track, press k+double-click on the track

number you want to matchframe.

650
Using Match Frame to Find Sources
The Match Frame function also provides the ability to trace objects
quickly through their hierarchy of links. For example, you can match
frame a cut in the sequence to its original subclip, then from the sub-
clip to the original master clip, and finally locate the bin in which the
master clip is saved.

For more information on finding clips and frames with Match Frame,
see “Finding Frames, Clips, and Bins” on page 427.

651
 CHAPTER 18
Multicamera Editing

The Media Composer multicamera editing tools allow you to incorpo-

rate multiple camera angles easily into the nonlinear editing process.
Techniques for using these features are described in the following sec-
tions:
• Developing a Postproduction Model
• Grouping and Multigrouping Clips
• Multicamera Edit Modes
• Multicamera Editing Techniques
• Workflow Options

Developing a Postproduction Model

As the name indicates, multicamera production multiplies the amount
and complexity of source material you manage in a project. As a result,
comprehensive postproduction planning is essential to avoid the haz-
ards of mismatched shots, takes, and entire reels during digitizing and
grouping.

This section presents a postproduction model that can help you orga-
nize your material. While the routines of a typical situation comedy
are used to illustrate these organizing principles, you can easily adapt

652
 this model to suit the particular needs of other productions, such as
sports, documentary, and music videos.

The guidelines of organizing for a large multicamera project are as

follows:
• Choose a tape-numbering scheme and be consistent.
• Record the multicamera shoot logically according to offline and
online editing needs.
• Manage the production path of both sound and picture for quality
and efficiency.

Tape Classification Schemes

Because multicamera production involves both sequential and syn-
chronous recording on numerous reels, a comprehensive classification
scheme for reels, takes, and clips can help avoid confusion.

Many situation comedies that record on videotape classify their mas-

ter record reels with two digits indicating both the sequential and syn-
chronous identity of the tape, as follows:
• The first digit indicates the order in which the reel was recorded.
• The second digit indicates the source that feeds the reel.

For example, if there is a line feed or director’s cut (a switched version

of the show), this source is designated with a 0 (zero), so that reel 10 is
the first reel of the line feed. Reel 11 is the first reel recorded on ISO
(isolation) camera 1, and so forth.

Each set of reels, then, forms a decimal group, called a tape load. Each
load is traditionally referred to by its prefix. In this example, reels 10 to
14 are called the tens, reels 20 to 24 the twenties, and so on.

653
Production Paths
In addition to a numbering scheme, you can organize the flow of
recorded material throughout postproduction to make efficient use of
resources and maintain the quality of video and audio.

For videotaped production, often two sets of reels are recorded during
production: a set of online masters and a set of offline work tapes. The
online masters remain untouched until editing of the final show mas-
ter begins. Clips from the offline work tapes are digitized, and then
used for editing and generating an EDL or digital cut in
Media Composer.

Online masters Online edit Finished program

Beta-
cam
D2

Simultaneous
multicamera
recording EDL

Digitize

Offline work tapes Offline edit

3/4 inch

Facilities and tape formats might vary. The basic model can apply to
any multicamera production in which a broadcast-quality program is
the goal.

654
Managing Audio
The Media Composer MultiCamera features allow you to patch chan-
nels of audio from any source clip to any track during editing. You can
strategically designate specific channels of audio to record on specific
reels or tracks in preparation for editing and generating an effective
EDL.

In this example, the goal is to create a finished master with production

dialog on channel 1, music and sound effects on channel 2, audience
left on channel 3, and audience right on channel 4. To achieve this, you
record channels to offline work tapes with only two channels as fol-
lows:
• Line Feed: dialog on channel 1, mono audience on channel 2
• Camera 1: dialog on channel 1, music and effects on channel 2
• Cameras 2 and 3: dialog on channel 1, mono audience on 2
• Camera 4: audience left on channel 1, audience right on 2

If the online master tapes are capable of recording four channels of

audio, they usually duplicate the configuration of channels on the final
master.

655
Record: Digitize: Online edit:
Line
Dialog & Ch 1: Dialog
Video
audience 10 Ch 2: Music & FX
only D2
Ch 3: Audience L
Cam 1 Ch 4: Audience R
Dialog & Video &
effects 11 audio
EDL generates
Cam 2 the final mix.
Video
Dialog & only
audience 12 Offline edit:
Cam 3
Dialog & Video
audience 13 only

Cam 4
Audience L Video &
audience R 14 audio
Digitize and patch selected
channels in Media Composer.

This is just one example. Choose the right path for your production.

Digitizing Workflow
The organization of the digitize bins helps to avoid slowing the system
with large bins. It also keeps editing resources free of clutter. The basic
procedure for using the digitize bins is as follows:
1. When you are ready to digitize, create one bin for each tape. This
keeps bins to a manageable size. When you autodigitize, the sys-
tem automatically names each clip (take) after the name of the bin
(tape), and numbers them sequentially.
2. Gather the clips for each tape load into one bin. This avoids acci-
dentally grouping clips with the same timecode from different
days. Sort the clips by name so they group in the correct order.
3. After creating groups or multigroups, move all the new clips into
a separate bin. This simplifies the contents of the bin for editing.

656
 Using the numbering scheme and production plan described in the
example, the path of video for the first tape load digitized might be as
follows:

Line

10

Cam 1
3. Gather all multigroups
11 into one bin for easy access.

Cam 2

12

Cam 3

13 2. Gather each tape load

into one bin, sort by name,
then multigroup.
Cam 4

14

1. Digitize each reel separately.

Digitizing Methods
For more information There are three approaches to digitizing multicamera material:
on logging and digitiz-
ing procedures, see • Log in advance and digitize selected takes: This method allows
Chapter 5, Chapter 6, you to shorten the time required for digitizing and to lessen the
and Chapter 7.
amount of digitized material by logging timecodes noted on
selected takes during the shoot and subsequent screenings.
• Log and digitize all takes in advance: This is similar to the previ-
ous method, except that you save less storage space by digitizing
portions of all takes.

657
 • Autodigitize entire reels: This method allows you to bypass the
logging procedure, but requires the most storage space.

However you choose to digitize, you should have accurate notes on

the number and content of takes on each reel to identify the content of
each clip when necessary.

Logging Tips

For additional logging The following tips apply to methods that involve logging in advance
tips, see “Logging
for digitizing multicamera material:
Tips” on page 125.
• Narrow the IN and OUT points to avoid false starts on one or
more reels in a tape load.
• Save time by logging just one ISO reel in each tape load, exporting
in the .ALE format, modifying reel and clip names in a text editor,
and then reimporting into bins for each of the other reels.
• When logging in advance, name each clip with the source tape
name (same as the master tape to be used in online) and a cut
number, for quick identification when clips get moved or copied.

Autodigitizing Tips

The following tips apply to autodigitizing entire reels:

For more information • Select the “Digitize across timecode breaks” option in the Digitize
on digitize settings and
Settings dialog box prior to digitizing.
deck settings, see
“Selecting Settings” on • Select the “Log errors to the console and continue digitizing”
page 151.
option in the Digitize Settings dialog box.
• Under Deck Settings, turn off the Fast Cue option and set the pre-
roll to approximately 4 seconds. The Deck Settings dialog box is
accessed by clicking the Add Deck button on the Deck Configura-
tion dialog box.
• When loading a tape and assigning a name to a source reel, give
the reel the same name as the online master tape (same as the
work tape).

658
 • Name each bin after the source reel number. By default, all clips
are named after the reel and numbered incrementally beginning
with the file name extension .01.
• To start digitizing, cue the source reel past any false starts, play the
tape, and wait 4 seconds before clicking the Record button in the
Digitize tool.

Storage Tips

The following tips can help you make the best use of media drives:
• To save storage space, digitize only the audio channels required
for offline editing.
• For the most efficient playback of multicamera material, distribute
the reels in each tape load between drives.
• To avoid switching drives while digitizing the same reel, target
one volume per reel whenever possible.

With a large multicamera production, you can plan the use of drives in
advance, based on the number of drives available, the chosen resolu-
tion, and the length of each reel.

Consider the following example:

• You have a four-camera production yielding two tape loads
(approximately 30 minutes per tape).
• You want to autodigitize at 20:1 video resolution.
• You need to digitize 2-channel audio at 44.1 kHz from camera 1
and camera 4.
• For storage, you have four 9-GB drives.

659
 With this set of circumstances, you might distribute the media as
shown in the following illustration. Storage requirements are based on
information provided in “Storage Requirements” on page 798.

Work tapes Tracks digitized Storage required Targeted drive

Line 10 X2 3.60 GB

Cam 1 X2 4.24 GB
11

3.60 GB
Cam 2 12 X2

3.60 GB
Cam 3 13 X2

Cam 4 14 X2 4.24 GB

Checking the Bins

Before gathering the digitized clips into bins for grouping, you should
open the bins in each tape load and compare the clips for inconsisten-
cies. You can take steps to conform the bins now and avoid problems
during grouping and editing, as described in the following sections.

Replacing Missing Clips

After grouping, if you find one bin has fewer clips than the others in
the tape load, the ISO reel might have been stopped during a particu-
lar take. If you group the take with the missing camera, the shots shift
in the Quad Split to fill the missing angle, which can disorient the edi-
tor. Correct this problem by creating a dummy clip.

660
 To create a dummy clip:
1. Log a new source clip into the bin.
2. Match the timecode from one of the clips from another camera,
and use any name.

When the clips are grouped and loaded during editing, this dummy
clip displays the message “Media Offline,” and maintains the distribu-
tion of camera angles in the Quad Split.

Deleting Extra Clips

For specific procedures If a particular bin has more clips than the others in the load, one or
for deleting clips, see
more false starts might have been recorded during digitizing. If you
“Deleting Clips and
Sequences” on create a multigroup, the extra clips form unusable sections with only
page 275. one or two camera angles.

To eliminate the clips:

1. Compare timecodes among bins until you isolate the unique clips.
2. Load the clips into the Source monitor, and compare timecodes
with a line script, if available.
3. If the clips are useless, delete them and their media until you have
the same takes in each bin.

Checking Audio and Image Quality

Check the Audio column to make sure the audio was recorded on the
correct channels, from the correct source reels, at the correct kHz. You
cannot play back audio compressed at different rates within the same
group or multigroup.

You can also spot-check the picture quality by loading two or more
clips from each bin into the Source monitor and viewing the clips. If
you find a problem, you can redigitize before the edit session begins.

661
Additional Offline Editing Aids
If you are editing your multicamera material with the intention of gen-
erating an EDL and preparing a master tape in an online tape editing
suite, Media Composer provides features specifically designed to aid
the offline editing process, including:
For more information • Color Frame tracking to avoid color frame shifts in online editing
on these features, see
with 1-inch videotape
Chapter 14.
• Dupe Detection to avoid duplicate frames in online editing

Grouping and Multigrouping Clips

The grouping and multigrouping procedures gather selected clips into
a single unique clip. Both allow you to use special MultiCamera edit-
ing features, such as Quad Split and cutting on-the-fly in MultiCamera
mode. The difference between the two can be summarized as follows:
• Grouping creates a separate group clip out of a single set of master
clips, from the IN point to the OUT point of the longest clip. Multi-
grouping takes the Group function one step further, literally
stringing numerous sequential groups into a rough sequence. For
this reason, multigroups are also known as sequence clips.
• The Group function allows you to sync clips based on common
source timecode, auxiliary timecode, or marks placed in the foot-
age. Because of the need for complete accuracy in sorting and
grouping the clips, multigrouping is performed on the basis of
common source timecode only.
• The MultiGroup function is designed primarily for situation com-
edies and similar productions that record multiple takes sequen-
tially on the same source tapes. Multigrouping does not provide
any benefit when you edit with clips that do not share common
timecode or were not recorded sequentially, and might even cause
the wrong clips to be grouped together.

662
 • Because the Group function allows you to sync the clips based on
customized IN marks or OUT marks, you can group any collection
of shots for quick cutting of montage sequences or music-video
sequences.

Creating Group Clips

In addition to the multicamera context, grouped clips can be useful in
other circumstances. Unlike multigrouping, which requires clips with
matching source timecode, you can group clips that were shot at dif-
ferent times, on different days, and on completely different source
tapes. This means that you can:
• Use group clips to create montage sequences quickly with fast-
cutting between unrelated shots.
• Use group clips to sync and edit an audio track (music for
instance) with two or more video tracks (especially useful in
music-video editing).
• Use group clips for multicamera editing when you want to isolate
each take as a group, and edit selectively, rather than build a larger
sequence clip.
• Use carefully synchronized marks to group selected portions of
multicamera clips.

The last two options are generally for use in smaller multicamera
projects. Sorting, marking, selecting, and grouping individual takes of
a larger project can be very time-consuming.

To create a group clip:

1. If you are using a sync point, load the clips and mark an IN at the
sync point at the start of each clip, or mark an OUT at the sync
point at the end of each clip.

663
n For multicamera video or film shoots, you typically use a slate for marking IN
and OUT points. But you can use any visual or aural event that is recorded
by all cameras simultaneously.

2. In the bin, select all the clips you want to group.

3. Choose Group Clips from the Bin menu.
The Group Clips dialog box appears.

4. Select an option, based on the following:

• Film TC/Sound TC: If you are syncing clips with matching film
and sound timecode recorded in the field. This option appears
dimmed if you are not working on a film project.
• Inpoints: If you are syncing according to IN points set in each
clip.
• Outpoints: If you are syncing according to OUT points set in
each clip.
• Source Timecode: If the clips have matching timecode.
• Auxiliary TC1–TC5: If the clips have matching timecode in the
same auxiliary timecode column.

664
 5. Click OK. A group clip appears in the bin, with the name of the
first clip in the group, followed by the file name extension Grp.n.
The n is an incremental numbering of group clips with the same
name in the same bin. You might want to rename this to some-
thing easier to read, such as name.Group.

Creating Multigroup Clips

Multigrouping is strictly for use in large multicamera productions,
such as situation comedies, in which all synchronous camera shots are
recorded with the same timecode. The MultiGroup function is a single
Bin menu command that eliminates the time-consuming steps of col-
lecting, sorting, grouping, and assembling large volumes of multicam-
era clips.

To multigroup your material:

1. Sort the clips by name in the bin.
2. Choose Select All from the Edit menu to select the master clips.
3. Choose MultiGroup from the Bin menu.
The system creates several group clips for each take in the bin,
then creates a multigroup from the groups. The multigroup has
the same icon as the groups, but the icon is preceded by a plus
sign.

665
Multicamera Edit Modes
The three edit modes you use during multicamera editing are Full-
Monitor display, Quad Split, and MultiCamera mode. You can edit
with either group clips or multigroup clips in all three modes.

Full-Monitor Display
When you first load a grouped or multigrouped clip, the Source moni-
tor displays a single frame from one clip in the group in Source/
Record mode. This is called Full-Monitor display when working with
group clips, because you can view each angle in full-monitor size as
you edit. Also, in Full-Monitor display, the third, full-screen monitor
remains full screen.

666
The basic features of Full-Monitor display are as follows:
• Provides source-oriented control of multicamera material. You can
switch camera angles, cue, and mark material without affecting
the sequence.
• Provides all the same Source monitor controls that are available
when editing other clips in Source/Record mode.
• Provides all the same multicamera editing tools that are available
in Quad Split and MultiCamera mode. These are described in
“Multicamera Editing Techniques” on page 671. The only dis-
tinction is that in Full-Monitor display you can view each angle
full-size as you edit.

667
Quad Split

Quad Split After loading a group clip into the Source monitor, you enter Quad
button Split by clicking the Quad Split button located in the Command pal-
ette on the MCam tab. The Source monitor splits into four quadrants.
A Group Menu icon appears in the second row of information above
the Source and Record monitors. The third, full-screen monitor dis-
plays the Quad Split when the Source monitor is active, and full-
screen when the Record monitor is active.

Group Menu icon Quad Split display Sequence

668
 The basic features of Quad Split are as follows:
• Provides source-oriented control of multicamera material, like Full-
Monitor display. You can switch camera angles, playback (one
camera angle at a time), cue, and mark material without affecting
the sequence.
• Provides the same Source monitor controls that are available when
editing other clips in Source/Record mode.
• Provides all the special multicamera editing features that are avail-
able in Full-Monitor and MultiCamera mode, as described in
“Multicamera Editing Techniques” on page 671.
• Provides a list of all group clip video and audio tracks in the
Group menu for custom selection and patching.
• Allows you to use the Quad Split button to switch the Source
monitor between Full-Monitor and Quad Split viewing and edit-
ing (editing functions are the same in both).
• Displays whichever monitor is active in the third, full-screen mon-
itor (you can switch between Quad Split and full-screen as
needed).

MultiCamera Mode
After loading a group clip into the Source monitor and editing it to cre-
ate a new sequence, you choose MultiCamera Mode from the Special
menu to activate the features. MultiCamera mode takes the Quad Split
one step further: it gangs all shots in the group clip displayed in the
Source monitor to the sequence footage displayed in the Record moni-
tor. All shots are synchronized and continuously updated during
editing.

669
 Source monitor controls The Gang icon
Group Menu icon are disabled. changes to green.

The basic features of MultiCamera mode are as follows:

• Provides sequence-oriented control of multicamera material, in con-
trast to Full-Monitor and Quad Split. Whenever you play back,
cue, switch camera angles, or mark material, your changes take
place in the sequence.
• Provides only Record monitor controls.
• Provides special MultiCamera editing features that are available in
Full-Monitor display and Quad Split, as described in “Multicam-
era Editing Techniques” on page 671.

670
 • Provides the ability to cut between shots on-the-fly during full-
motion playback, as you would during live switching of a show.
• Provides a list of all video and audio tracks in the group in the
Quad Split menu, for custom selection and patching.
• Lets you deselect MultiCamera Mode in the Special menu at any
time to switch between source-oriented and sequence-oriented
multicamera editing.
• Lets you deselect MultiCamera Mode when you need to play back
full-screen.

Multicamera Editing Techniques

When you load a group or multigroup clip into the Source monitor
and begin editing, the Timeline provides a unique display of the clip
name to indicate the presence of a group.

(G) indicates a group clip.

The system uses the name of the clip within the group to identify the
shot in each cut, but adds a G in parentheses to indicate the group.

Using various keys and functions, you can switch and edit the dis-
played group shot at any point in the sequence, as described in this
section. These features apply to both group and multigroup clips.

671
Switching Shots with the Arrow Keys
You can switch the display of camera angles by using the Up Arrow
and Down Arrow keys. The angle selection switches in either the
Source monitor (source material) or in the Record monitor (sequence
material), whichever is active.

If the group contains more than 4 camera angles, the Up Arrow and
Down Arrow keys will cycle through all the clips, but only the first
four clips are displayed in the Quad Split display.

When the Record monitor is active, you can place the position indica-
tor within any segment and use the arrow keys to switch the group
shot selected for that segment.

n Whenever you switch camera angles, you also switch the frame representing
the group in the bin. You can use this method to change the representative
frame for bin display and storyboarding.

Cutting On-the-Fly with Quad Keys

You can switch the display of up to eight camera angles by using Quad
keys on the keyboard. The default keys are F9 to F15 for cameras 1 to 7.
You can map an additional camera from the MCam tab of the Com-
mand palette to the keyboard for all eight cameras.

If the group contains more than four camera angles, the Quad keys
will cycle through all the clips, but only the first four clips are dis-
played in the Quad Split display.

672
 Key equivalents for quadrants:

F9 F10

F11 F12

If you press a Quad key when the footage is stopped, the system
switches the camera angle and also creates an edit in the sequence. You
can use this method to walk through one long group or multigroup
sequence and edit camera angles as you go.

n To switch without creating a cut, press the Option key while pressing a
Quad key.

Using the Add Edit Button

You can use the Add Edit button like a hot key to add edits while step-
ping through a sequence, or on-the-fly during playback. The only dif-
ference is that you are not switching camera angles until after you set
the edit points.

This method is especially useful when editing to music because it

allows you to concentrate on the beats and ignore camera angles until
the edits are placed.

673
 To use this method, you must first map the Add Edit button onto the
keyboard. Consider mapping the Add Edit button to a function key
next to the default Quad keys. For more information on mapping keys,
see “About Button Mapping” on page 114.

To add edits on-the-fly:

1. Load the group or multigroup into the Source monitor and splice
it into a sequence.
2. Play the sequence. Each time you want to make an edit, press the
Add Edit key. When you stop the sequence, the edits appear in the
Timeline.
Play the sequence repeatedly to add more edits, or remove edits in
Trim mode by lassoing them in the Timeline and pressing the
Delete key.
3. After adding the edits, place the position indicator within each
segment and use the arrow keys to switch camera angles.

Using the Group Menu

The Group menu allows you to select video or audio channels from
any of the clips in the group and patch to the tracks available in the
sequence. This means that you can potentially have eight camera
angles and eight or more audio tracks synchronized and available for
patching at any time.

674
Click the Group Menu icon
to display the pop-up menu.

n The Second Row of Info option must be selected in Composer Settings to dis-
play the Group Menu icon above the Source monitor.

In addition, you can choose the Audio Follow Video option from the
Group menu to instruct the system to switch both audio and video for
each camera angle when you cut on-the-fly or selective camera style.
The Group Menu icon changes to green when you select the Audio
Follow Video option.

Audio Follow Video overrides the track selection beside the Timeline
and switches audio in track A1 only. Audio-Follow-Video edits appear
in the Timeline as match frames (that is, the transition contains an
equal sign).

To use the Group menu:

1. Click the Group Menu icon in the second row of information
above the Source monitor to display the Group menu.
2. Select video or audio channels from any clip in the group to patch
the video or audio channels to the tracks available in the sequence.

675
 3. (Option) Choose the Audio Follow Video option to switch both
audio and video for each camera angle together when you cut on-
the-fly or selective camera style.

Using the Quad Menus

You can use the Quad menus to group up to eight clips at a time, and
select additional shots to display in any of the Source monitor quad-
rants.

To select an additional shot from the group to display in one of the

quadrants:
1. Press the Ctrl key to activate the display of shot names in the
Source monitor quadrants.
2. Click the name of the quadrant where you want to display the
new shot. The shots in the group appear in the Quad menu.

Select additional angles from the Quad menu.

3. Choose the shot you want to display from the menu. The new shot
appears in the quadrant.

676
Using Match Frame in Multicamera Editing
You can use the Match Frame button to call up the matching shot
within the group when matching from the sequence. Or you can call
up the original clip when match framing from the source group. For
more information on using the Match Frame feature, see “Using
Match Frame” on page 649.

n If the group contains more than four shots and you match a clip that is not
visible (shot 5 and above), the Avid system will select the clip but not display
it.

Workflow Options
The Media Composer MultiCamera editing features make possible
three basic workflow models for cutting multiple-angle shows: selec-
tive camera cutting, cutting on-the-fly, and combination cutting. Each
workflow option has its own advantages. When and how to use them
is a matter of preference.

Selective Camera Cutting

Selective camera cutting involves marking and editing source material
into the sequence, much as you build a sequence by using nongrouped
clips in a normal session. You can play, cue, and mark clips on the
source side, then splice, overwrite, and trim shots in the sequence.

You can perform selective camera cutting in two ways:

• Lay down an entire group as a master sequence, then add edits,
switch camera angles, and trim within the sequence or cut in new
shots.

677
 • Edit one clip at a time, without laying down a master sequence
first, effectively building a sequence as you would with
single-camera material.

The advantage of selective camera cutting with grouped clips is that

all the clips are synchronized, for simplified selection of camera
angles. Selective camera cutting generally requires use of a detailed
line script, or detailed notes, that enable you to select shots and assem-
ble the sequence one clip at a time.

To perform selective camera cutting:

1. Load the group or multigroup into the Source monitor.
2. Using timecode notes and the numeric keypad, type in the time-
code for the first take to begin the sequence, and press Enter to cue
the clip in the Source monitor to the take.
3. Mark IN and OUT points for the entire scene.
4. Select a camera angle for the first shot, then splice the entire scene
into a sequence.
5. Use the arrow keys, the Add Edit button, or both to select edit
points and switch to different angles throughout the master scene
in the sequence.
6. To replace a portion of the take with a better part from another
take, use the timecode notes again to cue up the take, set marks,
and perform a replace edit.
7. When you are finished with a scene, repeat the procedure for each
additional scene in the sequence.

Cutting On-the-Fly
When cutting on-the-fly, you use MultiCamera mode in conjunction
with the Quad keys (function keys F9 to F15) to switch between Quad
Split camera angles ganged to the record sequence.

678
While you are cutting on-the-fly, the Source monitor controls are dis-
abled. You cannot mark IN and OUT points as you do during selective
camera cutting. Generally, you are editing from the quads according to
the action in the Record monitor.

To cut on-the-fly:
1. Load the group or multigroup into the Source monitor.
2. Using timecode notes and the numeric keypad, type in the time-
code for the first take to begin the sequence, and press Enter to cue
the clip in the Source monitor to the take.
3. Mark IN and OUT points for the entire scene.
4. Select a camera angle for the first shot, then splice the entire scene
into a sequence.
5. Choose MultiCamera Mode from the Special menu to enter Multi-
Camera mode.
6. Play the sequence from the beginning. Watch the shots in the
Quad Split and the sequence footage in the Record monitor; then
use the Quad keys to switch to different angles on-the-fly.
7. Press the space bar to stop the sequence and update the Timeline
to include all the edits you made while cutting. Repeat the proce-
dure until you have the edits you want.
8. When you are finished with the scene, repeat the procedure for
each additional scene in the sequence.

After cutting in various angles, you can adjust transitions and edit out
the superfluous material from the sequence in Trim mode.

679
Combination Cutting
Combination cutting involves the use of both selective camera cutting
and cutting on-the-fly interchangeably. Most productions use both
methods at one time or another. Others use them in combination
throughout postproduction. Two examples are:
• If you are editing a situation comedy or similar production that
requires a specific show length for the finished master, you can
begin using selective camera cutting to edit the show for time. This
often involves emphasizing the audio on the first editing pass
(also known as a radio edit), and then cutting on-the-fly in subse-
quent passes to get the timing of shot transitions and cutaways.
• If you are editing a live-on-tape event, such as a concert or comedy
club performance, you can begin by cutting on-the-fly to capture
transitions spontaneously. However, you have the added benefit
of stopping and returning to a transition if you make a mistake,
and trimming or adjusting edits in a nonlinear fashion.

The difference in alternative editing styles is a matter of preference.

Choose the approach that works best for your production.

680
CHAPTER 19
Output Options

The Avid system provides tools for generating output for individual
tracks or entire sequences to various videotape or audiotape formats.
In addition, you can generate an edit decision list (EDL) 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
• Establishing Sync for Output
• Using the Digital Cut Tool
• Recording a Digital Cut to Tape (Remote Mode)
• Recording a Digital Cut to Tape (Local Mode)
• Accessing EDL Manager
• Using the Matchback Option
• VTR Play Emulation

681
Preparing for Output
Preparing for video output involves the following procedures:
• Render all non-real-time effects in the sequence, as described in
the Avid Media Composer Effects Guide.
• Establish a sync source for output, as described in “Establishing
Sync for Output” on page 682.
• Calibrate and adjust video output levels, as described in “Cali-
brating for Video Output” on page 683.
• Calibrate and adjust audio output levels, as described in “Prepar-
ing for Audio Output” on page 693.
• Decide whether you want to generate stereo or mono audio.
For more information • Mix down multiple audio tracks, if necessary.
on mixing down audio
tracks, see “Mixing • Prepare the record tapes, as described in “Preparing Record
Down Audio Tracks” Tapes” on page 696.
on page 632.
• (Option) Record reference bars and tone to tape.

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 refer-
ence connected to the reference input, output sync is generated from
internal timing.

c If you are working in a facility that uses house sync or a black burst
generator to maintain accurate timing between various input and
output devices, you should connect the reference signal to the refer-
ence input (REF) on the Meridien I/O box before performing a digi-
tal cut. For more information, see the Avid Media Composer Products
Setup Guide.

682
 If you connect a reference input while the Avid application is running,
you can reestablish sync by doing one of the following:
• Exit and then restart the Avid application.
• Open the Digital Cut tool.
• Enter and then leave Capture mode.

Calibrating for Video Output

Before you calibrate video output for an NTSC-EIAJ project (for
Japan), make sure the “NTSC Has Setup” option is not selected in the
General Settings dialog box.

Read the information in the following sections based on the following:

• Calibrating for video output using the factory presets: You
should use the factory presets if you do not have an external
Waveform monitor, or your site engineers calibrate the system as a
general maintenance procedure.
• Calibrating for video output: All users can follow the steps for
calibrating video output, as described in “Basic Video Output
Calibration” on page 684.
• Calibrating/syncing output signals in a production facility:
Advanced users and house engineers should follow the steps for
adjusting and conforming output signals to house standards, as
described in “Advanced Video Output Calibration” on page 688.

Using the Factory Presets

The preset buttons on the Video Output tool show the status of each
Calibration setting as follows:
• When you first open the Video Output tool the first time you run
the application, all preset buttons are lit (green), with the factory
presets loaded for each slider.

683
 • When you click a slider of a lit preset button, the button dims
(appears gray), and the slider returns to the most recent manual
level setting.
• When you click an unlit preset button, it becomes lit (green), and
the slider moves to the factory preset level for that parameter.

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

Basic Video Output Calibration

You can perform basic output calibration when working with a

standalone editing workstation or in a production environment that
does not require advanced calibration of horizontal phase or use of
test patterns according to specific house standards.

n Calibrating video output requires external Waveform and Vectorscope moni-

tors. If you do not have external Waveform or Vectorscope monitors, leave the
Video Output tool set to the preset values.

To calibrate for video output:

1. Choose Video Output Tool from the Tools menu.
The Video Output tool opens.

Settings pop-up menu

684
 n Up to three output signals are active at once: Composite output, Serial Digi-
tal, and either Component or S-Video. You can record your output to any of
these devices, or all at once if you record manually. For more information, see
the Avid Media Composer Products Setup Guide.

2. Select the output format and display the appropriate controls:

• For Composite output, click the Controls button in the Out 1:
Composite pane.
• For Component or S-Video output, select either the Compo-
nent or the S-Video radio button as appropriate, then click the
Controls button in the Out 2 pane.
• For Serial Digital output, click the Controls button in the
Out 3: Serial Digital pane.

n The Video Output tool for systems equipped with the serial digital I/O board
for recording to a D1 or digital Betacam VTR does not display basic calibra-
tion controls. All basic levels remain in digital form and cannot be adjusted
from within the Avid application. For H-Phase adjustment of a Serial Digital
output signal, see “Advanced Video Output Calibration” on page 688.

The Video Output tool displays the appropriate parameters for the
chosen video format, as described in Table 19-1.

Table 19-1 Video Format Output Parameters

Parameter Video Formats Description

Black All formats, A measurement of luminance in the video signal

except Serial Digital that is referenced to the blackest point in the visible
picture. Also known as setup or pedestal. Color
bars are used to set the black level.

Gain, Y-Gain All formats, A measurement of luma (Y) in the video signal that
except Serial Digital is the whitest point in the visible picture. Color bars
are used to set the white level.

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 Table 19-1 Video Format Output Parameters (Continued)

Parameter Video Formats Description

Hue Composite and S-Video An attribution of color perception based on varying

(not available for PAL) proportions of red, green, and blue in the video sig-
nal. Also known as color phase.

Sat Composite and S-Video Saturation: a measurement of chrominance or the

intensity of color in the video signal.

RY Gain Component The red (R) minus luminance (Y) color-difference

signal of an analog component system in the SMPTE
NTSC video standard. The signal consists of the fol-
lowing base equation for red (R), green (G), and
blue (B) components:
R–Y=-0.587G – 0.114B + 0.701R

BY Gain Component The blue (B) minus luminance (Y) color-difference

signal of an analog component system in the SMPTE
NTSC video standard. The signal consists of the fol-
lowing base equation for red (R), green (G), and
blue (B) components:
B–Y=(–0.587G + 0.886B – 0.299R) * gain value

SC Phase Composite and S-Video Subcarrier phase: The color burst portion of a com-
posite or S-Video signal used to synchronize the
timing of two or more video signals.

n 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 682.

3. Display color bars for calibrating:

• If you edited digital bars and tone into the sequence, go to the
head of the bars and tone and click Play.
• You can use internal bars from the Video Output tool by click-
ing the Arrow button in the lower left corner of the tool and
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 choosing either SMPTE_Bars.pct (SMPTE standard bars) or
ColorBars.pct (full-field color bars) from the Test Patterns pop-
up menu.
Bars are displayed on the third full-screen monitor, and the signal
appears on the external Waveform and Vectorscope monitors.

n The internal Waveform and Vectorscope monitors do not display output sig-
nals from the system.

4. Adjust luminance values based on Table 19-2.

Table 19-2 Luminance Settings for Video Output

Parameter/ SMPTE Bars Full-Field Bars at Full-Field Bars at

Video Standard a 75% Signal Level 100% Level

Black level (setup) Adjust Black slider to Adjust Black slider to Adjust Black slider to
place black level at: place black level at: place black level at:

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

White level (gain) Adjust Gain/Y Gain Adjust Gain/Y Gain Adjust Gain/Y Gain
slider to place white slider to place white slider to place white
level at: level at: level at:

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

a. Includes NTSC-EIAJ used in Japan

b. NA = Not applicable

5. Adjust the Hue and Sat slider (composite or S-Video output), or

the RY Gain and BY Gain sliders (component output) until the

687
 angle and amplitude of the six color vectors fall within the target
boxes on the vectorscope.

n If you do not have separate Vectorscope and Waveform monitors, you can
use the third, full-screen monitor’s “blue only” feature, if available, to adjust
SC phase output. For more information on this feature, see your monitor’s
documentation.

6. Save this setting by choosing Save As from the Settings pop-up

menu, typing a name, and clicking OK.

n Output settings are Site settings, available to all users and all projects on the
system.

Advanced Video Output Calibration

Advanced users and site engineers can use the following procedures
to fine-tune output signals by using various test patterns and phase
control. You can also adjust output by using the passthrough signal
from an input device.

Displaying Advanced Calibration Controls

To display additional controls in the Video Output tool, click the arrow
button in the lower left corner of the tool.

688
 The additional options appear and the arrow button points down. To
return to the normal display, click the arrow again.

Displays
advanced
calibration
controls

Test Patterns pop-up menu

Using Test Patterns

The expanded Video Output tool provides a pop-up menu of test pat-
terns you can use to calibrate the system output. To display a test pat-
tern, click the Test Patterns pop-up menu and choose a pattern.

689
 You can add test patterns to the list by doing the following:
1. Find or create a PICT file for a chosen pattern.

n You can create your own test pattern files by digitizing the pattern from vid-
eotape, and exporting it as a PICT file. You can improve the accuracy of the
image by correcting colors and removing errors in a third-party application
such as Adobe Photoshop™.

2. Place the file in either the NTSC or PAL folder 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 (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 test pattern appears in the Test Patterns pop-up menu on the
Video Output tool.

Adjusting Phase Controls

The expanded Video Output tool provides controls for adjusting hori-
zontal 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. Hue (or SC-H phase) and 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.

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 produc-
tion house in which timing is necessary between various devices —
such as switchers, decks, and monitors — use these controls to adjust
phase globally for all outputs from the Avid system.

690
Calibrating the System with Passthrough Signals

If you work in a production environment in which house standards

are used to synchronize a number of devices including the source
decks connected to your Avid system, you can calibrate the system one
time to conform to existing standards with the least amount of alter-
ation of the signal. This method involves the use of a passthrough sig-
nal (a signal that gets sent directly from an input source through to the
output channels).

This advanced form of calibration is an alternative to Video Input tool

Calibration settings for each source tape, and involves calibrating
tapes at the source device, using external time-base correction. You
will need both a signal generator and external waveform and vector-
scope monitors to calibrate the system with passthrough.

To calibrate using a passthrough signal:

1. Connect a source signal with a test pattern from a signal generator.
2. Choose Video Input Tool from the Tools menu.
The Video Input tool opens.
3. Choose a video format from the Input pop-up menu. The chosen
input provides the passthrough signal.
4. Calibrate the input if necessary by using the Video Input tool, as
described in “About Video Input Calibration” on page 197.
5. Save the input calibration settings as the system Default setting, as
described in “Saving Settings” on page 204.
6. Choose Video Output Tool from the Tools menu.
The Video Output tool opens.
7. Choose Digitize Tool from the Tools menu.
The Digitize tool opens. With the Digitize tool active, the input sig-
nal passes through to the output channels.
8. Choose an output format in the Video Output tool.

691
 n You can precisely match only one output format at a time in phase to the
reference signal. In most cases, you should choose either Composite or Serial
Digital.

For more information 9. Calibrate any of the available controls in the Video Output tool
on using the Video Out-
while checking the external waveform and vectorscope monitors.
put tool, see “Basic
Video Output Calibra- For example, composite output provides Black, Gain, and Satura-
tion” on page 684. tion controls.
10. Select a test pattern from the Video 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 on the Video Output tool for phase control.
11. Make any necessary adjustments to H phase, SC phase, and Hue
by using the sliders on the Video Output tool while checking the
external waveform and vectorscope monitors.

n Whenever the Digitize tool is active, hue, horizontal phase (H phase), and
subcarrier phase (SC phase) are set to values determined by the input cir-
cuitry and are not available to control the outputs. Therefore, these controls
appear dimmed during passthrough.

12. Save this setting with an appropriate name by choosing Save As

from the Settings pop-up menu in the Video Output tool, typing a
name, and clicking OK.

The Video Output setting, a Site setting, will apply to all users and all
projects on the system. The Video Input setting you saved and named
Default will be recalled each time a new tape is loaded for digitizing in
the current project only.

692
Preparing for Audio Output
The Audio tool allows you to generate and customize calibration tone,
and adjust global output levels. For information on additional audio
mix procedures such as adjusting volume and pan, mixing down
selected tracks, or ignoring mix levels, see Chapter 16.

The Avid system supports direct output of up to eight channels of

audio, depending upon your system’s configuration.

For eight-channel audio output, you can reassign output channels

from tracks in a sequence or clip to any of the eight optional output
channels. For more information, see “Adjusting Output on Eight-
Channel Audio Board Systems” on page 695.

c Eight-channel audio output requires the appropriate hardware con-

figuration. For more information, see the Avid Media Composer
Products Setup Guide.

Setting the Calibration Tone

The Audio tool provides an internal calibration tone that you can cus-
tomize 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 sig-
nal. In some cases, you might need to customize the signal. For exam-
ple, a common reference signal convention for audio work involves
recording 30-second segments of 1-kHz, 10-kHz, and 100-Hz tone back
to back.

To change the parameters for the calibration tone:

1. Choose Audio Tool from the Tools menu. The tool opens.

693
 2. Choose Set Calibration Tone from the Peak Hold (PH) pop-up
menu.

The Calibration Tone Parameters dialog box appears.

3. Enter new values for the tone level and frequency, and click OK.

To play back the tone, choose Play Calibration Tone from the Peak
Hold pop-up menu. To check the adjusted tone level in the meters,
make sure the In/Out toggle buttons are switched to O for Output.

Calibrating Global Output Levels

You can use the meters and a master attenuator (output control slider)
in the Audio tool to make global level adjustments for output from the
system. These adjustments affect levels for all output tracks to both the
speakers and to record devices.

c You should leave this setting at the factory preset of 0 dB. Adjust the
level only when necessary to raise or lower the overall volume based
on the headroom parameters of the record format, or consistently
overmodulated or undermodulated source material.

694
Adjusting Output on Eight-Channel Audio Board Systems

To adjust global output from an eight-channel audio board system:

1. Choose Audio Tool from the Tools menu.
2. Click the Output Control button (the speaker icon) to display the
master attenuator (slider).

Setup Control button Track number Output Options

Peak Hold
pop-up menu displays pop-up menu
Output Control button
Setup Options panel

In/Out toggle
buttons

Reset Peak
button

Stereo
Output Control slider Channel
assignments Mix Tracks
(Master attenuator) pop-up menu

3. Click the Setup Control button to open the Setup options panel.
4. Choose a type of output from the Output Options pop-up menu.
• Choose Stereo Mix to mix the currently monitored audio
tracks into a stereo pair.
• Choose Mono to pan all the currently monitored tracks to
center.

695
 • Choose Direct Out to map tracks directly to up to eight chan-
nels of output (depending on your hardware configuration).
5. (Option) Depending on your type of output, you can make addi-
tional adjustments:
• By default, Stereo Mix directs the mixed tracks to output chan-
nels 1 and 2.
• By default, Direct Out maps all audio tracks in numerical
sequence to existing output channels. You can remap a track to
any channel by clicking the channel assignment display and
choosing another channel.
• You can select Ignore Volume or Ignore EQ to disable the cus-
tomized pan, volume, or equalization effects you applied with
the 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:
• 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.

n To adjust levels for individual tracks, you must use the Audio Mix tool.

9. Close the Audio tool.

Preparing Record Tapes

There are two basic methods of recording to tape: frame-accurate
recording by using the Digital Cut tool, and manual recording by
using controls on the record deck. Each of these methods requires dif-
ferent treatment of the record tapes.

696
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 one of the following options:
• If you intend to perform assemble edit recording, you must record
black with timecode onto the tape including the necessary preroll
prior to the IN point plus at least 10 seconds.
• If you intend to perform insert edit recording, you must stripe the
record tapes (record black and timecode for the entire duration of
the tape) in advance.

Manual Recording

Manual recording (sometimes referred to as crash recording) involves

bypassing deck control in the Avid application and using manual
operation of the record deck. Because the timing of playback is based
on manual 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 consumer grade
VHS or Hi8.

To record manually:
1. Set the serial control switch on the record deck to Local.
2. Use the controls on the deck to start the videotape recording.
3. Play the sequence in Media Composer.

697
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 seg-
ment of digital bars and tone to the front of your sequence, or pre-
pare it as a separate sequence that you can record by using the
Digital Cut tool. For more information, see “Preparing Digital
Bars and Tone” on page 314.
• If your recording does not need to be frame-accurate, you can
manually record direct output of bars and tone from Media
Composer.

To manually record bars and tone:

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.
3. Choose Play Calibration Tone from the Peak Hold pop-up menu in
the Audio tool.
4. Place the record deck on Local for manual recording.
5. Record the bars and tone as either an insert or assemble edit
according to the operation of your record deck and chosen
method. Your deck must have edit feature to perform this step.

To create your own tone media, see “Creating Tone Media” on

page 192.

Enabling Assemble-Edit Recording

Insert editing is the default setting for the Digital Cut tool. You can
also use Assemble-Edit settings in the Avid application, along with the

698
 assemble-editing capabilities of your record deck, to quickly record
frame-accurate digital cuts without striping entire tapes in advance.

c To avoid accidentally breaking timecode on prestriped tapes during

digital cut recording, enable assemble editing only when in use, and
disable it during normal insert edit recording.

To enable assemble editing:

1. Double-click Deck Preferences in the Settings scroll list of the
Project window to open the Deck Preferences dialog box.

Assemble-editing
option

2. Select the option “Allow assemble edit for digital cut.”

3. Click OK.

Once assemble editing is enabled, you select additional options in the

Digital Cut tool when you are ready to record, as described in the sec-
tion, “Recording a Digital Cut to Tape (Remote Mode)” on page 706.

These switches are often In addition, make sure the record deck has the following settings:
located below the
machine’s playback • The free run/rec (record) run switch should be set to record run.
control buttons. For
more information, see • The Ext (external)/Int (internal) sync switch should be set to
your record device’s internal.
manual.

699
 • The switch for internal timecode should be set to Regen (regener-
ate) or Slave Lock, not Preset.
• After you record 15 to 30 seconds of timecode onto the record tape
for jam syncing, return the Local/Remote switch to Remote for
deck control from within the Avid application.

Using the Digital Cut Tool

The Digital Cut tool provides controls when you record a sequence to
tape. The Digital Cut tool has the follows operating modes:
• Remote mode allows you to control the decks using the deck con-
troller in the Digital Cut tool. This mode provides frame-accurate
control when you record a sequence to tape.
• Local mode allows you to manually control the decks using the
controls on the decks. This mode is useful when you need to use
non-Avid-controlled decks, such as consumer-grade VHS or Hi8.
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 696.

n 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 682.

700
 The Digital Cut tool provides several options for you to manage the
recording of your sequence. For example, you can:
• Record by using either assemble or insert edits.
• Record a selected portion of the sequence or selected tracks.
• Record an entire sequence.
• Record according to different timecode parameters.
• Select the sequence video and audio tracks to record
(Sequence Track buttons).
• Select the tracks to record to on the tape (Enable
Track button – Remote mode only).
• Add black at the end of a digital cut.

The Digital Cut tool includes its own deck controls for:
• Cueing a record deck from the Digital Cut tool
(Remote mode only).
• Cueing the tape and adding a mark IN point. This capability
applies when you choose Mark In Time from the pop-up menu in
the deck control area (Remote mode only).

n Depending on the system configuration, you might need to use the deck con-
trols on the Digitize tool to review a digital cut.

701
 Sequence Track buttons
Enable Track buttons

Timecode
text boxes

Deck controls Deck Selection pop-up menu

Selecting a Deck
The Deck Selection pop-up menu in the Digital Cut tool contains a list
of all decks that were connected to the system, powered up, and ini-
tialized when you opened the Digital Cut tool. For information about
configuring decks, see “Deck Configuration Settings” on page 152.

The Deck Selection pop-up menu also lists three commands:

• Adjust Deck opens the Deck Settings dialog box. Changes you
make apply to the selected deck.
• Auto-configure allows you to automatically configure the selected
deck.

702
 • Check Decks helps to reestablish deck control if the power on your
decks was off or the decks were disconnected when you opened
the Digital Cut tool.

Previewing a Digital Cut

You can manually You can preview a digital cut before recording it to tape to make sure
record a digital cut
your preparations and output settings are correct, or for screening pur-
including countdown,
but the recording will poses.
not be frame-accurate.
For more information, To preview a digital cut:
see “Preparing Record
Tapes” on page 696. 1. Choose Digital Cut from the Output menu.
The Digital Cut tool opens.

Sequence Track buttons Play Digital Cut button Halt Digital Cut button

Deck Control
option area

Deck Selection
pop-up menu

2. Select Local in the deck control option area.

703
 3. (Option) Select the With Countdown option to preview the digital
cut using a countdown. The default countdown is a
computer-generated countdown containing the Avid logo.
4. (Option) Select Custom Screen for counting down by using a cus-
tomized countdown screen that you create, as described in “Creat-
ing a Custom Countdown Display” on page 704.
5. Choose a deck from the Deck Selection pop-up menu. See “Select-
ing a Deck” on page 702.
6. Select the audio tracks and topmost video track that you want rep-
resented in the digital cut preview by using the Sequence Track
buttons. The display of tracks in the Digital Cut tool varies accord-
ing to the tracks existing in the sequence.
7. Click the Play Digital Cut button.
The system plays a preview of the digital cut in the Record
monitor and the full-screen monitor.
8. To stop the preview at any time, click the Halt Digital Cut button
or press the space bar.

Creating a Custom Countdown Display

The Custom Screen option allows you to change the font (type style),
size, and color of the countdown numbers. You can also import your
own graphic file as a background. Any file format that can be trans-
lated by QuickTime can be imported as a background.

To create a custom countdown:

1. Choose Digital Cut from the Output menu.
The Digital Cut tool opens.
2. Select Local in the Deck Control option area.
3. Select both the With Countdown and the Custom Screen options.
4. Click the Choose button.

704
 The Custom Countdown dialog box appears.

Font

Font Size

Font Color

5. (Option) Choose another font, font size, or font color from the
pop-up menus.

n The menus display all currently available fonts, as determined by the contents
of the Fonts folder.

6. Click the Import button to import an available graphic file to use

as a custom background. The Directory dialog box appears.
7. Locate a graphic file to serve as the new background image.
8. Select the graphic file and click Open.
9. Click OK. The custom countdown screen is ready.

n The best resolution for imported PICT files is 720 x 486 for NTSC and
720 x 576 for PAL. The resolution cannot be changed after importing.

705
Recording a Digital Cut to Tape (Remote Mode)
To record a digital cut to tape:
1. Load a sequence into the Record monitor. (You cannot access digi-
tal cut options without a sequence loaded.)
2. Choose Digital Cut from the Output menu.
The Digital Cut tool opens.

Sequence Track buttons

Enable Track buttons

Play Digital Cut button

Deck control
option area

3. Select or deselect the Entire Sequence option based upon the fol-
lowing:
• Select the Entire Sequence option if you want the system to
ignore any IN or OUT marks and play the entire sequence
from start to finish.

706
 • Deselect the Entire Sequence option if you have established IN
marks, OUT marks, or both for recording a portion of the
sequence.
4. (Option) Select the Add Black at Tail option and enter a timecode
to add black at the end of the digital cut.
5. Choose a deck from the Deck Selection pop-up menu. See “Select-
ing a Deck” on page 702.
6. Select Remote in the deck control option area.
7. Choose either Insert Edit or Assemble Edit from the pop-up menu.
This menu only appears if you enabled assemble editing in the
Deck Preferences settings. For more information about this option,
see “Enabling Assemble-Edit Recording” on page 698.
8. Select an option from the pop-up menu in the deck control option
area to indicate where to start recording on the tape.
• Select Sequence Time to start the recording at a timecode exist-
ing on tape that matches the start timecode of the sequence. If
you intend to record several sequences to tape one after
another, this option requires resetting the start timecode on
each sequence to match appropriate IN points on the tape.
You can change the start • Select Record Deck Time to ignore the timecode of the
timecode to match the
sequence and start the recording wherever the record deck is
record tape. For more
information, see currently cued.
“Changing the
Sequence Name and • Select Mark In Time to ignore the sequence timecode. Estab-
Timecode” on lish a specific IN point on the record tape by cueing and mark-
page 439. ing with the deck controls.

Timecode text box

9. (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 digital cut starts. This option overrides the
Preroll setting in the Deck Settings dialog box.

707
 10. Select the audio and video tracks that you want represented in the
digital cut by using the Sequence Track buttons. The display of
tracks in the Digital Cut tool varies according to the tracks existing
in the sequence.
11. Select the video and audio tracks to record to on the tape by using
the Enable Track buttons.
12. Click the Play Digital Cut button.
The system cues the record deck, then plays and records the
sequence. The playback appears in the Record monitor and the
full-screen monitor.

n Depending on the system configuration, you might need to use the deck con-
trols on the Digitize tool to review a digital cut.

13. To stop the recording at any time, press the space bar or click the
Halt Digital Cut button.

n After assemble-edit recording, a freeze frame is usually added after the OUT
point for 1 second or more, depending upon the record deck model. This pro-
vides several frames of overlap for the next IN point before control track and
timecode break up.

Recording a Digital Cut to Tape (Local Mode)

To record a digital cut to tape by using the deck controls on the deck:
1. Load a sequence into the Record monitor. (You cannot access digi-
tal cut options without a sequence loaded.)
2. Choose Digital Cut from the Output menu.

708
 The Digital Cut tool opens.

Sequence Track buttons

Deck control
option area

3. Select or deselect the Entire Sequence option based upon the

following:
• Select the Entire Sequence option if you want the system to
ignore any IN or OUT marks and play the entire sequence
from start to finish.
• Deselect the Entire Sequence option if you have established IN
marks, OUT marks, or both for recording a portion of the
sequence.
4. (Option) Select the Add Black at Tail option and enter a timecode
to add black at the end of the digital cut.
5. Choose a deck from the Deck Selection pop-up menu. See “Select-
ing a Deck” on page 702.
6. Select Local in the deck control option area.

709
 7. (Option) Select the With Countdown option to record the digital
cut using a countdown. The default countdown is a
computer-generated countdown containing the Avid logo.
8. (Option) Select Custom Screen for counting down by using a cus-
tomized countdown screen that you create, as described in “Creat-
ing a Custom Countdown Display” on page 704.
9. Select the audio and video tracks that you want represented in the
digital cut from the Sequence Track buttons. The display of tracks
in the Digital Cut tool varies according to the tracks existing in the
sequence.
10. Press the Record button on the deck.
11. Click the Play Digital Cut button.
The deck plays and records the digital cut. The playback appears
in the Record monitor and the third, full-screen monitor.

n Depending on the system configuration, you might need to use the deck con-
trols on the Digitize tool to review a digital cut.

12. To stop the recording at any time, press the Stop button on the
deck.

Accessing EDL Manager

An EDL (edit decision list) is a detailed list of the edits contained in a
sequence, including all the timecode and supported effects informa-
tion required to re-create the sequence in an online videotape suite.
The EDL is organized into a series of chronological instructions called
events, which are interpreted by an edit controller that automates the
assembly of the videotape master.

Your system includes the EDL Manager, an application with powerful

features and sorting capabilities to help you prepare an EDL.

To start EDL Manager, choose EDL from the Output menu.

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 For more information on specific features and capabilities of EDL
Manager, see the Avid EDL Manager User’s Guide.

Using the Matchback Option

The Matchback option on an Avid system along with the FilmScribe™
application allow 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, includ-
ing the following:
• Use the Matchback option to generate both a videotape master for
the project along with a final cut on film.
• Use the Matchback option to generate pull lists for retransferring
selects at high quality before online editing.

Matchback supports 16mm, 35mm 3-perf, and 35mm 4-perf formats.

If you plan to use matchback, you must select the Matchback option
when you first create the project. See “Creating a New Project” on
page 43.

n Editors working in a film matchback project for the first time should pay extra
attention to duplicate material in the final edited piece. Use Dupe Detection
in the Timeline and verify any dupes flagged when delivering a cut negative.

If you purchased FilmScribe, you can access the FilmScribe tools by

choosing FilmScribe from the Output menu. FilmScribe provides tools
for creating frame-accurate cut lists and change lists that can be used
to conform a work print, a film negative, audio tracks, or videotape
transfers. For information on FilmScribe, see the FilmScribe User’s
Guide.

711
VTR Play Emulation
VTR play emulation allows you to control a sequence loaded in the
Record monitor from an edit controller for playback in the edit room
along with other sources.

n 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 9-
pin VTR emulation cable and a serial adapter. For information about the cable
connection, see the Avid Media Composer Products Setup Guide.

Double-click VTR Emulation in the Settings scroll list in the Project

window to open the VTR Emulation dialog box. Table 19-3 describes
the VTR Emulation Settings options.

Table 19-3 VTR Emulation Settings Options

Option Description

Device Code Select the device code that identifies the VTR that the system will emu-
late. 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 con-
troller does not recognize the VTR emulator, or you want to emulate a
specific VTR.

Runup (frames) Specify the time (measured in frames) it takes the deck to start playing
from a cued position. The default value is 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 would like, try adjusting
this value so that the two devices attain full speed at nearly the same
time.

712
 Table 19-3 VTR Emulation Settings Options (Continued)

Option Description

Inhibit preloading when Do not inhibit preloading under normal circumstances.

cueing by single frame.
Preloading occurs by default in the Avid 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.

With a controller properly connected, enable VTR play emulation as

follows:
1. Choose Serial Ports from the Tools menu.
The Serial Ports tool opens.

2. Select the appropriate port from the VTR Emulation pop-up

menu.
3. Close the Serial Ports tool. The system saves the setting as a Site
setting, effective for all projects.
4. Choose VTR Emulation from the Special menu when you are
ready to use the system for playback.

713
 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 Record monitor to indicate that VTR emulation is active.

n The VTR Emulation command behaves like a Local/Remote switch on a play-

back 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. Mark
points will appear in the Timeline only if the controller sends that
information to the Avid system.
• Your control of the Avid system is for play only. For example, you
cannot arm tracks or send record commands to the Avid system
itself.
• Smooth audio scrub is enabled by default, emulating analog audio
scrub on a VTR.

714
CHAPTER 20
Exporting and Exchanging
Material

You can export and exchange material with another system, another
application, or another platform. Your Avid video-based editing sys-
tem provides tools for exporting clips and sequences in various for-
mats, or for transferring projects and media between systems.

This chapter describes how to export clips and sequences, and transfer
projects and media between Media Composer (Macintosh) systems in
the following sections:
• About Exporting Files
• Creating and Using Export Settings
• Preparing to Export a Sequence
• Exporting Frames, Clips, or Sequences
• Using Drag-and-Drop Method to Export Frames, Clips, and
Sequences
• About OMF Interchange
• Using the Avid QuickTime Codec
• Transferring a Project Between Media Composer (Macintosh)
Systems

715
 For information about transferring projects and media to other Avid
systems, see the Avid Products Collaboration Guide.

For information on importing files, see Chapter 8.

About Exporting Files

You can export material directly from your Avid system to many sup-
ported file types. You can export an individual frame, a selected region
of footage, or an entire clip or sequence.

There are several reasons why you might want to export video, audio,
or both from the Avid system:
• You can export audio files for audio sweetening in compatible
applications.
• 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 among
the three supported formats: AIFF-C, SD2, and WAVE.

n If you plan to transfer the exported files to another Media Composer system or
third-party application, see the appropriate section in this chapter or the Avid
Products Collaboration Guide.

The following sections describe general procedures for preparing to

export a sequence and for exporting frames, clips, and sequences.

716
Creating and Using Export Settings
You can streamline the export process by selecting a setting before
beginning the export. Use the Settings scroll list to select a preset tem-
plate or customize one of your own. For example, if you are exporting
an OMFI composition with SD2 media to AudioVision, select the set-
ting labeled “AudioVision SD2 External.” For information on each of
the templates, see the Avid Products Collaboration Guide.

Selecting a setting is especially useful when you use the drag-and-

drop method to export multiple files directly from a bin. For informa-
tion on the drag-and-drop method, see “Using Drag-and-Drop
Method to Export Frames, Clips, and Sequences” on page 743.

The default Export setting, the preset templates, and any additional
Export settings you create appear in the Settings scroll list. For infor-
mation on the Settings scroll list, see “Using the Settings Display” on
page 75. After you select a setting in the Settings scroll list, the param-
eters remain the default settings for all exported files, unless you
change them during the export. This is especially useful when you
batch export a number of files directly from a bin at the same time.

To 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.
4. Name the setting by clicking the custom name column (in between
the setting name and the setting type identifier), typing a name,
and pressing Return.
5. Adjust the options for the setting as described in the following
procedure.

717
 To adjust the parameters in an Export Settings dialog box:
1. Double-click an Export setting in the Settings scroll list of the
Project window.
The Export Settings dialog box appears. The following illustration
shows the default settings.

n The name of a custom Export setting or template Export setting appears in

place of (Untitled).

2. Select the appropriate file type and options based on the descrip-
tions in Table 20-1.

718
 Table 20-1 Export Settings Dialog Box Options

Option Suboption Description

Avid Log Exchange 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 Logs
with Avid Log Exchange” on page 130.

Tab Delimited Select this option to export the selected bin as a shot log file in the
form of a tab-delimited ASCII text file.

OMFI Composition Select this option to export a standard OMFI composition for
transfer to a third-party workstation that supports OMFI. The
export is Composition only, unless you select Use Video Media,
Use Audio Media, or both.

Version 1.0 Select this option if the application to which you are exporting
does not support OMF Version 2.0.

Version 2.0 Select this option if the application to which you are exporting
supports OMF Version 2.0. If you are not sure, select 1.0.

Use Video Media 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.

719
 Table 20-1 Export Settings Dialog Box Options (Continued)

Option Suboption Description

Use Audio Media Select this option to embed audio media (AIFF-C or WAVE files)
in the OMFI composition, or to create external audio media (SD2
files) along with the OMFI composition (if necessary for conver-
sion). Use this option if you plan to enhance audio in an OMFI-
compatible application such as a digital audio workstation.
• AIFF-C: Select this option to export audio tracks in the indus-
try-standard AIFF-C format, which is compatible with many
third-party sound editing and multimedia applications. Note
that the Avid system does not compress audio media. AIFF-C
media is embedded in the OMFI file
• SD2: 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.
• WAVE: Select this option to export audio tracks in the WAVE
format (.WAV file name extension) for audio files. Nearly all
Windows and Windows NT applications that support sound
use WAVE files. QuickTime 3.0 also supports the WAVE for-
mat.WAVE media is embedded in the OMFI file.

AudioVision Select this option to translate the video composition for transfer
Compatibility to AudioVision.

QuickTime Video and Audio Select this option if you want to export an entire clip or sequence
as a QuickTime file, for example, in a multimedia project. For
more information, see “Using the Avid QuickTime Codec” on
page 746.

Video Only Select this option if you want to add effects in a third-party appli-
cation or use only the video in a multimedia project.

Audio Only Select this option if you want to use or enhance audio in a third-
party application or use only the audio in a multimedia project.

720
 Table 20-1 Export Settings Dialog Box Options (Continued)

Option Suboption Description

Sound 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. Note that your Avid
system does not compress audio media.

SD2 Select this option to export audio tracks in the Sound Designer II
format, which is compatible with Pro Tools and other third-party
applications.

WAVE 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
3.0 also supports the WAVE format.

Graphic Graphic file type 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. For information about sup-
ported file types, see Appendix B.

Options button Click this button to open an Export Options dialog box for refin-
ing export options. For information on Export Settings options,
see “Export Options Settings” on page 724.

721
 Additional options for the clip or sequence are listed in the lower
third region of the dialog box. The following screen shows an
example of a clip selected for export as a PICT file.

Current export
options set in the
Export Options
dialog box

3. If you want to change any of the additional options, click the

Options button in the Export Settings dialog box.
An Export Options dialog box appears. The export file type and
Video Compression settings determine which options appear in
the dialog box and the dialog box’s name. The following screen
shows the options for a clip selected for export as a PICT file. The
dialog box is labeled Graphic Options.

722
 4. Select the options you want in the dialog box.
Some file types include additional settings. To view or adjust these
settings:
a. Click the Options button (for graphics files) or the Compres-
sion Settings button (for QuickTime files) in the lower left cor-
ner of the dialog box. These buttons appear gray if no
additional options are available.
b. Select the options you want.
c. Click OK to return to the previous dialog box.
d. Click OK to return to the Export Settings dialog box.

n For more information on options, see “Export Options Settings” on

page 724.

723
 5. When all options are listed correctly in the Export Settings dialog
box, click OK.

You can now choose this setting whenever you export a frame, clip, or
sequence. For more information, see “Exporting Frames, Clips, or
Sequences” on page 740 and “Using Drag-and-Drop Method to
Export Frames, Clips, and Sequences” on page 743.

Export Options Settings

Additional options are available from the Export Settings dialog box.
The available options depend on your choice in the Export Settings
dialog box. There are three Export option dialog boxes: QuickTime
Options, Sound Options, and Graphic Options. The QuickTime
Options and Graphic Options dialog boxes provide option buttons
that allow you to access more option settings. See Table 20-3 on
page 729 and Table 20-4 on page 733.

Table 20-2 describes all the Export Options settings. The options you
see depend on your choice in the Export Settings dialog box: Quick-
Time, Sound, or Graphic.

Table 20-2 Export Options Settings

Option Suboption Description

Use Marks When this option is selected, the system uses current IN
and OUT marks in the selected clip or sequence to deter-
mine starting and ending frames for the export. To
export the entire clip or sequence, deselect this option.

Use Enabled Tracks 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.

724
 Table 20-2 Export Options Settings (Continued)

Option Suboption Description

Use Both Fields When this option is selected, the system combines both
video fields to produce higher resolution. Select this
option if you are exporting any of the two-field resolu-
tions (20:1, 3:1, 2:1, or 1:1).

Field Dominance This pop-up menu appears when Use Both Fields is
selected. It allows you to choose the field dominance
during export. The default value of this setting matches
the project default format. For more information, see
“Two-Field Media Files and Field Dominance” on
page 790.

Even Field This option selects even-field processing during export.

The first line in the image belongs to the even field.

Odd Field This option selects odd-field processing during export.

The first line in the image belongs to the odd field.

Destination Size 720 x 486 (NTSC) Full-screen, non-square-pixel dimensions according to

720 x 576 (PAL) ITU-R 601 (CCIR-601) video standards. Use these dimen-
sions, for example, when treating video footage in a
third-party application before reimporting into the Avid
system.
720 x 540 Matching square-pixel dimensions for the full-screen
non-square-pixel dimensions used by the Avid system.
160 x 120 (NTSC) Quarter-screen, half-screen, and full-screen square-pixel
320 x 240 (NTSC) dimensions based on a normal RGB computer display.
640 x 480 (NTSC) Use these dimensions, for example, to generate
192 x 144 (PAL) movies for a multimedia project.
384 x 288 (PAL)
768 x 576 (PAL)

725
 Table 20-2 Export Options Settings (Continued)

Option Suboption Description

Color Levels RGB Graphics levels When this option is selected, the system exports the file
with levels calibrated for RGB computer environments.
Choose this option for most graphics file types if the des-
tination is a third-party computer graphics application.

CCIR Video levels When this option is selected, the system exports the file
with video levels calibrated according to the ITU-R 601
(CCIR-601) standard for display in professional video
environments. Choose this option, for example, if the file
will eventually be displayed on a video monitor or
returned to the Avid system after treatment.

Sequential Files None 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.

Audio Output Mono When this option is selected, the system mixes all tracks
down to track 1 on export.

Stereo When this option is selected, the system exports all even-
numbered tracks to track 2 and all odd-numbered tracks
to track 1.

Audio Sample Rate Native Rate The native rate of the chosen audio media (44.1 kHz or
48 kHz).

22.254 kHz (Std Mac) Half the sample rate of 44 kHz media for playback on
standard Macintosh models.

22.050 kHz (AV Macs) Half the sample rate of 44.1 kHz media for playback on
AV (Audio/Video enabled) Macintosh models.

11.127 kHz One-quarter the sample rate of 44 kHz media for play-
back on standard Macintosh models.

11.025 kHz One-quarter the sample rate of 44.1 kHz media for play-
back on AV (Audio/Video enabled) Macintosh models.

726
 Table 20-2 Export Options Settings (Continued)

Option Suboption Description

Audio Sample Size 8 bits 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 bits. This option is also used to minimize
the data throughput requirements (for example, to
improve playback in multimedia projects).

16 bits When this option is selected, the system exports a 16-bit

audio sample size (currently the industry-standard bit
rate for audio).

Create Movie Creates a QuickTime poster (a still image preview frame)

Preview for your movie. This option slows the export process.

Cross-Platform Creates a single-fork, cross-platform movie that can be

Movie opened on both the Macintosh and the PC for use in
cross-platform multimedia development.

Use Source When this option is selected, the Avid QuickTime codec
Compression is used to maintain the original compression of the clip.

Compression This button appears when Use Source Compression is

Settings not selected. Click this button to open the Compression
Settings dialog box. See Table 20-3 on page 729.

Options This button appears when the chosen graphic format has
additional parameters you can modify. See Table 20-4 on
page 733.

727
Video Compression Options
The Compression Settings button appears in the Export Settings dialog
box when Use Source Compression is not selected. Click the Compres-
sion Settings button to open the Video Compression dialog box.

n Because the Avid QuickTime codec uses the resolution of your original source
files, selecting another resolution requires conversion of the media and slows
down the export process considerably. Maintain the resolution of the source
media whenever possible.

Table 20-3 describes the Video Compression options.

728
 Table 20-3 Video Compression Options

Option Suboption Description

Compressor The compressor suboptions are QuickTime codecs. The

exported file is in QuickTime format.

Animation For high-quality, lossless compression (in which no picture

information is lost).
Uses a run length coding scheme to encode each pixel,
resulting in a file that is 70 to 95 percent the size of the
uncompressed file.
At the maximum quality, this is lossless compression (in
which no picture information is lost). See the description of
the Quality slider option later in this table.

Avid QuickTime For quick export of high-resolution files. Maintains the res-
olution of the digitized media.
Encapsulates media files, making them readable by
QuickTime applications that are also equipped with the
codec. For more information, see “Using the Avid Quick-
Time Codec” on page 746.
Exporting with the Avid codec does not cause any loss in
quality because the codec maintains the identical media
data. However, the quality cannot be better than the origi-
nal resolution of the digitized media.

BMP For internal encoding of individual frames as BMP

(Windows native bitmap format) files.

Cinepak For export at low resolution for use in contexts 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 play-
back.

729
 Table 20-3 Video Compression Options (Continued)

Option Suboption Description

Component Video 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 lumi-
nance from the chrominance. All QuickTime applications
can read this format, but only some can write to this format.

DV-NTSC For storing original or edited DV (digital video) footage in

DV-PAL QuickTime files.

Graphics For export at low resolution where high quality is not an

issue, such as presentations or educational uses, or for
small-screen size playback from CD-ROM or hard drive.
Uses a limited color palette version (16 colors) of Animation
compression.

H.263 For video conferencing. Optimized for low data rates and
low motion.

Intel Indeo Video R3.2 For export at low resolution where high quality is not an
Intel Raw 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.

Motion JPEG A For medium-quality, lossy compression (in which some pic-
ture 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 specifi-
cation for use in digital video. Considered the standard for
Motion JPEG, format A is supported by chips from Zoran
Corporation and C-Cubed, Inc.

730
 Table 20-3 Video Compression Options (Continued)

Option Suboption Description

Motion JPEG B For medium-quality, lossy compression (in which some pic-
ture 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 specifi-
cation for use in digital video. Format B cannot use the
markers that ISO JPEG and format A do; supported by
chips from LSI Logic Corporation.

None For high-quality, lossless compression (in which no picture

information is lost). Does not compress the file; results in
very large files.

Photo-JPEG For medium-quality, lossy compression (in which some pic-

ture information is lost) requiring moderate storage space
and data throughput on playback.
Uses the Joint Photographic Experts Group (JPEG) algo-
rithm 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).

Planar RGB For high-quality, lossless compression (in which no picture

information is lost). Results in large files.
Encodes each image plane separately, using a run length
encoding scheme. Used primarily to support Photoshop
files, which are usually stored using a planar run length
algorithm.

Sorensen Video For medium-quality, lossy compression (in which some pic-
ture information is lost) at a low data rate and low storage
requirements. This codec is particularly suited for Web or
CD-ROM delivery.

731
 Table 20-3 Video Compression Options (Continued)

Option Suboption Description

Video For export at low resolution for use in contexts 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 the standard Macintosh compression, which takes less
time to compress but does not play back as effectively as
Cinepak.

Colors 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 the
Avid system. If you use the Avid QuickTime codec 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 the Avid system.

Quality 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 Qual-
ity setting.
If you selected the Avid QuickTime codec, 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.

Key frame every x Use this option to have the system use keyframes as a refer-
frames ence for subsequent frames. Enter a numeric value to spec-
ify the frequency of the
keyframes. This option is not available for the Avid Quick-
Time codec or for uncompressed files.

Limit data rate to x Use this option to set a specific data rate for the compressed
K/Second file, in kilobytes per second. This option is not available for
the Avid QuickTime codec or for uncompressed files.

732
Additional Export Options Settings
Dialog boxes for additional Export Options settings appear when you
choose one of the listed file types and click the Options button.

When you are working in these dialog boxes, you can click Default to
return the settings to their default values. Table 20-4 describes the
additional Export Options settings.

Table 20-4 Additional Export Options Settings

File Type Option Description

Dialog Box

BMP Parameters Windows This option creates files that are compatible with systems
running the Microsoft® Windows® operating system.

OS/2® This option creates files that are compatible with systems
running the IBM® OS/2 operating system.

Cineon™ Parameters Black Point 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.

White Point 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 whitepoint of 1023. The default value
of 685 is appropriate if the final destination is something
other than a Cineon system — for example, to a video
display.

733
 Table 20-4 Additional Export Options Settings (Continued)

File Type Option Description

Dialog Box

Gamma This option specifies an adjustment to correct for any

gamma inconsistencies in the output display. Values can be
between 0.01 and 100.0.
Use a value of 1.0 (the default) for images displayed on a
PC monitor. Use a value of 0.59 for a Silicon Graphics® or
Macintosh® monitor.
Use a value of 0.45 for ITU-R 601 (CCIR-601) video.

ERIMovie Parameters Pack 24 bits This option controls whether the image data is packed into
24-bit color depth (compressed) or saved as 32-bit (raw).

JPEG Parameters Quality This option controls the output file size and quality. Higher
values produce better images but larger file sizes. Con-
versely, lower values reduce the image quality but result in
smaller file sizes.

Baseline Only for applications that require this option for JPEG files.
Consult the documentation that came with your
JPEG-supported applications to see if this option is
required. This option is selected by default.

Progressive This option allows you to save progressive JPEG files,

which divide the file into a series of scans of the image that
increase in quality. Each scan progressively improves the
recognizability of the image.
Progressive JPEG files can be recognized only by applica-
tions with progressive JPEG support, such as some Web
browsers.

NTSC/PAL These buttons 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.

734
 Table 20-4 Additional Export Options Settings (Continued)

File Type Option Description

Dialog Box

OMF® Parameters 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 “Com-
pression Ratios” on page 793.

Photoshop® Compression This option controls the size of the file on disk. Disabling
Parameters compression creates larger files on disk.

PNG Parameters Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves
16-bit files. The Automatic option saves the image in the
same depth as the original loaded image.

Interlaced This option allows you to save the file for progressive dis-
play, similar to progressive JPEG files. As the file is trans-
mitted, the recognizability of the image improves.
Interlaced PNG files can be recognized only by applications
with interlaced PNG support, such as some Web browsers.

SGI Parameters Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves
16-bit files. The Automatic option saves the image in the
same depth as the original loaded image.

Targa Parameters Color Depth This setting controls how images are saved. The 5-bit option
saves data in Targa 16 format. The 8-bit option saves data in
Targa 24/32 format.

Compression This setting controls the size of the file on disk. Disabling
compression creates larger files on disk.

TIFF Parameters Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves
16-bit files. The Automatic option saves the image in the
same depth as the original loaded image.

735
 Table 20-4 Additional Export Options Settings (Continued)

File Type Option Description

Dialog Box

Compression 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.

JPEG Quality This option adjusts the image quality of the JPEG file on a
sliding scale from 0 to 100. The higher the number you set,
the higher the image quality of the JPEG file.

Wavefront™ Format Type This option specifies one of two output file formats sup-
Parameters ported by Wavefront (either RLA or RLB).

Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves
16-bit files. The Automatic option saves the image in the
same depth as the original loaded image.

Gamma This option specifies an adjustment to correct for gamma

differences between Macintosh and Windows PC output
display. This option is intended for cross-platform applica-
tions that require adjustment.

n Check the documentation that came with your Wave-

front application to see if you need to adjust this
value. Usually, you can use the default setting.

YUV Parameters Format This option controls the video format of saved images. If set
to NTSC, NTSC video format (720 x 486) is used. If set to
PAL, PAL video format (720 x 576) is used. Images are
either padded with black or cropped.

Smooth YUV This option enhances the fidelity of images saved in YUV
color space (if originating in RGB color space).

736
Preparing to Export a Sequence
If you are exporting part or all of a sequence — to create a QuickTime
file (through a codec), ERIMovie, Sequenced PICT, or OMFI file, 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 informa-
tion, see “Selecting Offline Items in a Bin” on page 285.
• If you want to archive the source sequence before making any
alterations, duplicate the sequence, place the duplicate in another
bin, and prepare the duplicate for export. The original sequence
will be unaffected.
For more information • Consider rendering all effects in advance. Although any unren-
on rendering, see the
dered effects are rendered on export (except for an OMFI export),
Avid Media Composer
Effects Guide. rendering effects in advance saves you time during the export pro-
cess.
• Always render fast-saved titles before using OMFI to export a
sequence, or before creating an EDL from the sequence. In addi-
tion, 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, see
“Mixing Down Video Tracks” on page 738.
• If your sequence contains numerous audio tracks with various
audio effects and level adjustments, consider mixing down the
tracks for faster export, unless you need to preserve the informa-
tion. For more information, see “Mixing Down Audio Tracks” on
page 632.
• 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 632.

737
 • For OMFI files, consider consolidating the sequence to create
smaller source clips, thereby saving time and disk space. For more
information, see “Consolidating Media” on page 327.
• OMFI files with very complex sequences can fail during import
into some applications due to memory limitations. Try one of the
following solutions:
- 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 and
Option+drag them into the Record monitor to create an instant
sequence, then export it.

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.

c 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.

To perform a video mixdown:

1. Choose Compression from the Tools menu.
The Compression tool opens.

738
2. Choose a video resolution for the mixdown from the Resolution
pop-up menu.
3. Make sure the Video Track monitor is in the topmost track that
you want to mix down.
Video mixdown works from the monitored track down, regardless
of track selection.
4. Mark an IN and OUT point around the area to be mixed down.
5. Choose Video Mixdown from the Special menu.
The Video Mixdown dialog box appears.

6. Choose a Target Disk for storing the new master clip and click OK.

739
 A progress indicator appears, indicating 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 To export frames, clips, or sequences:
using the drag-and-
drop method, see 1. Select the material you want to export in one of the following
“Using Drag-and-Drop ways:
Method to Export
Frames, Clips, and • To export specific tracks in a clip or sequence, enable those
Sequences” on
page 743.
tracks in the Track Selector panel, and disable all others. Make
sure Use Enabled Tracks is checked in the Export Options dia-
log box. You can set this option before the export. See “Creat-
ing and Using Export Settings” on page 717, or during the
export, go to step 4.
• To export a single frame, mark an IN point to export the
marked frame from a bin or a monitor, or put the position
indicator on the frame you want to export. Make sure Use
Marks is checked and Sequential Files is not checked 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 mark to the end of the clip or sequence. Make sure Use
Marks is checked in the Export Options dialog box.
• To export the entire clip or sequence, deselect the options
Use Enabled Tracks and Use Marks in the Export Options dia-
log box, and make sure the topmost track is monitored.

n 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 infor-
mation, including reference clips.

740
 2. Select a clip or sequence in one of two ways:
• Click the monitor that displays the clip or sequence you want
to export.
• Click the clip or sequence in a bin. Shift+click to select multi-
ple clips or sequences.
3. Choose Export from the File menu.
The following dialog box appears.

4. Choose a setting from the Export pop-up menu. This setting deter-
mines the format of the exported file. The default setting is labeled
Untitled. If you have created an Export setting, choose it from the
menu. See “Creating and Using Export Settings” on page 717.
To create a new setting:
a. Click Customize. The Export Settings dialog box appears.
b. Choose the options that you want.
c. Rename the setting in the text box at the top of the dialog box.
d. Click OK to save the setting.

n If you want to check the current Export setting without modifying it, click
Customize, check the selections, and then click Cancel to close the Export
Settings dialog box without making any changes.

741
 5. Click OK.
A destination dialog box appears with a default file name in the
Export As... text box, based on the file type.

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

c The 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.

c 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.

742
Using Drag-and-Drop Method to Export Frames, Clips,
and Sequences
To export a clip or sequence by using the drag-and-drop method:
1. Select the material you want to export in one of the following
ways:
• To export specific tracks in a clip or sequence, enable those
tracks in the Track Selector panel, and disable all others. Make
sure the Use Enabled Tracks option is checked in the Export
Settings dialog box. See step 2.
• To export a single frame, mark an IN point to export the
marked frame from a bin or a monitor, or put the position
indicator on the frame you want to export. Make sure Use
Marks is checked 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 mark to the end of the clip or sequence. Make sure Use
Marks is checked 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 dia-
log box, and make sure the topmost track is monitored.

n You cannot use the drag-and-drop method to export ALE, tab-delimited, or

sequential files.

n 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 infor-
mation, including reference clips.

2. In the Settings scroll list of the Project window, select the setting
you want to use for export. To view or modify the parameters,
double-click the setting. For information on modifying options,
see “Creating and Using Export Settings” on page 717.

743
 3. Export the frame, clip, or sequence in one of the following ways:
• Drag either the Create Subclip icon or Create Subsequence
icon, located above the Source and Record monitors, to the
location (folder or drive) where you want to store the exported
file.

Subclip icon Subsequence icon

• In a bin, drag 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, Shift+click the objects and drag the
objects to the desired location.

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 the Avid system. The
OMF Interchange format is the result of cooperative efforts of many
industry and standards partners and Avid Technology, Inc.

Any other program that supports OMFI can read OMFI files, even if
the program resides on a different computer platform. As a result,
with OMFI you can transfer among different applications on different
platforms without worrying about cross-platform translations. This
can be very effective for importing animation or audio files created on
proprietary platforms.

c To avoid errors and incompatibilities when importing and exporting

OMFI files, observe the recommendations in Appendix B.

744
Choosing an OMFI Transfer Method
OMF Interchange, as implemented in the Avid system, provides two
basic methods for exporting files:
• Method 1: OMFI compositions only
The 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
redigitize the media on the other system. After you have trans-
ferred 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, see “Con-
solidating Media” on page 327.
To export an OMFI composition only, select OMFI Composition in
the Export Settings dialog box, but do not select Use Video Media
or Use Audio Media.

n 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 avail-
able space.

• Method 2: OMFI compositions with media files

The 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, select OMFI Compo-
sition in the Export Settings dialog box, and then select Use Video
Media, Use Audio Media, or both. Select AIFF-C or WAVE when
embedding audio media files.

745
Using the Avid QuickTime Codec
You can speed the process of importing and exporting QuickTime files
by using the Avid QuickTime codec when exporting into a third-party
application or before reimporting the QuickTime files into your Avid
system. The following sections describe the codec and procedures for
using it:
• To learn more about how the codec works, see “About the Avid
QuickTime Codec” on page 746.
• To prepare a third-party application for working with QuickTime
files, see “Installing the Avid QuickTime Codec on Other Sys-
tems” on page 747.
• To review specifications for QuickTime export, see Appendix B.
• To prepare a sequence for QuickTime export, see “Preparing to
Export a Sequence” on page 737.
• To perform the export, see “Exporting with the Avid QuickTime
Codec” on page 748.
• To perform an export from a third-party application, see “Export-
ing from a Third-Party QuickTime Codec Application” on
page 756.

About the Avid QuickTime Codec

The Avid QuickTime codec (compressor/decompressor) creates
encapsulated media files for quick export of high-resolution files that
are readable within QuickTime applications.

The Avid QuickTime codec allows you to maintain video resolutions

up to 1:1. It also speeds the QuickTime import and export processes to
a rate of approximately four times real time or better (depending on
resolution). The codec provides a vast improvement over the standard
QuickTime conversion, which can take as long as 300 times real time
or more with full-size, high-resolution clips.

746
 Consider the following:
• Using the Avid QuickTime codec usually involves maintaining the
ITU-R 601 (CCIR-601) standard video dimensions of the media
(720 x 486 non-square pixels for NTSC, 720 x 576 for PAL) as well
as large media file sizes. This codec might not be appropriate for
some uses. For example, if the destination of your Avid QuickTime
export is a multimedia title, you should use another appropriate
codec such as Cinepak.
• The Avid QuickTime codec supports a compressed alpha channel
only when importing files created in other applications. For exam-
ple, you can create a title in Adobe After Effects™, export both
RGB and alpha channels using the Avid QuickTime codec, and
then import both channels into Media Composer.
• QuickTime files can be quite large, depending on the video reso-
lution, and require adequate storage and transfer capacities.

Installing the Avid QuickTime Codec on Other Systems

When you install Media Composer on your system, the Avid QuickTime
codec is automatically installed in the Extensions folder inside the Sys-
tem folder. You can copy this extension and install it at other worksta-
tions where you are using QuickTime compatible applications. Once
the Avid QuickTime codec is installed on the workstation, you can
export files either from the Media Composer system or from the
QuickTime compatible application for reimport into the Media
Composer system.

To install the Avid QuickTime codec on another Macintosh system:

1. On the Media Composer system, copy the extension labeled Avid
Codec from the Extensions folder in the System folder to a floppy
disk or network server.
2. On the system where the QuickTime compatible application
resides, copy the Avid Codec extension to the System folder.

747
 A dialog box asks if you would like to install the file in the Exten-
sions folder.
3. Click OK.
4. Restart your system.
The codec is installed.

n If you are having trouble opening or playing the export in a third-party appli-
cation, increase the memory allocated to the program.

For information on using the codec, see “Exporting from a Third-

Party QuickTime Codec Application” on page 756.

Exporting with the Avid QuickTime Codec

To export with the Avid QuickTime codec:
1. Select the material you want to export in one of the following
ways:
• To export specific tracks in a clip or sequence, enable those
tracks in the Track Selector panel, and disable all others. Make
sure the Use Enabled Tracks option is checked in the Quick-
Time Options dialog box that is accessed from the Export Set-
tings dialog box. You can set this option before the export. See
“Creating and Using Export Settings” on page 717, or during
the export, go to step 4.
• 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 mark to the end of the clip or sequence. Make sure the
Use Marks option is checked in the QuickTime Options dialog
box that is accessed from 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 dia-
log box, and make sure the topmost track is monitored.

748
You can use the drag- 2. Choose Export from the File menu.
and-drop method to
export QuickTime files. The Export dialog box appears.
See “Using Drag-and-
Drop Method to Export
Frames, Clips, and
Sequences” on
page 743.

You can set these 3. Choose the Export settings by doing one of the following:
options in advance. See
“Creating and Using • Choose a setting from the Export pop-up menu, if you have
Export Settings” on created a setting in advance, and go to step 7.
page 717.
• If you want to review or edit a setting, go to step 4.
4. Click Customize.
The Export Settings dialog box appears. The following illustration
shows QuickTime settings.

749
Current export options set
in the Export Options
dialog box

5. Select one of the following QuickTime options:

• Video and Audio: Select this option if you are using an entire
clip or sequence in a multimedia project.
• Video Only: Select this option if you are adding effects in a
third-party application.
• Audio Only: Select this option if you are using or enhancing
audio in a third-party application.

750
 After you select export options, note that additional current
options for the clip or sequence are listed in the bottom part of the
dialog box. These options vary depending on the current video
compressor selected.
The following is an example of a sequence selected for export as a
QuickTime file:

Export file type options

from the Export Settings
dialog box

6. Select the Avid QuickTime codec, resolution, and other options for
the export by doing the following:
a. Click the Options button in the Export Settings dialog box.

751
 The QuickTime Options dialog box appears.

b. Select the options you want.

n For information on QuickTime options, see “Export Options Settings” on

page 724.

If you want to use the resolution of the source file, select Use
Source Compression (which uses the Avid QuickTime codec)
and go to substep i.
If you want to use a different codec or a different resolution,
deselect the Use Source Compression option and go to
substep c.

752
 c. Click the Compression Settings button.
The Compression Settings dialog box appears.

d. Select the options you want.

n For more information on other codecs and video compression options, see
“Video Compression Options” on page 728.

753
 e. If you want to change the compression, drag the Quality slider
to display the Choose Avid Video Resolution dialog box.

f. Choose the resolution you want from the pop-up menu.

g. Click OK to close the dialog box and return to the Compres-
sion Settings dialog box.
h. Click OK to close the dialog box and return to the QuickTime
Options dialog box.
i. Click OK to close the QuickTime Options dialog box and
return to the Export Settings dialog box.
j. Name the setting by typing a name of your choice in the text
box at the top of the Export Settings dialog box and click OK
to return to the Export dialog box.
7. Click OK in the Export dialog box.

754
 A Destination dialog box appears with the default QuickTime file
name extension in the Export As... text box.

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

c The 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.

c 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.

755
Exporting with Other Supported QuickTime Codecs
In addition to the Avid QuickTime codec, the Avid system also sup-
ports other third-party codec applications.

To export files using any supported third-party codec, follow the steps
from “Exporting with the Avid QuickTime Codec” on page 748 with
the following change:
• When performing step 6, substep d, select the appropriate
QuickTime codec from the Compression Settings dialog box and
set the appropriate video compression options.
Options might differ, depending on the QuickTime codec you
choose.

n For more information on export settings options and video compression

options, see “Export Options Settings” on page 724.

Exporting from a Third-Party QuickTime Codec Application

Exporting from a third-party QuickTime codec application by using
the Avid QuickTime codec and the default Media Composer system
frame size allows you to speed the process of reimporting into the
Media Composer system to approximately three to four times real
time (video only).

To export files from a codec-compatible application for import (or

reimport) into the Avid system:
1. Make sure the Avid QuickTime codec is installed in the System
folder’s Extensions folder.

n For instructions on installing the Avid QuickTime codec, see “Installing the
Avid QuickTime Codec on Other Systems” on page 747.

2. Conduct the export procedure according to the procedures used

by the particular software.

756
 3. When you get to the step where the standard QuickTime Export
Options dialog box appears, select the option Avid QuickTime
compressor.

n If you select another frame size, the Media Composer system will not import
the file quickly using the Avid QuickTime codec.

4. Complete the export.

Transferring a Project Between Media Composer

(Macintosh) Systems
There are two basic methods for transferring projects between Media
Composer (Macintosh) systems:
• Moving project folders, settings, and media files between the
systems
• Moving project folders and settings between the systems, then
redigitizing the media

For information about transferring projects and media to other Avid

systems, see the Avid Products Collaboration Guide.

757
Methods for Transferring Files Between Media Composer
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 20-5 lists the recommended transfer devices for transferring

projects between systems. For more information on transfer options
and instructions for transferring, see the Avid Products Collaboration
Guide.

Table 20-5 Transfer Devices for Transferring Projects

Transfer Device For Transferring

Floppy drive or equivalent device Project and settings files

Removable storage device, such as a Media, project, and settings files

hard drive

A high-speed network Media, project, and settings files

using AvidNet

A network storage device, such as Media, project, and settings files

a file server

758
Compatibility Requirements for Transfer
When you transfer a project between Media Composer (Macintosh)
systems, make sure:
• Both Macintosh systems have the same release or a compatible
release of the Media Composer application.
• The memory allocation of the Media Composer application is sim-
ilar 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 appli-

cations, see the Avid Products Collaboration Guide.

Transferring a Project and Associated Media Files

There are three basic methods for transferring projects with their
media files between Media Composer (Macintosh) systems:
• Back up the project files and transport the media files on a remov-
able storage device
• Send sequences, clips or entire projects over a high-speed
network using AvidNet
• Send sequences, clips, or entire projects to a network storage
device

n For more information on using AvidNet, see the AvidNet Transfer Tool
User’s Guide. If you would like to purchase AvidNet, contact your Avid
sales representative.

759
 To transfer a work in progress and associated media files to another
Media Composer (Macintosh) 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 327.
• For more information on transferring files using removable
storage devices, see the Avid Products Collaboration Guide.

c Do not rename the folders named OMFI MediaFiles located on the

media drive. The target system uses the folder names to locate the
media files.

2. 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 761.
3. Close the Media Composer application and shut down your
system.
4. Remove the drives containing the media files, and take these and
the floppy disk to the new location.

n For more information on moving hard drives, removable drives, and striped
sets from one system to another, see the AVIDdrive™ Utility 2 User’s
Guide.

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 Avid drive. For more information, see “Transferring
Projects, User Profiles, and Site Settings” on page 761.
7. Start the Media Composer application, open the project, and
resume work.

760
 n The Media Composer application will reconstruct the MediaFiles database the
first time you start the application to incorporate the new media into the sys-
tem’s internal directory.

Transferring Projects, User Profiles, and Site Settings

To open projects, bins, and user profiles created with another Media
Composer (Macintosh) system, you must transfer specific folders
directly into the Avid Projects, Avid Users, or Settings folders before
starting the Media Composer application.

n Adding a project folder from another system does not transfer accompanying
media files. For more information on moving media files between systems, see
“Transferring a Project and Associated Media Files” on page 759.

To transfer project files, user profiles, and site settings to another

Media Composer (Macintosh) system:
1. On the source Media Composer (Macintosh) system, select the
project folder, user folder, or site settings file you want to transfer.
• Project folders are located in the Avid Projects folder on the
top level of the Avid drive.
• User folders are located in the Avid Users folder on the top
level of the Avid drive.
• Site settings files are located in the Media Composer:Settings
folder.
2. Copy the files to a floppy disk or a location on a server.

761
 3. On the destination Media Composer (Macintosh) system, do the
following:
a. Copy the project folder from the floppy disk or server to the
Avid Projects folder on the top level of the Avid drive.

n Do not rename the project folder. The project settings will not link to the
project if you rename the project folder.

b. Copy the user settings folder from the floppy disk or server to
the Avid Users folder on the top level of the Avid drive.
c. Copy the site settings file from the floppy disk or server to the
Media Composer:Settings folder.

The next time you see 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 loca-
tion.

c Do not open a project directly from the transfer device. You must
copy the folder to the system drive first.

762
 APPENDIX A
Using AudioSuite Plug-Ins

This appendix describes how to use the AudioSuite Plug-Ins. Access

the plug-ins by choosing AudioSuite from the Tools menu. The follow-
ing illustration shows the AudioSuite window.

Plug-in Selection
pop-up menu

Drive Selection
pop-up menu

Status display

For details on installing and accessing the plug-ins, see Chapter 16.

Supported AudioSuite Plug-Ins

Your Avid system comes with a set of core plug-ins. This section lists
the core plug-ins as well as other plug-ins that are supported by this
release.

763
Core AudioSuite Plug-Ins
The following 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 marks 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.
• DC Offset Removal - Removes an audio artifact that is common in
digital audio files. A DC offset is caused by poorly calibrated
A/Ds (analog-to-digital converters), 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 selection’s length without changing pitch.
• Pitch Shift - Changes pitch with or without changing length.

For a description of these plug-ins, see “Core Plug-In Descriptions”

on page 766.

764
Additional Supported Plug-Ins
The following AudioSuite Plug-Ins can be purchased separately and
have been qualified for this release:

Digidesign D-FX™ Plug-Ins

This set of 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-Fi™ Plug-Ins

This set of plug-ins contains a select group of basic effects:

• Chorus
• D-Verb™
• Flanger
• Multi-Tap Delay
• Ping-Pong Delay

The D-FX and D-Fi plug-ins come with their own documentation. For
more information, see the following Web page:

http://www.avid.com/products/audio/product_list.html

765
Core Plug-In Descriptions
The following sections give a brief overview of each of the core
AudioSuite Plug-Ins, and where appropriate, describe how to use the
plug-in.

Invert
The Invert plug-in reverses the polarity of the selected audio. All posi-
tive 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 marks on the selected
clip to define the boundaries of the new clip. This plug-in only applies
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 ampli-
tude, or where volume is inconsistent throughout the duration of a
sound file (as in a poorly recorded narration), the Normalize function
ensures that the inherent dynamics of the performance remain
unchanged while the overall volume level of the passage is raised.

In addition to the standard AudioSuite parameters (described earlier

in this chapter), the Max Peak At controls lets you specify how close to

766
 maximum level (the clipping threshold) the peak level of your selec-
tion/file will be boosted. You can enter this in three ways:
• By entering a numeric decibel value below the clipping threshold
• By entering a percentage of the threshold
• By adjusting the on-screen slider

Editing any of these controls automatically calculates the equivalent

value in the others.

To configure the Normalize parameters:

1. Enter the amount of boost you want applied during the Normalize
process.
2. To set a specific decibel amount below maximum, double-click
and enter that value in the Max Peak at: (dB) field.
3. To set the amount of normalization as a percentage of maximum,
enter the desired percentage in the Max Peak at: (%) field. To man-
ually set the amount, click and adjust the Max Peak slider (press
and hold the k key 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.

To configure the gain parameters, do one of the following:

• Enter the new level as a decibel amount (dB) or percentage (%) by
double-clicking on the respective field and entering a new value.
• Use the slider to adjust the gain manually (press and hold the k
key while dragging the slider to fine-adjust).

767
Reverse
Reversed sounds are useful effects in many music and film/video
projects. The Reverse plug-in lets you perform this type of processing
very easily.

DC Offset Removal
The DC Offset Removal plug-in removes DC offset from your audio
files. The term “DC Offset” describes a very specific type of audio arti-
fact that infrequently appears in digital audio signals.

DC Offset plug-ins can be identified in a waveform overview because

they appear 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 Removal 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 selec-
tion’s length without changing pitch. This is a particularly important
function in audio post-production applications because it allows you
to adjust sounds to specific time lengths or SMPTE durations for syn-
chronization.

n To change duration (length) and pitch simultaneously, use the Pitch Shift
plug-in.

768
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 many special parame-

ters that let you enter time compression or expansion values in differ-
ent formats, as explained below. They are located in the Source and
Destination columns, and also include the Ratio slider. Additional con-
trols for fine-tuning the compression/expansion process are also
included.

769
The following describes special control features:
• Press and hold the k key to engage slider fine-tune mode.
• Option+click a field or slider to reset its default value.

Source and Destination

The Source fields display the length of the current selection before pro-
cessing in each of the listed formats. All of the fields in both columns
are constantly active, and a change made to one value is immediately
reflected in the values displayed in the other fields.

The fields in the Destination column both display and control what the
length of the selection will be after processing by using the current set-
tings. You can enter the length of the Destination file by double-click-
ing the appropriate field in the Destination column. Enter the number
of samples in min:secs:msec format or enter timecode values as start
and end locations. All of the Destination fields are constantly updated,
and a change made to one value is immediately reflected in the values
displayed in the other fields.

You can also enter a new tempo, bars:beats:ticks length, or time signa-
ture for regions that have tempo or Bars & Beats settings. This can be
any region associated with a MIDI Metronome value (such as an over-
dub 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, while dragging the slider to the left decreases its
length.

The controls below the bar line allow you to fine-tune the time com-
pression/expansion process. They include the Crossfade, Min Pitch,
and Accuracy sliders.

770
Crossfade

The Crossfade slider allows you to manually adjust the crossfade

length in milliseconds to optimize performance of the Time Compres-
sion/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 alter-
ations in the waveform of the audio material.

Crossfade length essentially affects the amount of smoothing per-

formed 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 to long crossfade times is that they smooth the sig-
nal, 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 percent-
age of change in length for the current process. This setting should be
sufficient for most applications. However, by using this slider, you can
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.

Min Pitch

The Min Pitch slider lets you select the minimum, or lowest, pitch that
will be used in the plug-in’s calculations during the time compres-
sion/expansion process. The slider has a range of 40 Hz to 400 Hz. By
controlling the minimum pitch, you can focus the time compression/
expansion process for maximum efficiency — it all depends on the
audio's spectral shape.

771
 This slider should be set lower when processing 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 care-
fully and adjust accuracy until you find the setting that keeps timing
solid within the region. Start and end times will be precise, but the per-
ception of beats may be "shuffled" if the Accuracy slider’s rhythm set-
ting is too low.

c The smallest time ratio allowed for time compression/expansion is

0.25. The largest time ratio allowed is 4.0.

n Normalizing a selection before applying Time Compression/ Expansion can

sometimes produce better-sounding results.

Pitch Shift
The AudioSuite Pitch Shift plug-in allows you to adjust the pitch of
any source audio file with or without a change in its duration. This is a
very powerful function which essentially allows sounds to be trans-
posed a full octave up or down in pitch with or without altering play-
back speed.

772
Edit the Pitch Shift parameters by double-clicking and typing into any
of the Destination fields (tempo, bar:beats:ticks, or time sig), or by
clicking and dragging the Coarse, Fine, or Ratio sliders. All Pitch Shift
plug-in controls are linked so that changing one changes the others.

773
 Gain

The Gain controls set the input level, in tenths of a dB. They 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
it to the left decreases gain.

Coarse and Fine

Adjust the pitch by dragging either of the two faders, or by typing val-
ues in the boxes below them. The Coarse slider transposes in semi-
tones (half steps), and 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.

c You can leave this box unchecked (time compression enabled) if you
are using the Create New Master Clips features of the AudioSuite
Plug-Ins. This box must be checked when you are applying
AudioSuite Plug-Ins to audio clips in the Timeline.

If the Time Correction box is unchecked, this will have the effect of
“permanently varispeeding” your audio file. Like working with tape,
the file’s duration will be compressed or extended according to the set-
tings of the coarse and fine-pitch 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.

Keep in mind that altering a file in this way (with time compression
disabled) has little detrimental effect on the fidelity of audio files,
whereas time correction can affect fidelity in a pronounced way.

774
 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, while moving the slider to the left decreases its pitch. Press and
hold the k key while dragging the slider to fine-adjust.

n For a description of the Crossfade, Min Pitch, and Accuracy sliders, see
“Crossfade” on page 771.

Reference Pitch

The Reference Pitch feature generates a sine wave tone that you can
adjust to match a selected portion of audio material, then use as an
audible reference when pitch-shifting other audio material in your ses-
sion.

To use the Reference Pitch feature:

1. Select the audio material you wish 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 may also be helpful to
toggle 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.

775
 APPENDIX B
File Format Specifications

To be compatible with a variety of imaging standards,

Media Composer 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 import-
ing and exporting specific file formats.

To ensure usability and high quality, the files in some formats require
preparation before being imported to the Avid application. Conse-
quently, 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 for-
mat. For descriptions of the dialog box options, see “Export Options
Settings” on page 724.

Graphics (Image) Files

Media Composer uses Image Independence™ to produce usable files
from a large number of graphics formats. Once you have imported a
format, you can export it, with the exception of PhotoCD™; you can-
not export a file to a PhotoCD.

776
This list briefly describes the supported graphics (image) file formats:
• Alias: Alias PIX image format, developed by Alias Research, Inc.
(now Alias|Wavefront™) for use with their animation and visual-
ization 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-generator titles.
• Cineon: Developed by Eastman Kodak for use in the Cineon
Digital Film System. It is a subset of the SMPTE DPX (Digital
Picture Exchange) format.
• Framestore: Developed by NewTek 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 stan-
dard 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 trans-
mission 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.
• OMF: (import only) Developed by Avid Technology, Inc. and
many industry and standards partners for the interchange of digi-
tal media data between platforms and applications.
• PCX: Developed by Zsoft Corporation for use with their
PC PaintBrush™ paint software.
• Photo CD: (import only) Developed by Kodak for use with the
Kodak PhotoCD storage medium.
• Photoshop: Developed by Adobe Systems Incorporated for use
with their Adobe® Photoshop image-editing software.

777
• 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 sev-
eral operating systems. Used by many ray tracing programs, such
as DKB Ray Trace and the QRT ray tracer.
• Rendition: Developed by Numerical Design Ltd.
• SGI: Developed by Silicon Graphics, Inc. for use as the standard
format on their line of workstations.
• Softimage: Developed by Softimage, Inc. for use in their
SOFTIMAGE® software.
• Sun Raster™: Developed by Sun Microsystems, Inc. and sup-
ported mainly in Sun® applications.
• Targa: Developed by Truevision, Inc. 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) for storing pictures in a machine-independent
manner.
• XWindows: Developed by the MIT X Consortium and supported
by many X Window System™ applications on workstations and
some personal computers.
• YUV: Defined by Abekas Video Systems (now Scitex Digital
Video, Inc.), the YUV format is the raw data sent to the Abekas®
machines.

778
Preparing Graphics Files for Import
Before you import a graphics file to Media Composer, you can use
third-party image-editing software, such as Adobe Photoshop, to
make adjustments such as the following:
• Convert the file to the appropriate size, resolution, and bit depth.
• Crop or color-correct an image.
• Eliminate jagged edges in an image by using the image-editing
application’s anti-aliasing or high-quality option.
• Add transparency (to some formats) by setting the resolution to
32 bits per pixel to add an alpha channel.
• In some cases, you can convert an image file that does not support
an alpha channel to a format that does, in order to add
transparency.

n You can import and key the image over video using key effects within the Avid
application. However, importing an image with an existing alpha channel
provides the best results.

See the documentation that accompanies the image-editing software

for specific procedures and file formats.

Graphics File Import Specifications

Table B-1 contains graphics file import specifications. The table uses
the following terms:
• Full-screen image size: These numbers describe the recom-
mended 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

779
 these dimensions might be distorted. An image resolution of 72
pixels per inch is recommended.
• 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 dis-
played 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.

Table B-1 Graphics File Import Specifications

Format Default Recommended Bit Depth Alpha Notes

Exten- Full-Screen Support Channel
sion Size (Pixels) Support

Alias .als 720 x 486 NTSC 24-bit color, No

720 x 576 PAL 8-bit grayscale

BMP .bmp 720 x 486 NTSC 1-, 4-, 8-, and 24-bit No Dots-per-inch (dpi) informa-
720 x 576 PAL tion is preserved.
Four-bit BMP files saved
with RLE compression are
not supported.
Photoshop does not support
four-channel BMP files.

Chyron .chr 720 x 486 NTSC 32-bit Yes

720 x 576 PAL

Cineon .cin 720 x 486 NTSC 10-bit (logarithmic) NA Dots-per-inch (dpi) informa-
720 x 576 PAL tion is preserved.

780
 Table B-1 Graphics File Import Specifications (Continued)

Format Default Recommended Bit Depth Alpha Notes

Exten- Full-Screen Support Channel
sion Size (Pixels) Support

Framestore .fs 720 x 486 NTSC 24-bit No Pixel aspect information is

720 x 576 PAL saved with image data.
When importing files gener-
ated from Video Toaster,
choose the option Force to
Fit Screen.

IFF .iff 720 x 486 NTSC 1-bit to 24-bit color; 1-bit Dots-per-inch (dpi) informa-
720 x 576 PAL 1-bit to 8-bit alpha tion is preserved.
grayscale; only
Pixel aspect information is
64-color EHB;
saved with image data.
4096-color HAM;
262,144-color HAM8;
SHAM;
A-HAM;
A-RES

JPEG .jpg 720 x 486 NTSC 24-bit color, No

720 x 576 PAL 8-bit grayscale

OMF .omf 720 x 486 NTSC See “OMF Files” on

720 x 576 PAL page 787.

PCX .pcx 720 x 486 NTSC Color-mapped and NA Dots-per-inch (dpi) informa-
720 x 576 PAL 24-bit color tion is preserved.
PCX files with 1-bit color
depth or odd-numbered
pixel widths are not
supported.

781
 Table B-1 Graphics File Import Specifications (Continued)

Format Default Recommended Bit Depth Alpha Notes

Exten- Full-Screen Support Channel
sion Size (Pixels) Support

PhotoCD 720 x 486 NTSC NA If you are importing

720 x 576 PAL PhotoCD files, you must
install QuickTime® soft-
ware and a compatible
QuickTime Photo CD driver.
Most PhotoCD files are high
resolution, and if the photo
has a portrait orientation,
the image will be automati-
cally rotated upon import.
Use a paint or image pro-
cessing program to crop or
resize the image before
importing.

Photoshop .psd 720 x 486 NTSC Grayscale, indexed No Duotone files are loaded as
720 x 576 PAL color, RGB, and duo- grayscale.
tone variations
Multichannel (greater than
four channels) files are not
supported.

PICT .pic 720 x 486 NTSC 2-, 4-, 8-, 16-, and Yes Dots-per-inch (dpi) informa-
720 x 576 PAL 32-bit tion is preserved.
If no dpi is specified, 72 dpi
is used.

Pixar .pxr 720 x 486 NTSC 24-bit, 36-bit Yes

720 x 576 PAL

PNG .png 720 x 486 NTSC 1-bit to 32-bit Yes

720 x 576 PAL

QRT .dbw 720 x 486 NTSC 24-bit No

720 x 576 PAL

782
 Table B-1 Graphics File Import Specifications (Continued)

Format Default Recommended Bit Depth Alpha Notes

Exten- Full-Screen Support Channel
sion Size (Pixels) Support

Rendition .6rn 720 x 486 NTSC 32-bit Yes

720 x 576 PAL

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)

Softimage .pic 720 x 486 NTSC 24-bit plus Yes Pixel aspect information is
720 x 576 PAL 8-bit alpha saved with the image.

SunRaster .sun 720 x 486 NTSC 1-, 8-, or 24-bit No

720 x 576 PAL

Targa .tga 720 x 486 NTSC 8-, 15-, 16-, or 24-bit; Yes
720 x 576 PAL 32-bit

TIFF .tif 720 x 486 NTSC 8-bit color-mapped; Yes Dots-per-inch (dpi) informa-
720 x 576 PAL 8-bit or 16-bit gray- tion is preserved.
scale;
The following types of files
24- and 48-bit color;
are not supported:
24-bit color plus 8-bit
Multichannel (greater than
alpha;
four channels) files; Group
36-bit color plus
3-compressed (fax) files;
12-bit alpha;
CMYK files with extra chan-
42 bit color plus
nels; and JPEG-compressed
14-bit alpha;
files.
48-bit color plus
16-bit alpha Four-channel files from Avid
Matador™ are imported as
three-channel files.

783
 Table B-1 Graphics File Import Specifications (Continued)

Format Default Recommended Bit Depth Alpha Notes

Exten- Full-Screen Support Channel
sion Size (Pixels) Support

Wavefront .rla 720 x 486 NTSC 32-bit and 64-bit Yes

720 x 576 PAL

XWindows .xwd 720 x 486 NTSC 1-, 2-, 4-, 8-, 16-, 24-, No
720 x 576 PAL and 32-bit

YUV .yuv 720 x 486 NTSC 24-bit No Pixel aspect information

720 x 576 PAL (based on the video format)
is saved with image data.
When importing, choose the
option Force to Fit Screen.

Animation Files
Media Composer supports the following animation file formats:
• ERIMovie: Developed by Elastic Reality, Inc. (now a division of
Avid Technology, Inc.) for quick playback of rendered movies on
Silicon Graphics, Inc. platforms.
• PICS: Developed by Apple Computer, Inc. A PICS file is a
sequence of PICT images. Many applications that handle multiple
image formats on the Macintosh platform also support PICS files.
• QuickTime: Developed by Apple Computer, Inc. for multimedia
on multiple platforms.

Table B-2 shows animation file import specifications. QuickTime

import and export information appears in Table B-3.

n Media Composer 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.

784
 Table B-2 Animation File Import Specifications

Format Default Bit Depth Alpha Notes

Exten- Support Channel
sion Support

ERIMovie .mov 24-bit Yes QuickTime for Windows also uses the .mov exten-
packed sion. However, QuickTime does not support
and 32-bit ERIMovie, and double-clicking an ERIMovie file
raw movie will cause an error.
files
n There is no player for ERIMovie on Macintosh or
Windows platforms; the mview program sup-
ports ERIMovie on Silicon Graphics systems.

PICS Animation .pcs 2-, 4-, 8-, Yes Only uncompressed data can be stored in PICS for-
16-, and mat. PICs export does not allow PICs containers
32-bit larger than 16 MB.

Sequenced image Various Yes Name each file in the sequence NameN.ext, with
files Name identifying the animation, N indicating the
file order, and .ext indicating the file type (for
example, Image1.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).

785
 Table B-3 QuickTime Import and Export Specifications

QuickTime File Notes

Import Specifications

QuickTime files For QuickTime import and export, you must install QuickTime software,
Version 1.5 or later. Avid recommends Version 3.0 or later.

Avid QuickTime files The Avid QuickTime codec enables you to import and export QuickTime files
at a rate of three to four times real time. To use the codec in a third-party
application, install the codec in the System folder’s Extensions folder. For
more information, see “Using the Avid QuickTime Codec” on
page 746.

Resolution Use Export settings to specify the compression ratio of a QuickTime file for
export. For more information, see “Export Options Settings” on
page 724.
The compression ratio of a QuickTime file is set at export time from a
third-party application equipped with the Media Composer QuickTime
codec. Media Composer imports the file at this compression ratio. For more
information on exporting from a third-party application, see “Exporting
from a Third-Party QuickTime Codec Application” on page 756.

Image size To take advantage of the Media Composer QuickTime codec speed, you must
export the files from the QuickTime application at the following frame sizes
in order to import to Release 6.0 and later of the Media Composer products:
720 x 486 pixels for NTSC images (non-square pixels)
720 x 576 pixels for PAL images (non-square pixels)

File extension After you import a QuickTime file, the file maintains the .mov extension,
which is visible in a bin. The .mov extension is the default for export.

QuickTime alpha To save a QuickTime movie with alpha channel in a third-party QuickTime
application, use the Avid QuickTime codec or a codec that supports a color
depth or “millions +.” The Avid application does not support matte key or
alpha channel for QuickTime export; it does import alpha channel when one
exists.

786
Audio File Formats
This list briefly describes the supported audio file formats:
• Audio Interchange File Format (AIFF-C): Format for audio files
developed by Apple Computer, Inc.
• Sound Designer II (SD2): Native format of the Sound Designer II
application developed by Avid Digidesign, Inc.
• Wave Format (WAVE): Format for audio files developed jointly by
Microsoft and IBM. WAVE files are playable by nearly all Win-
dows applications that support sound.

n You can digitize, render, and edit audio in AIFF-C, SD2, or WAVE file
formats.

OMF Files
OMF was developed by Avid Technology, Inc. and many industry and
standards partners for the interchange of digital media data between
platforms and applications. For information about creating an OMF
file on a non-Avid application, see the documentation for the
application.

The information in Table B-4 applies to importing OMF files.

787
.
Table B-4 OMF File Import Specifications

OMF File Notes

Import Specifications

Resolution For optimum import speed and quality, export or render the file from the
source application at the resolution you want, and then import the file into
the Avid application at that resolution. To do this, click the Options button in
the Select Files to Import dialog box, and then select the “Use Source” option
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 file’s existing resolution.
If you want to verify that files you are importing have a specific resolution,
select the “Ask Me” option in the OMFI Resolution area of the Import Set-
tings dialog box, and set the resolution you want in the Select Files to Import
dialog box. The system imports files that match that resolution automatically
and displays a query for any files that do not match that resolution. You can
then choose to import those files at their source resolution or to convert
them.
If you are sure you want to change the resolution of a file you are importing,
select the “Use Current” option in the OMFI Resolution area of the Import
Settings dialog box, and set the resolution you want in the Select Files to
Import dialog box.
For more information on OMFI, see the OMFI Web site at
http://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
get an error message.

n Media Composer cannot import an OMF audio file that was produced with
an edit rate equal to the audio sampling rate. Trying to import such a file
results in the error message Unrecognized file type. Create the
source file with an edit rate at the project edit rate, most likely, 29.97.

788
 Table B-4 OMF File Import Specifications (Continued)

OMF File Notes

Import Specifications

OMFI version Media Composer recognizes and supports OMF 1.0 composition and media
files and OMF 2.0 composition files.
The following OMF 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.

Audio sample rate Audio media is imported at the sample rate that is set on the
Media Composer system.

n Media Composer cannot import an OMF audio file that was produced with
an edit rate equal to the audio sampling rate. Trying to import such a file
results in the error message Unrecognized file type. Set the edit
rate to the project edit rate, most likely, 29.97.

Avid MCXpress™ for If you are importing OMF compositions from Avid MCXpress for
Windows NT® files and Windows NT or Avid Xpress for Windows NT, you may get an error if the
sequence includes video or audio effects. If this happens, create a cuts-only
Avid Xpress™ for
version of the sequence in Avid MCXpress or Avid Xpress and export it
Windows NT® files
again. You cannot import video media from Avid MCXpress for
Windows NT or Avid Xpress for Windows NT; if you import a composition,
you must redigitize the media.

File transfer If you are transferring an OMF file over a network, transfer it as a binary file.

Reimporting Avid If you import OMF files that contain media that you exported from the same
media files Media Composer 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 9.

789
Two-Field Media Files and Field Dominance
Media with two fields can be even-field dominance or odd-field domi-
nance. The first line of the image determines the dominance of the
media. If the first line of the image belongs to the first field, then the
media is odd-field dominant. If the first line of the image belongs to
the second field, then the media is even-field dominant. The Avid sys-
tem includes options to specify the field dominance in both the Import
Settings and Export Options dialog boxes.

When the field dominance of an imported media file does not match
the field dominance of the project format, the Avid system drops the
first line of the input frame and repeats the last line of the input frame.
This action shifts the imported image by one pixel.

When the field dominance of an exported media file does not match
the field dominance of the project format, the Avid system repeats the
first line of the input frame and drops the last line of the input frame.

n Import and export shift in opposite directions to keep the image from sliding
down during repeated round-trip import and exports.

To avoid having Media Composer shift the image of an imported or

exported file by one line, you should set field dominance to the correct
value in both Media Composer and in the graphics application han-
dling the file. For example, set the correct field dominance value in the
graphics application when you export the file, and set the same field
dominance value in the Import Settings dialog box in Media
Composer.

Table B-5 lists the field dominance settings you should use for each
media type.

790
Table B-5 Recommended Field Dominance Settings for
Two-Field Import/Export

Format Visible Frame Size Recommended Field

Dominance Setting

AVR NTSC 720 x 243 x 2 Odd Field

AVR PAL 720 x 288 x 2 Odd Field

Meridien™ NTSC 720 x 243 x 2 Even Field

(Media Composer reso-
lutions)

Meridien PAL 720 x 288 x 2 Odd Field

(Media Composer reso-
lutions)

791
APPENDIX C
Compression Ratios and
Storage Requirements

When the Avid system digitizes and stores video, it employs compres-
sion techniques that affect the size of the resulting files and the resolu-
tion of the images they contain. The less the data is compressed, 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
drive space. When you are choosing an image resolution for your
project, you need to balance your requirements in terms of image qual-
ity with your available drive resources.

You can use lower resolutions when your work does not require very
high image quality (for example, in offline work, or in CD-ROM or
Web authoring projects), and higher resolutions when you need excel-
lent image quality. You can also mix different resolutions within the
same project as long as those resolutions are compatible with one
another.

Your Avid application also supports the digitizing and storage of

video that is not processed by a data compression scheme. Uncom-
pressed video conforms to ITU-R 601 standards. The image quality of
uncompressed video is very high, but uncompressed files require very
large amounts of drive space.

792
 This appendix describes the different resolutions and lists their specifi-
cations. It also explains how to estimate the drive space you will
require to store your digitized media.
• Screen Resolution
• Compression Ratios
• Storage Requirements
• Maximizing Drive Space

Screen Resolution
The screen resolution for the Avid 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 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).

Compression Ratios
The Avid application uses a simple notation — x:1 — to identify the
compression ratios 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.

793
 There are three groups of compression ratios:
• 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
• Uncompressed:
1:1

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 drive space to store the digitized media. A lower compression
ratio might also require drive striping to keep up with the high vol-
ume of data.

Compression Groups and Image Quality

Although it is generally true that a lower compression ratio 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 ratios work with smaller amounts of original image data

than two-field ratios. They use only half the image width of two-field
ratios, and they use only one of the two fields in the standard video
signal.

For example, there is a 2:1 compression ratio for both single-field and
two-field. In both cases, the image data is compressed to one-half of its
original size. However, the image quality of these two ratios is differ-
ent. The single-field 2:1 ratio has lower image quality because it pro-
cesses only one-quarter of the original image data used by the
two-field 2:1 ratio.

794
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. Some-
times, drive striping is required to accommodate two streams, even
though a single stream at the same resolution would not require
striping.

Compression Specifications
Table C-1 provides information about the compression ratios from
which you can choose.

The table includes basic information about which ratios require drive
striping. For more detailed information on drive configuration
requirements for different compression ratios, see the documentation
for your drives.

795
 For detailed guidelines on estimating space requirements, see “Stor-
age Requirements” on page 798.

Table C-1 Compression Ratio Specifications

Ratio Field Size Fields Drive Striping Quality

(Pixels) per Minimum
Frame Requirements

15:1s 352 x 248 (NTSC) 1 None Offline

352 x 296 (PAL)
Maximum storage with enough
image detail to make basic edit-
ing decisions (you can check
lip-sync on a medium shot)

4:1s 352 x 248 (NTSC) 1 None Offline

352 x 296 (PAL)
A good storage ratio combined
with a good offline image
quality

2:1s 352 x 248 (NTSC) 1 2-way striping Online

352 x 296 (PAL)
Provides enough detail for fin-
ishing multimedia jobs such as
CD-ROM and Web authoring

20:1 720 x 248 (NTSC) 2 None Offline

720 x 296 (PAL)
Useful for mixing storage-
efficient offline footage with
online-quality resolutions

10:1 720 x 248 (NTSC) 2 None Offline/Online

720 x 296 (PAL)
A good compromise for
high-quality, two-field offline
or low-quality online that saves
drive space

796
 Table C-1 Compression Ratio Specifications (Continued)

Ratio Field Size Fields Drive Striping Quality

(Pixels) per Minimum
Frame Requirements

3:1 720 x 248 (NTSC) 2 2-way striping Online

720 x 296 (PAL)
A medium-quality online
resolution that can sustain
two-stream playback on 2-way
striped drives

2:1 720 x 248 (NTSC) 2 4-way striping Online

720 x 296 (PAL)
Provides the highest image
quality of any compressed reso-
lution and sustains two-stream
playback on 4-way striped
drives

1:1 720 x 248 (NTSC) 2 Requires multiple Online

720 x 296 (PAL) drive array (4-way
(Uncom- Provides the highest image
striping of media
pressed) quality possible
drives)

Mixing Ratios
In a single sequence, you can mix ratios from the single-field group or
from the two-field group. You cannot mix ratios from different groups
in one sequence. You cannot mix uncompressed video with any of the
compressed video formats.

Mixing ratios in a sequence saves time and effort in a variety of

circumstances:
• You can do most of your work at a ratio that can play back
real-time effects, digitizing only the most complex shots and
graphics at a high-quality, single-stream ratio.

797
 • For storage and playback efficiency, you can digitize complex foot-
age at the draft-quality online ratio and edit it along with other
online ratios.
• You can avoid some redigitizing by importing complex graphics at
a high ratio and 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 ratios
and bring the material together for a final cut without redigitizing.

Refer to your Avid Media Composer Release Notes for any limitations
concerning playback with mixed ratios.

Storage Requirements
It is wise to plan the use of drive volumes in advance, especially when
you digitize numerous reels.

This section contains recommendations for achieving efficient storage

for your digital media. It explains how playback performance can be
affected by the way you set up the storage drives and target them
when you digitize.

Estimating Drive Space Requirements

You need to choose a compression ratio that provides adequate picture
quality for your project. However, you may be limited by the amount
of media drive space that is available. Before you digitize, estimate
your media drive space requirements.

798
 To estimate media drive space requirements:
1. Using Table C-1 and the information in your media drive docu-
mentation, select a compression ratio that is compatible with the
drive and striping capacity on your system.
2. Use the Hardware tool to determine the available space on your
media drives. For information about the Hardware tool, see
“Using the Hardware Tool” on page 122.

n Be sure you are not in Capture mode when you open the Hardware tool. In
Capture mode, the Digitize tool takes control of the media drives, and the dis-
play shows no available space.

3. Get a total duration for all the clips to be digitized. Use the Get Bin
Info procedure described in the Avid Media Composer Getting
Started Guide.
4. Use Table C-2 on page 801 to estimate your drive space require-
ments based on the compression ratio and the number of audio
tracks. To get an estimate of the number of gigabytes needed, do
one of the following:
• Calculate by dividing the duration of your material (number
of minutes) by the estimated minutes per gigabyte.
• Calculate by combining storage figures from the “Storage
needed for x minutes of media” columns as necessary to
match the number of minutes of material you have.
5. Compare the gigabytes available on your drives with the result of
step 4. If your needs are greater than your drive space, choose a
lower resolution and recalculate.

Table C-2 on page 801 shows estimated drive space requirements for
each compression ratio, including uncompressed. It shows figures for
estimated minutes per gigabyte and also figures for the drive space
required for certain amounts of material.

799
n The figures in the table represent drive space for video material that includes
typical variations in image complexity. Actual drive space requirements may
vary slightly from these estimates, depending on the overall complexity of the
video you digitize and store.

Keep the following in mind 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
Media Composer rates for audio sampling (16 bits per sample, 44.1
kHz). To calculate additional audio storage (for numbers of chan-
nels not listed in the table), add 88.2 KB per second (approxi-
mately 5.3 MB per minute) to your estimate for each additional
audio channel.
• Storage requirements are affected by the number of channels of
audio, not the frequency of the digitized audio signal. In other
words, the difference in storage requirements between 44.1 kHz
and 48 kHz audio is negligible, while the difference between two
or three channels is more significant, as reflected in the table.

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

800
 Table C-2 Estimated Storage Requirements

Compression Audio Minutes Drive Space Drive Space Drive Space

Ratio Tracks per Needed for Needed for Needed for
Gigabyte 1 Minute of 10 Minutes 30 Minutes
Media of Media of Media

15:1s 0 48.5 20.6 MB 206 MB 618 MB

1 38.6 25.9 MB 259 MB 777 MB

2 32.1 31.2 MB 312 MB 936 MB

3 28.2 35.5 MB 355 MB 1.07 GB

4 24.5 40.8 MB 408 MB 1.22 GB

8 16.1 62.0 MB 620 MB 1.86 GB

4:1s 0 11.6 85.8 MB 858 MB 2.57 GB

1 11.0 91.1 MB 911 MB 2.73 GB

2 10.5 95.4 MB 954 MB 2.86 GB

3 9.9 101 MB 1.01 GB 3.03 GB

4 9.4 106 MB 1.06 GB 3.18 GB

8 7.9 127 MB 1.27 GB 3.81 GB

2:1s 0 5.8 172 MB 1.72 GB 5.16 GB

1 5.7 177 MB 1.77 GB 5.28 GB

2 5.5 182 MB 1.82 GB 5.46 GB

3 5.4 187 MB 1.87 GB 5.61 GB

4 5.2 193 MB 1.93 GB 5.79 GB

801
 Table C-2 Estimated Storage Requirements (Continued)

Compression Audio Minutes Drive Space Drive Space Drive Space

Ratio Tracks per Needed for Needed for Needed for
Gigabyte 1 Minute of 10 Minutes 30 Minutes
Media of Media of Media

8 4.7 214 MB 2.14 GB 6.42 GB

20:1 0 16.6 60.1 MB 601 MB 1.80 GB

1 15.3 65.4 MB 654 MB 1.96 GB

2 14.1 70.7 MB 707 MB 2.12 GB

3 13.2 76.0 MB 760 MB 2.28 GB

4 12.3 81.3 MB 813 MB 2.44 GB

8 9.8 103 MB 1.03 GB 3.09 GB

10:1 0 8.3 120 MB 1.20 GB 3.60 GB

1 7.9 126 MB 1.26 GB 3.78 GB

2 7.6 131 MB 1.31 GB 3.93 GB

3 7.3 136 MB 1.36 GB 4.08 GB

4 7.2 140 MB 1.40 GB 4.20 GB

8 6.2 161 MB 1.61 GB 4.83 GB

3:1 0 2.9 344 MB 3.44 GB 10.32 GB

1 2.9 349 MB 3.49 GB 10.47 GB

2 2.8 354 MB 3.54 GB 10.62 GB

3 2.8 360 MB 3.60 GB 10.80 GB

4 2.7 365 MB 3.65 GB 10.95 GB

802
 Table C-2 Estimated Storage Requirements (Continued)

Compression Audio Minutes Drive Space Drive Space Drive Space

Ratio Tracks per Needed for Needed for Needed for
Gigabyte 1 Minute of 10 Minutes 30 Minutes
Media of Media of Media

8 2.6 386 MB 3.86 GB 11.58 GB

2:1 0 1.9 516 MB 5.16 GB 15.48 GB

1 1.9 521 MB 5.21 GB 15.63 GB

2 1.9 526 MB 5.26 GB 15.78 GB

3 1.9 531 MB 5.31 GB 15.94 GB

4 1.9 537 MB 5.37 GB 16.11 GB

8 1.8 558 MB 5.58 GB 16.74 GB

1:1 0 0.8 1.22 GB 12.2 GB 36.6 GB

(Uncom-
pressed)

1 0.8 1.23 GB 12.3 GB 36.9 GB

2 0.8 1.23 GB 12.3 GB 36.9 GB

3 0.8 1.24 GB 12.4 GB 37.2 GB

4 0.8 1.24 GB 12.4 GB 37.2 GB

8 0.8 1.26 GB 12.6 GB 37.8 GB

n Avid recommends that you designate separate drive space for video and audio
when working in uncompressed format. When estimating storage require-
ments, you need to be aware of the amount of space you have available for
video as distinct from that available for audio. For more information, see your
drive documentation.

803
Maximizing Drive Space
If your media drive space is limited or you are digitizing a large
amount of source material, follow these suggestions to maximize your
usage of the media drive space:
For more information • Digitize only the audio channels required for the edit.
on batch digitizing and
redigitizing, see “Batch • Log in advance. Batch digitize only the footage required for the
Digitizing from edit.
Logged Clips” on
page 225. • Digitize at a lower resolution for editing. Redigitize only the clips
included in the final cut at a higher resolution.

Managing Storage to Improve Playback Performance

The way you set up the media drives and target them when you digi-
tize can affect playback performance. Here are some suggestions for
working with complex video images at high resolution, multiple video
layers, or multicamera material:
• For more effective playback of multiple streams of video at higher
resolutions, stripe the media drives. Some resolutions require drive
striping; see Table C-1 on page 796. For more information on drive
striping, see the documentation for your drives.
• For more effective playback of multiple streams of video at higher
resolutions without drive striping, distribute the video tracks as
evenly as possible among available drives, and target separate
drives for audio and video. Some resolutions require drive striping;
see Table C-1 on page 796.
• Try to target one volume per reel.

804
APPENDIX D
Avid Log Specifications

This section explains the Avid log file format. The Avid application can
import logs that meet Avid log specifications. These logs must follow
the formatting requirements.

Table D-1 lists the log formats that can be imported directly into the
Avid application. You can use a text editor to adapt other log formats
so that they meet Avid log specifications.

805
 Table D-1 Compatible Log Formats

Log Requirements File Name Extension

AatonBase Conversion required .ATN or .ATL

Avid Logs Create with text editor .ALE

and import directly

CMX EDL Conversion required .CMX

Evertz Import directly .FTL

(conversion optional)

Excalibur Conversion required .ALE or .FLX

FLEx Conversion required .FLX

Keyscope Import directly .KSL

Log Producer Conversion required .LLP

Log Right Import directly .ALE

OSC/R Conversion required .ASC

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. <Alterna-
tive 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

806
 the correct timecode, in the format 08:19:10:00 (or
08;19;10;00, for drop-frame timecode).
• [Tab] and [Return] keys are surrounded by standard 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.

The following is a sample heading from the format table:

FPS [Tab] <25>

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

Note that FPS is a required heading. The information in this sample

tells how 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 the Return key.

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

807
 The tables in this section adhere to this order. When you create an Avid
log, you must follow the order precisely.

You may choose not to display a defined heading (including a

required heading), except for Name. Name must always be displayed.

The maximum number of combined global, standard, and custom

headings in a log file is 64.

Global Headings
The global headings must come first in an Avid log file, and you must
enter one value for each heading.

Table D-2 shows the format for the global headings and the supported
values for each heading.

808
 Table D-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 may be necessary for your project. The
maximum number of combined global, standard, and custom headings in a log file is 64.

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

bal headings.

FIELD_DELIM [Tab] <TABS> [Return] Required Enter TABS to show that the file
is Tab delimited.

VIDEO_FORMAT [Tab] <NTSC>

<PAL> [Return] Required

AUDIO_FORMAT [Tab] <22 kHz>

<24 kHz>

<44 kHz>

<48 kHz> [Return] Audio sampling rate for digitiz-

ing. You can override this for
individual clips.

TAPE [Tab] <Tape [Return] Required Name of the videotape reel you
Name> are logging. If you omit this
heading, the file name becomes
the global tape name. You can
override this for individual
clips.

FPS [Tab] <25>

<29.97> [Return] Required Capture rate is 25 fps for PAL

and 29.97 fps for NTSC video.

[Return] Press Return a second time after

entering the FPS value. This
marks the end of the global
headings.

809
Column Headings
The standard column headings appear after the global headings in the
Avid log file. Note that 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 first in Table D-3.

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 of global, standard, and custom headings does not exceed 64.

Table D-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 may be necessary for
your project. The maximum number of combined global, standard, and custom headings in a log file
is 64.

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

Name [Tab] Required Heading for clip name.

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

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

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

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

810
 Table D-3 Avid Log Column Headings (Continued)

Auxiliary TC1 [Tab] Heading for auxiliary timecode.

Auxiliary TC2 [Tab] Heading for auxiliary timecode.

Auxiliary TC3 [Tab] Heading for auxiliary timecode.

Auxiliary TC4 [Tab] Heading for auxiliary timecode.

Auxiliary TC5 [Tab] Heading for auxiliary timecode.

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

Color Framing [Tab]

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

Disk [Tab] Heading for target disk ID.

Duration [Tab] Heading for timecode Start to timecode End, the

length of the video clip.

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

IN-OUT [Tab] Heading for duration between clip’s Mark IN and

Mark OUT (if present).

Mark IN [Tab] Heading for timecode of clip’s Mark IN (if present).

Mark OUT [Tab] Heading for timecode of clip’s Mark OUT (if present).

Offline [Tab] Heading for tracks currently without digitized media

files online.

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

Video [Tab] Heading for video resolution.

811
 Table D-3 Avid Log Column Headings (Continued)

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

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

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

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

Scene [Tab] Heading for scene ID for clip.

Take [Tab] Heading for take ID for clip.

DESCRIPT [Tab] Heading for description of clip.

COMMENTS [Tab] Heading for comments about clip.

<Your_heading> [Tab] 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.

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

Data
Some data, such as Cre- The data headings appear after the Custom column headings.
ation Date, is gathered
Table D-4 shows the format for entering data. Enter a line of data in
by the system.
Table D-4 does not this format for every clip. Be sure to start the data section for each clip
include entries for such with the word Data [Return].
data.

812
 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.

Be sure to enter data for all the required values. To leave a data posi-
tion unfilled, press the Tab key instead of typing data. Press Return at
the end of each line.

Table D-4 Avid Log Data Headings

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

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

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 typ-
ing data. Press Return at the end of each line. Note that Media Composer supports up to four audio
tracks in imported and exported logs.

<clip name> [Tab] Required Under Name heading. Enter a clip identifier (32 charac-
ters maximum).

<V>

<VA1>

<VA2>

<VA1A2>

<A1A2>

<A1>

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

813
 Table D-4 Avid Log Data Headings (Continued)

<22 kHz>

<24 kHz>

<44 kHz>

<48 kHz> [Tab] Under AUDIO_FORMAT heading. Enter the audio

sampling rate for this clip only. If omitted, global entry
applies.

<Source tape ID> [Tab] Under Tape heading. Enter the source videotape ID for
this clip only.

<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.

<time code> [Tab] 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).

<time code> [Tab] Required Under End heading. Enter the video timecode for the last
frame of clip.

<time code> [Tab] Under Duration heading. Enter the length of the video
clip, Start to End.

<lab roll ID> [Tab] Under Labroll heading. Identify the lab roll using letters
and numbers.

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

<time code> [Tab] Under Auxiliary TC heading. Enter a Nagra timecode,

Aaton code, Arri code, and so on, for the sync point.
Syncs with the Start timecode.

814
 Table D-4 Avid Log Data Headings (Continued)

<Sound roll ID> [Tab] Under Soundroll heading. Identify the sound roll using
letters and numbers.

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

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

<clip description> [Tab] Under DESCRIPT heading. Describe the clip.

<clip comments> [Tab] Under COMMENTS heading. Comment on the clip.

<information> [Tab] Press the Tab key between each heading. Do not press the
Tab key after last heading. Under the headings you cre-
ated yourself, type the appropriate information.

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

Enter an additional line of data for each remaining clip.

815
Sample Avid Log
This section contains a sample Avid log for an NTSC video project.

Formatting keys (such as [Tab] and [Return]) are shown in brackets.

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

816
 Index

ABCDEFGHIJKLMNOPQRSTUVWXYZ

Numerics Add Page button (Script window) 356

Add Scene button (Script window) 356
16 x 9 display format (Composer settings) 396 Adding
16 x 9 display option 386 bin columns 293
16 x 9 format 150 color indicators (Script window) 371
3-perf support 711 comments
4-perf support 711 during digitizing 213
8 x 8 audio interface See Digidesign audio during editing 457
interface edits 514
filler
during a trim 545
A to a sequence 442
locators
A2 timecode option 394 during digitizing 212
Absolute timecode 394 while editing 422
Add Channel button (Deck Configuration new tracks 512
dialog box) 153 off-screen indicators (Script window) 371
Add Channel options (Deck Configuration page and scene numbers in the Script
settings) 153 window 356
Add Comments command (Clip Name menus) script marks 373
457 takes in the Script window 367
Add Deck button (Deck Configuration dialog Adjust Deck command (Deck Selection pop-up
box) 155 menu) 165, 702
Add Edit button Adjusting
for maintaining sync 645 digital audio scrub parameters 557
for multicamera editing 673 input levels with the Audio tool 189
Add edit function margins in the Script window 351
using 514

817
Adjusting (continued) Aspect Ratio options (Import settings) 242
output on eight-channel audio board Assemble-edit recording 697
systems 695 enabling in Deck Preferences 699
pan in the Audio Mix tool 564 Attic Files setting (Bin settings) 81
reference level in the Audio tool 186 Attic folder
take lines in the Script window 370 defined 74
volume in the Audio Mix tool 563 retrieving files from 35
volume in the Timeline 573 Audio
AES/EBU (Audio Engineering Society/ See also Audio Gain Automation, Audio Mix
European Broadcast Union) digital format, tool, Audio tool
defined 183 AudioSuite Plug-Ins
AIFF-C file format core plug-ins 764
brief description of 787 description of 766
option in General settings 82 D-FX and D-Fi plug-ins 765
ALE (Avid Log Exchange), converting shot log list of 763
files with 130 checking for multicamera 661
Alias file format crossfading 629
brief description of 777 dipping 631
import specifications for 780 dissolves 629
Alias, starting an application from 37 eight-channel input 177
Align Selected to Grid command (Bin menu) EQ templates 605
310 fading 629
Align to Grid command (Bin menu) 290, 310 file formats (General settings) 82
Aligning columns in a bin 290 format heading in Avid logs 810
Alpha channel input levels See Audio tool
adding to a graphics image 779 leader
defined 780 creating 317
in imported animation 785 using to maintain sync 643
options in Import settings 245 levels
support in graphics formats 780 fine-tuning with add edit 628
Animation codec (QuickTime) 729 marking clips 421
Annotate feature 213 mixdown 632
Annotations multicamera, managing 655, 655
adding to Help Topics 61 number of tracks supported 503
Anti-aliased images 779 options in Export settings 726
Arrow keys, stepping with 414 output
ASCII file format calibrating 693 to 698
importing Avid logs 134 preparing for 693
ASCII text files
importing to a Script window 348
A-side (outgoing frames), in trims 531, 535

818
Audio (continued) Audio File Format pop-up menu 151
pan Audio File format, selecting 178
adjusting in Audio Mix tool 564 Audio file types
centering 265 brief description of 787
defaults, setting 264 importing 247
pitch shift 615 Audio Gain Automation
punch-in 623 deleting keyframes in 576
sample rates enabling and adding keyframes in 574
in the Audio setting 182 recording 585
scrub 555 to 560 Tool window 579
setup, in the Audio tool 184 using an external fader box 578
storage requirements 800 Audio Mark buttons 421
sync on input 180, 183 Audio Mix command (Tools menu) 563
sync on output 682 Audio Mix tool
time compression 615 adjusting volume and pan
tracks on a single track 565
mixing down 632 on multiple tracks 570
monitoring 507 and Automation Gain 592
voice-over 623 Fast menu options 568
volume Audio Mixdown
adjusting in Audio Mix tool 563 media files, deleting 326
adjusting in the Timeline 573 Audio Mixdown command (Special menu) 632
adjusting while playing 572 Audio Mixdown Parameters dialog box 633
waveform plots, displaying 561 Audio peak levels, checking 193
Audio Data command (Timeline Fast menu) Audio Punch-In tool 623
561 Audio settings
Audio effect tools, accessing 554 access and brief description of 77
Audio Engineering Society/European Default Pan options 264
Broadcast Union (AES/EBU) See AES/ Digital Format options 183
EBU Digital Scrub options 558
Audio EQ (Equalization) Input Source option 183
adjusting while playing 607 Sample Rate option 182
templates 607 Sync Mode option 183
Audio EQ command (Tools menu) 594 Audio Settings dialog box 181, 264, 559
Audio EQ tool Audio Setup display See Audio tool
See also EQ effect Audio solo feature 509, 533
examples of uses 603 Audio timecode, using 262
Fast menu options 599 Audio tone media, creating 192
features of 595 Audio tool
opening 594 adjusting input levels with 189
saving effects 601 Calibrate mode 190

819
Audio tool (continued) Avid logs
digital scale, defined 185 See also Shot log files
features, described 184 audio format heading in 810
Peak Hold option, choosing 188 clip data in 812
reference level, adjusting 186 creating 807
resizing 186 custom headings in 810
Setup options 184 data headings in 812
volume meters, defined 185 Evertz format 806
volume unit scale, defined 185 formatting guidelines 806
Audio Tool command (Tools menu) 184 fps (frames per second) heading in 811
Audio volume rubberbanding See Audio Gain global headings in 808
Automation importing 805
AudioSuite Plug-Ins importing ASCII file format 134
applying 608 Keyscope format 806
core plug-ins 764 Log Right format 806
creating new master clips 615 sample created with text editor 816
descriptions of 766 specifications 806
D-FX and D-Fi plug-ins 765 standard headings in 810
limitations 620 timecode headings in 811
list of supported plug-ins 763 Avid MCXpress for Windows NT
rendering 615 importing files from 789
troubleshooting 621 Avid Media Composer system
Auto-configure command (Deck Selection application
pop-up menu) 165, 702 location of 32
Autodigitizing 220, 657 quitting 50
Automation Gain starting 37
and the Audio Mix window 592 Avid Projects folder
connecting a fader 589 deleting folders from 35
Fast menu 584 described 33
keyboard shortcuts 587 Avid QuickTime codec 729, 786
Auto-save function, described 74 described 746
Auto-Save options (Bin settings) 81 Avid QuickTime files 786
AutoSync command (Bin menu) 636 Avid system
Autosyncing 635 quitting 50
Auxiliary timecode 394 Avid System Test Pro diagnostic utility 123
Auxiliary timecode headings Avid Unity MediaNet icons, ejecting and
in Avid logs 811 mounting 52
Avid application tools 110 Avid Users folder
Avid Calculator tool, using 118 deleting folders from 35
Avid drive, described 31 described 33
Avid Log Exchange See ALE

820
AvidNet settings Bin settings (continued)
access and brief description of 77 defined 80
Double-Click option 81
Bin View settings
B access and brief description of 77
column headings 304
Background color, changing Bin views
in bins 307 customizing 289
in the Composer window 385 types of 288
Backing up Bins
media files 48, 334 aligning frames in a bin 310
Backtiming edits 516 auto-save function, described 74
Backup options (Bin settings) 81 background color, changing 307
Backups Bin View pop-up menu 288
Attic folder 35 changing the display font in 272
Bandwidths in Audio EQ tool 595 checking for multicamera 660
Bars and tone closing 70
preparing for digitizing 314 columns in
recording to tape 698 adding 293
Batch Digitize command (Clip menu) 228, 235 aligning 290
Batch Digitize dialog box 228 deleting 291
Batch Digitize options (Digitize settings) 230 duplicating 292
Batch digitizing moving 290
See also Autodigitizing, Digitizing, showing and hiding 290
Redigitizing creating 68
preparing for 225 deleting 70
procedure 227 display views for 269 to 271
Batch Import command (Clip menu) 254 displaying in Project window 66
Batch importing, files 252 editing from in Segment mode 497
Big Trim mode Fast menu 271
defined 523 finding 432
switching with Small Trim mode 530 finding from the Script window 378
Bin Column Selection dialog box 277, 291 Info display 93
Bin editing in Segment mode 497 information in Console 121
Bin Fast menu 271 locking items in 284
Bin settings logging directly into 136 to 141
access and brief description of 77 managing 72
Attic Files setting 81 managing clip informaiton 295
Auto-Save options 81 opening 69
Backup options 81 opening from a different project 69
organizing a project with 261 to 313

821
Bins (continued) Buttons (continued)
preparing for digitizing 209 Focus 481
printing 312 for controlling playback 409
rearranging clips in 309, 312 Gang 648
renaming 68 Grid 114
retrieving 35 In/Out (Audio tool) 185
saving mapping user-selectable 114
using system backup 48 Mark IN 418
using the Save Bin command 74 Mark OUT 418
selecting New Project (Open Project dialog box) 43
media relatives in 286 New User (Open Project dialog box) 41
offline items in 285 Off-Screen (Script window) 371
sources in 286 Output Control (Audio tool) 185
unreferenced clips in 287 Play (Script window) 370
setting clip display in 266 Preset (Video tools) 196, 683
targeting for digitizing 168 Reset Peak (Audio tool) 185
transferring Toggle Source/Record 483
with MediaLog for Macintosh 129
Bins display (Project window) 66
Bit depth C
defined 780
Black level, adjusting Calculator command (Tools menu) 118
for input 202 Calculator tool, using 118
for output 687 Calibrate command (Peak Hold pop-up menu)
Black segment See Filler 190
Blue bar See Position indicator Calibrating
BMP file format audio output 694
additional export options 733 global levels 693
brief description of 777 of digital cut 693
import specifications for 780 video input 198
B-side (incoming frames), in trims 531, 535 table of luminance settings 203
Buttons with vectorscope 203
See also User-selectable buttons with Waveform monitor 201
Add Channel 153 video output 684
Add Deck 155 advanced procedures 688
Add Scene and Add Page (Script window) Calibration tone
356 creating media for 192
Audio Mark 421 setting 694
Color (Script window) 372 Camera setups, in the lined script 343
Find Bin 432, 432 Capture mode
Find Frame 433 entering 161

822
CCIR See ITU-R 601 Clearing clips from monitors 405
CCIR video levels Clearing IN and OUT points 418
Export settings 726 Clip colors
Import settings 244 assigning source colors 277
Center Duration option (Composer settings) viewing in bins 276
396 Clip data
Center Pan command (Clip menu) 265 in Avid logs 812
Change lists, FilmScribe 711 Clip information
Change Scene/ Page dialog box 358 managing in bins 295
Changing modifications table 145
background color Clip Information window
in bins 307 displaying from a monitor 390
in the Composer window 385 opening from a Script window 350
bin font 272 Clip Name menus, using 404
font in the Script window 352 Clip names, finding in a monitor 430
frame size 308 Clipboard
page and scene numbers in the Script copying to 453
window 357 preserving contents of 454
representative frame in takes 369 recovering material from 454
the frame identifying a clip 309 Clipboard Contents command (Monitor menu)
track color 454
in the Timeline 468 Clips
Channel dialog box 153 See also Master clips, Subclips, Group clips,
Channel selection buttons (Digitize tool) 167 Multigroup clips
Check Decks command (Deck Selection pop-up assigning local colors in Timeline 468
menu) 165 assigning source colors in bins 277
Choosing a user 40 autosyncing 635
Choosing bin headings 287 clearing from monitors 405
Chyron file format clearing marks from 418
brief description of 777 copying 274
import specifications for 780 deleting 275
Cineon file format deleting extra multicamera 661
additional Export options 733 deleting unreferenced 326
brief description of 777 displaying local colors in Timeline 470
import specifications for 780 displaying source colors in bins 276
Cinepak codec (QuickTime) 729 displaying source colors in Timeline 470
Clear command (Edit menu) duplicating 273
deleting clips and sequences 275 exporting 716
deleting column headings 292 group, creating 664
deleting media files 325 linking to script 360
Clear Monitor command (Monitor menus) 405 loaded, switching between 404

823
Clips (continued) Color indicators (script integration)
loading into monitors 402, 403 adding to takes 371
locking 284 described 345
marking Color option (QuickTime) 732
entire segments 419 Color submenu (Script menu) 372
with IN and OUT points 417 Color-sync signal phase 396
modifying information in 142 Column headings (Bin View settings) 304
moving 273 Columns See Bins
multigroup, creating 665 Combination cutting in multicamera editing
playing 680
using buttons 409 Command palette
rearranging mapping 116
in Frame view bin display 309 using 113
in Script view bin display 312 Commands See Menu commands
relocating 431 Comments
replacing 660 adding during digitizing 213
searching for text in 430 adding to sequence clips 457
selecting 272 Component Video codec (QuickTime) 730
sifting 279 Composer Projects folder
tracking the duration of 389 See Avid Projects folder
Clips, highlighting offline media in Timeline Composer settings
470 16 x 9 display format 396
Closing a project 48 access and brief description of 77
Closing bins 70 Center Duration option 396
Closing Help 54 Color Framing options 396, 519
Closing the Project window 65 Composer Window options 395
Color Digital Scrub Parameters option 395
assigning local colors in Timeline 468 Editing Method options 397
assigning source color in bins 277 Fast Forward options 398
displaying local colors in Timeline 470 Rewind options 398
displaying source colors in Timeline 470 Source Loading options 398
frame shifts 518 Tick Marks option 396
Color bars Composer window
See also Bars and tone changing background color 385
in Dupe Detection 517 customizing 383, 384
types of 200 customizing settings 385
Color button (Script window) 372 Composer Window options (Composer
Color column settings) 395
adding to bins 276
Color Framing options (Composer settings)
396, 519

824
Compression Control track breaks, digitizing across 227
defined 792 Control track, using for preroll 175
in relation to drive space 792 Converting
in relation to image quality 792 shot log files with Avid Log Exchange 130
Compression command (Tools menu) 162 Copying
Compression ratios clips and sequences 274
defined 793 in the Timeline 498
drive striping requirements 794 locators from source clips 424
mixing 797 text from a Help topic 61
selecting with the Compression tool 163 text from the Clip Information window 392
single-field 794 text in the Script window 355
specifications 796 to Clipboard 453
storage in minutes per gigabyte 799 Countdown
two-field 794 customizing 700
Compression tool 162 in a digital cut 700
Compressor options 729 Crash recording See Manual recording
Configuring decks 152 Creating
Console See also Editing, Deleting
bin information in 121 a folder in a project 67
checking peak levels with 193 an instant rough cut 444
displaying system information in 120 Avid log files 133
drive space statistics 100 bins 68
logging digitizing errors with 210 group clips 664
Console command (Tools menu) 120, 193 leader 317
Console tool, using 120, 121 multigroup clips 665
Consolidate command (Clip menu) 331 overlap edits 537
Consolidate dialog box 331 subclips 420
Consolidating media files subclips during digitizing 211
defined 327 tone media 192
group clips 332 Creating a project 43
master clips 328 Crossfading audio 629
procedure 331 Custom countdown display 704, 710
sequences 330 Custom headings
subclips 329 in Avid logs 810
Contents tab Custom Sift command (Bin menu) 279
using 56 Customizing
Context menus bin views 289
using 54 the Composer window 383, 384
Context-sensitive Help the Timeline 463
for screen objects 55 timecode 439
for windows and dialog boxes 54 Trim mode 522

825
Cut lists, FilmScribe 711 Default Pan options (Audio settings) 264
Cut, copy, and paste in the Timeline 498 Defaults for settings, restoring 90
Cutaways, marking with locators 422 Defining settings 79
Cutting See Editing, Specific edit modes Delete dialog box 276
Cutting text in the Script window 355 Delete dialog box (script integration) 358, 368
Cycle Picture/Sound button 506 Delete Media Files dialog box 325
Delete Take command (Script menu) 366
Deleting
D See also Creating, Editing
add edits (match frames) 515
D1 VTR bin columns 291
calibrating input from 194, 197 bins 70
recording to 682 clips and sequences 275
DAE (Digidesign Audio Engine) 609 deck configurations 158
DAT See Digital audiotape media files
Data headings in bins 275
in Avid logs 812 with Media tool 324
Deck Configuration settings page and scene numbers in the Script
access and brief description of 77 window 358
Add Channel options 153 script marks 377
adjusting 152 segments, in Segment mode 495
deleting elements in 158 settings 89
Deck control slates in the Script window 366
setting ports 123 takes in the Script window 368
Deck controller text in the Script window 355
in Digital Cut tool 701, 702 tracks 513
Deck Controller tool, using 112 unreferenced clips 326
Deck Preferences settings Desktop, Media Composer elements on 31
access and brief description of 77 Destination Size options (Export settings) 725
description 159 Device Code option (VTR Emulation settings)
for assemble-edit recording 699 712
procedure for 699 Dialog boxes
Deck Selection pop-up menu 165 Audio Mixdown Parameters 633
Digital Cut tool 702 Audio Settings 264, 559
Digitize tool 165 Batch Digitize 228
Deck settings Bin Column Selection 277, 291
Fast Cue option 158 Change Scene/Page 358
for configuring decks 155, 165, 702 Consolidate 331
Preroll option 157 Delete 276
Decks, configuring 152 Delete (script integration) 358, 368
Decompose feature 233, 257 Delete Media Files 325

826
Dialog boxes (continued) Digital cuts
Find 429 previewing 700
Font Selection 352 Record options 707
Group clips 664 recording 701
Import Files into Bin 134 Digital Format options (Audio settings) 183
Left Margin 351 Digital scale (Audio tool), defined 185
Media Tool Display 323 Digital Scrub Parameters option (Composer
Modify 143 settings) 395
Name of This View (bin) 294 Digitize across timecode breaks option 151
Name of This View (Timeline) 472 Digitize command (Tools menu) 136
Open Project 40 Digitize settings
Quick Dissolve 629 access and brief description of 77
Read Audio Timecode 263 Batch Digitize options 230
Relink 336 General Digitize options 176
Select a Bin 69, 438 Digitize to multiple files 151
Set Bin Display 267 Digitize tool
Sift Parameters 280 logging with 136
Sync Selection 636 resizing 226
Dialog, in the lined script 343 resolution, choosing 168
Digidesign AudioSuite Plug-Ins setting up 163
See AudioSuite Plug-Ins subclip status in 211
Digidesign hardware Digitizing
See Audio See also Autodigitizing, Batch digitizing,
Digital audio scrub Redigitizing
adjusting parameters for 557 across control track breaks 227
compared to smooth audio scrub 555 across timecode breaks 220, 227
using 557 adding comments (annotating) during 213
Digital Audio Scrub options (Audio settings) adding locators during 212
558 and logging at the same time 214 to 221
Digital audiotape (DAT), digitizing from 150 bars and tone 314
Digital bars and tone, preparing 314 defined 208
Digital Betacam VTR from a mark IN to a mark OUT 215
calibrating input from 194, 197 from a non-Avid-controlled deck 221
recording to 682 methods for 657
Digital Cut command (Output menu) 701 multicamera material 657
Digital Cut settings on-the-fly 217, 217
access and brief description of 77 preparing for
Digital Cut tool Audio Tool setup 184 to 193
deck controller in 701 Compression tool setup 162
deck selection 165
Digitize Tool setup 163

827
Digitizing (continued) Drive space (continued)
preparing for for rolling titles 800
hardware considerations 149 managing to improve playback performance
resolution selection 168 804
settings selection 151 maximizing use of 804
source track selection 167 NTSC/PAL equivalency for estimating 800
tape selection 166 planning 798
targeting bins 168 statistics 100
targeting drives 169 Drive striping
video input 194 to 206 in relation to compression ratios 794
setting custom preroll 171 Drive striping requirements
setting only Mark IN 216 for specific compression ratios 796
sources for 151 Drives
storage guidelines 798 saving work on 48
to multiple media files 171 striped for digitzing 150
to the Timeline 224 Dual-image play during trims 536
using time-of-day 223 Dual-roller trim 536
workflow, multicamera 656 Dupe checking 473
Dipping audio 631 Dupe Detection 517
Disk See Drive space, Drives Dupe Detection Handles option (Timeline
Displaying settings) 473
clip information in the Timeline 471 Duplicate command (Edit menu) 88, 273, 292
Safe Title overlays 114 Duplicating
sync breaks 638 bin columns 292
take numbers in slates 368 clips and sequences 273
Dissolves settings 88
audio 629 Duration, tracking 389
Dominance
described 790
Export Settings options 725 E
Import Settings options 244
Double-Click option (Bin settings) 81 Edit controller, with VTR play emulation 712
Drag-and-drop method Edit decision list
exporting with 743 See EDL
importing with 251 Editing
Dragging marks 418 adding new tracks during 512
Drive Filtering Based on Resolution option 151 deleting tracks during 513
Drive Filtering option (General settings) 82, 151 effects 503
Drive space in Heads (and Tails) view 501
estimating 798 multicamera material 652 to 680
estimating for audio 800 new sequence 437

828
Editing (continued) Enlarge Frame command (Edit menu) 308, 363
Sync Point Editing 646 Enlarging and reducing frames in the bin 308
to avoid sync breaks 638 Enlarging tracks in the Timeline 466
with film track 499 Entering
with the Script window 378 Source/Record mode 436
Editing Method options (Composer settings) Trim mode 527
397 EQ effect
Edits adjusting while playing 607
See also Editing, Creating, Deleting, Specific applying 596
edit modes removing 602
adding (match-framing) 514 templates for 605
backtiming 516 ERIMovie file format
combination cutting (multicamera) 680 additional export options 734
copying to Clipboard 453 brief description 784
extending 538 import specifications for 785
Extract 453 Errors
Extract/Splice-in (Segment mode) 494 viewing digitizing errors in the Console 210
instant rough cut procedure 444 viewing log of in the Console 120
Lift 452 Events in an EDL, defined 710
Lift/Overwrite (Segment mode) 494 Evertz log format 806
on-the-fly cutting (multicamera) 678 Exiting Trim mode 529
Overwrite 448 Export settings 717
Replace 449 access and brief description of 77
selective cutting (multicamera) 677 Audio options 726
undoing or redoing 446 CCIR video levels 726
EDL (edit decision list) Destination Size options 725
creating 710 Dominance options 725
described 710 how to use 724
Effects options for specific file types 733
Audio EQ 594 RGB graphics levels 726
nesting, defined 504 Video Compression options 728
types of 503 Exporting files 716
Eight-channel audio board systems preparing for 737
adjusting output on 695 preparing for OMF export 737
adjusting trim level settings 190 procedure for 740
slot number, in Audio Setup display 182 reasons for 716
Eight-channel audio input 177 using drag-and-drop method 743
Eject command (File menu) 52
Enable Track buttons (Digital Cut tool) 701
End key 414
Energy Plot in Timeline 561

829
Exporting files (continued) Files
with Avid QuickTime codec exporting
described 746 procedure for 740
from third-party application 756 reasons for 716
guidelines for 746 using drag-and-drop method 743
installing 747 with Avid QuickTime codec 746 to 756
procedure for 748 importing
settings for 751 guidelines for 238
Exporting shot log files 146 mixed resolutions 239, 252
Extend button 538 procedure for 247
Extending an edit 538 reimporting 252
External drive See Media drive using drag-and-drop method 251
Extract edits 453 specifications for importing animation 784
Extract/Splice-in button 494 specifications for importing graphics 779
specifications for importing OMFI 788
Fill Sorted command (Bin menu) 310
F Fill Window command (Bin menu) 310
Filler
Fader, connecting to a system 590 adding during a trim 545
FaderMaster Professional fader 578 adding to a sequence 442
Fading audio 629 Film track, editing with 499
Fast Cue option (Deck settings) 158 FilmScribe, accessing 711
Fast Forward button 409 Find Bin button 432, 432
Fast Forward options (Composer settings) 398 in the Script window 378
Fast menus Find command (Edit menu) 359, 429
Bin 271 Find dialog box 429
Bin display in the Project window 67 Find feature
Info display in the Project window 94 in Help 57
Locators window 426 Find Frame button 433
Media tool 321 Find procedures 429
Settings display in Project window 85 Find Script button 377
Timeline 465 Find tab
Field dominance using 57
described 790 Finding bins
Export Settings options 725 from a monitor 432
Import Settings options 244 from the Script window 378
File management 320 related media files 335
File names Finding clip names, with Find command 430
restricted characters 82

830
Finding frames Frames
with the Find command 429 aligning in bin 310
with the Find Frame button 433 displaying matching footage for 649
with timecode offset 427 exporting 716
Finding script from marked takes 377 finding
Finding text in the Script window 359 with the Match Frame button 649
Focusing the Timeline 481 with the Match Frame function 431
Folders with timecode offset 427
creating 46 identifying a clip, changing 309
deleting 35 rearranging
managing 72 in Frame view 309
Font in Script view 312
changing in bins 272 Framestore file format
changing in the Script window 352 brief description of 777
changing size in Help topics 61 import specifications for 781
Font Selection dialog box 352 Frequencies (audio), adjusting 594
Footage Full-monitor multicamera display 666
clearing marks from 418 Full-screen image size
loading into monitors 402, 403 defined 779
marking and subcataloging 416 to 424 Full-screen Timeline 481
relocating 427
viewing and playing 382 to 416
Format elements, preparing 313 to 318 G
Four-frame display
described 489 Ganging
suppressing 491 footage in monitors 648
fps (frames per second) multiple tracks in the Audio Mix tool 570
and storage requirements 800 multiple tracks on an external fader 591
heading in Avid logs 811 Gathering format elements 313 to 318
in Bin View settings 304 General Digitize options (Digitize settings) 176
Frame offset 429 General settings
Frame size, changing 308 access and brief description of 78
Frame view (bin display) audio file formats 82
defined 270 defined 82
in Media tool 321 Drive Filtering options 82
using 306 to 310 Global headings
Frame View button 307 in Avid logs 808
Frame-accurate recording 697 Global settings
Frame-by-frame movement in the Timeline 484 Export 717
Go To Capture Mode command (Bin menu) 161
Going to scene or page numbers 359

831
Goto Page command (Script menu) 359 Help system (continued)
Goto Scene command (Script menu) 359 using buttons 59
Graphics codec (QuickTime) 730 using the Contents tab 56
Graphics file types using the Find tab 57
importing 247 using the Help Topics dialog box 56
Grid button 114 using the Index tab 57
aligning frames 310 What’s This? Help 55
Grid settings Help Topics dialog box
access and brief description of 78 using 56
Group clips Hiding
consolidating 332 bin columns 290
creating 664 slate frames 364
Group Clips command (Bin menu) 664 High shelf in Audio EQ tool 596
Group Clips dialog box, options 664 Home command (Windows menu) 482
Grouping procedures 664 Home key 414

H I
Hard recording See Manual recording IFF file format
Hardware command (Tools menu) 122 brief description of 777
Hardware tool import specifications for 781
displaying 101 Ignoring volume and pan settings 571
using 122 Image quality
HDTV for specific compression ratios 796
displaying 16 x 9 386 Import command 134
format 150 Import settings 240
Headings command (Bin menu) 276, 290 access and brief description of 78
Heads (and Tails) View, in the Timeline 501 Alpha Channel options 245
Help system Aspect Ratio options 242
adding notes 61 CCIR video levels 244
changing font size in topics 61 Dominance options 244
closing 54 OMFI Resolutions options 247
copying text from 61 RGB graphics levels 244
finding topics 57 Shot Log options 246
folder location 32 Importing
keeping on top 61 a script 348
opening 54 shot log files 134
overview 54 statistics files 98
printing a topic 60 test patterns 315
types of windows 58

832
Importing files JPEG file format
batch importing 252 additional Export options for 734
before you begin 238 brief description of 777
guidelines 238 import specifications for 781
in mixed-resolution projects 239, 252
procedure for 247
reimporting 252 K
using drag-and-drop method 251
IN and OUT marks 417 Keyboard
In/Out buttons (Audio tool), defined 185 mapping user-selectable buttons to 114
Index tab (Help system) using to control playback 411
using 57 Keyboard settings
Indicating off-screen dialog 371 access and brief description of 78
Infinite Hold option (Audio tool) 189 Keyscope log format 806
Info display in Project window 93
Info Display window
displaying Hardware 101 L
displaying Memory 100
displaying Profile 94 L-cut edit (Overlap edit) 537
displaying Usage 95 audio 421
Inhibit Preloading option (VTR Emulation Leader
settings) 713 creating 317
Input Source options (Audio setting) 183 for managing sync breaks 643
Insert edit recording 697 Left Arrow key 414
Installing Left Margin command (Script menu) 351
Avid QuickTime codec 747 Left Margin dialog box 351
Interface settings Lift/Overwrite button 494
access and brief description of 78 Lifting material 452
defined 83 Line slider (Waveform monitor) 202
ITU-R 601 Lined script, described 342
video levels 726 Linking clips to script 360
video standards 792 Load Filler command (Clip Name menus) 442
Loading
filler 442
J footage 402, 403
takes from the Script window 369, 375
J-K-L keys (Three-Button Play) 413 Local colors
JL Cooper faders 578 assigning in Timeline 468
Jogging See Stepping displaying in Timeline 470
Frame-by-frame movement

833
Locators Manual recording
adding during digitizing 212 Mapping
adding while editing 423 menu commands 116
copying from source clips 424 user-selectable buttons 114
finding frames with 430 Mark In Time option (Digital Cut tool) 707
for managing sync breaks 644 Mark Subclip button 420
using 422 Mark-and-park editing See Single-mark editing
Lock Bin Selection command (Clip menu) 285 Marking
Lock icon in Track Selector panel 511 clips 419
Lock Tracks command (Clip menu) 512 entire segment 419
Locking IN and OUT points 417, 418
bin items 284 segments in Segment mode 496
tracks 511 with locators 422
Log Right log format 806 marking audio 421
Logging Marks
and digitizing at the same time 214 to 221 clearing 418
bypassing by autodigitizing 220 IN and OUT points 417
directly into a bin phantom 450
with a non-Avid-controlled deck 140 Marquee, importing materials finished with 252
with an Avid-controlled deck 136 Master clips
errors to the Console 120 consolidating 328
guidelines for 125 copying 274
multicamera material 657 deleting 275
preroll 126 duplicating 273
procedures for 125 to 141, 657 locating from subclip 433
Logs See Shot log files locking 284
Low shelf in Audio EQ Tool 595 moving 273
LTC (longitudinal timecode) redigitizing 232, 232
reading the user bits in 263 relinking 336
Luminance settings selecting 272
adjusting for video output 687 sifting 279
table of 687 Master shot, in the lined script 343
Match Frame function
for multicamera editing 677
M using 431, 649
Match framing (adding edits) 514
Making subclips 420 Matchback
Managing options 44
bins 72 Matching a frame 431
folders 72 MCS-3000X fader 578
media files 320 to 340 Media Composer folder 31, 32

834
Media drive Menu commands (continued)
ejecting 52 Align Selected to Grid (Bin menu) 310
mounting 52 Align to Grid (Bin menu) 290, 310
targeting 169 Audio Data (Timeline Fast menu) 561
Media files Audio EQ (Tools menu) 594
backing up 334 Audio Mix (Tools menu) 563
consolidating Audio Mixdown (Special menu) 632
defined 327 Audio Tool (Tools menu) 184
procedure 331 Auto-configure (Deck Selection pop-up
deleting menu) 165, 702
in bins 275 AutoSync (Bin menu) 636
in the Media tool 324 Batch Digitize (Clip menu) 228, 235
unreferenced 326 Batch Import 254
finding related 335 Calculator (Tools menu) 118
managing 320 to 340 Calibrate (Peak Hold pop-up menu) 190
manipulating with Media tool 321 Center Pan (Clip menu) 265
moving between systems 759 Check Decks (Deck Selection pop-up menu)
multiple, digitizing to 171 165
relinking 336 Clear (Edit menu)
unlinking 340 deleting clips and sequences 275
Media Illusion, importing materials finished deleting column headings 292
with 252 deleting media files 325
Media relatives Clear Monitor (Monitor menus) 405
selecting in the bin 286 Clipboard Contents (Monitor menu) 454
Media tool Color (Script menu) 372
basic features of 321 Compression (Tools menu) 162
opening 322 Console (Tools menu) 120, 193
Media Tool command (Tools menu) 322 Consolidate (Clip menu) 331
Media Tool Display dialog box 323 Custom Sift (Bin menu) 279
Media Tool Fast menu 321 Delete Take (Script menu) 366
MediaLog for Macintosh, transferring bins with Digital Cut (Output menu) 701
129 Digitize Tools (Tools menu) 136
Memory Duplicate (Edit menu) 88, 273, 292
displaying 100 Eject (File menu) 52
Memory window Enlarge Frame (Edit menu) 308, 363
using to improve 458 Fill Sorted (Bin menu) 310
viewing memory 100 Fill Window (Bin menu) 310
Menu commands Find (Edit menu) 359, 429
Add Comments (Clip Name menus) 457 Go To Capture Mode (Bin menu) 161
Adjust Deck (Deck Selection pop-up menu) Goto Page (Script menu) 359
165, 702 Goto Scene (Script menu) 359

835
Menu commands (continued) Menu commands (continued)
Group Clips (Bin menu) 664 Set Bin Background (Edit menu) 308
Hardware (Tools menu) 122 Set Bin Display (Bin menu) 266
Headings (Bin menu) 276, 290 Set Calibration Tone (Peak Hold pop-up
Home (Windows menu) 482 menu) 694
Import (File menu) 134 Set Font (Edit menu) 272, 352
Left Margin (Script menu) 351 Set Level (Audio Mix tool) 569
Load Filler (Clip Name menus) 442 Set Pan (Audio Mix Fast menu) 569
Lock Bin Selection (Clip menu) 285 Set Reference Level (Peak Hold pop-up
Lock Tracks (Clip menu) 512 menu) 186
mapping 116 Show All Takes (Script menu) 365
Media Tool (Tools menu) 322 Show Every Frame (Timeline Fast menu)
Modify (Clip menu) 142 499
Mount All (File menu) 53 Show Frames (Script menu) 364
New Audio Track (Clip menu) 441, 512 Show Track (Timeline Fast menu) 499
New Bin (File menu) 68 Sync Breaks (Timeline Fast menu) 639
New Deck Controller (Tools menu) 112 Undo (Edit menu) 446
New Script (File menu) 349 Unlock Bin Selection (Clip menu) 285
New Video or Picture Track (Clip menu) 441 Unlock Tracks (Clip menu) 512
New Video Track (Clip menu) 512 Video Input Tool (Tools menu) 194
Open Bin (File menu) 69 Video Output Tool (Tools menu) 194, 684
Page Setup (File menu) 312 View Type (Timeline Fast menu) 501
Play Calibration Tone (Peak Hold pop-up VTR Emulation (Special menu) 713
menu) 694 Zoom Back (Timeline Fast menu) 480
Print Bin (File menu) 312 Zoom In (Timeline Fast menu) 480
Print Timeline (File menu) 521 Meters See Volume meters
Read Audio Timecode (Special menu) 263 Mixed resolutions 239, 252
Redo (Edit menu) 446 Mixing compression ratios 797
Reduce Frame (Edit menu) 308, 363 Mixing down audio 632
Relink (Clip menu) 336 Modify command (Clip menu) 142
Remove Pan/Vols (Audio Mix Fast menu) Modify dialog box 143
570 Modifying
Restore Default Patch (Special menu) 510 clip information 142
Reveal File (File menu) 335 settings 86
Reverse Selection (Bin menu) 326 Monitor icons 507
Select All Tracks (Edit menu) 506 Monitoring audio/video tracks 507
Select Media Relatives (Bin menu) 286 Monitors
Select Offline Items (Bin menu) 285 clearing clips from 405
Select Sources (Bin menu) 286 displaying the Clip Information window
Select Unreferenced Clips (Bin menu) 287 390, 391
Serial Ports (Tools menu) 123, 713 ganging footage in 648

836
Monitors (continued) Multicamera editing (continued)
hiding video 406 production paths 654
loading footage into 402, 403 Quad menus 676
loading multiple clips and sequences into Quad Split menu 674
403 Quad Split mode 668
resizing 406 selective cutting in 677
viewing in 399 switching angles 672
Mono option (audio) 633 tape classification 653
Motion effects, defined 503 techniques 671
Motion JPEG A codec (QuickTime) 730 workflow options 677
Motion JPEG B codec (QuickTime) 731 Multicamera mode, described 669
Motion mode indicator in the Timeline 484 Multigroup clips, creating 665
Motion option (QuickTime) 732 Multilevel sorting of columns 303
Mount All command (File menu) 53 Multiple media files, digitizing to 171
Mounting media drives 52 Multiple tracks, working with 503 to 517
Mouse Jog button 415 Muting audio 563
Mouse Shuttle button 416
Mouse, stepping and shuttling with 415
Movement in Timeline, controlling 484 N
Moving
bin columns 290 Name of This View dialog box (bin) 294
clips and sequences 273 Name of This View dialog box (Timeline) 472
frames in the bin 309 Navigating with the Help buttons 59
In and OUT points 418 Nested effects, defined 504
script marks 376 Nesting
slates in the Script window 365 effects 504
tracks in the Timeline 467 projects in folders 46
Moving projects New Audio Track command (Clip menu) 441,
between systems 759 512
Moving settings New Bin command (File menu) 68
between settings files 90 New Deck Controller command (Tools menu)
between systems 761 112
Moving through clips 409 New Script command (File menu) 349
Multicamera editing New sequence, setting up 437
combination cutting in 680 New User button (Open Project dialog box) 41
cutting on-the-fly in 678 New Video Track command (Clip menu) 441,
developing a production model for 652 512
digitizing workflow for 656 Notes
grouping 664 adding to Help topics 61
managing audio in 655
modes of 666

837
NTSC (National Television Standards Online Help See Help system 54
Committee) video Open Bin command (File menu) 69
edit format 44 Open Project dialog box 40
NTSC (National Television Systems Opening a project 40, 47
Committee) video Opening bins 69
luminance values 687 Opening Help 54
PICT resolution 705 Opening the Project window 65
waveform values 203 Operator pop-up menu (Sift Parameters dialog
NTSC frame resolution for imported files 780 box) 280
NTSC Has Setup option 151, 683 Orphans See Offline items
NTSC-EIAJ 82, 683 Output
waveform values 203 See also Digital cuts, EDL, Playback
NTSC-EIAJ format calibrating for video 684
setting 151 change list 711
cut list 711
options 681
O preparing for 682
Output Control button (Audio tool), defined
Offline editing 185
detecting color-frame shifts during 518 Overlap edits 421, 538
detecting duplicate frames during 517 creating 537
Offline items, selecting in the bin 285 Overwrite edits 448
Offline media indicator, in Timeline 470
Off-Screen button (Script window) 371
Off-screen dialog P
in the lined script 343
indicating in the Script window 371 Page and scene numbers (Script window)
Off-screen indicators (script integration) adding 356
adding to takes 371 changing 357
described 345 deleting 358
OMF file format searching for 359
additional export options for 735 Page Setup command (File menu) 312
brief description of 777 PAL (Phase Alternating Line) video
Resolution options in Import settings 247 edit format 44
OMF Interchange files luminance values 687
described 744 PICT resolution 705
import specifications 781, 788 waveform values 203
importing 247 PAL frame resolution for imported files 780
methods for exporting 745 Pan adjustment
preparing to export 737 See also Audio Mix tool
One/Two Disk Mode button (Digitize tool) 169 ignoring 571

838
Parametric midrange in Audio EQ tool 596 Playback
Pasting in the Timeline 498 controlling with buttons 409
Patching tracks 509 controlling with position bars and indicator
Pause button 409 407
PCX file format controlling with the keyboard 411
brief description of 777 controlling with the mouse 415
import specifications for 781 improving performance of 458
Peak Hold option (Audio tool) 188 improving performance of (storage
Peak Hold pop-up menu (Audio tool), defined management) 804
185 with audio scrub 555
Phantom marks, using 450 Playback loop
Photo JPEG codec (QuickTime) 731 starting 458
PhotoCD file format trim during 536
brief description of 777 Playing
import specifications for 782 takes from the Script window 370
Photoshop file format PNG file format
additional Export options 735 additional Export options 735
brief description of 777 brief description of 778
import specifications for 782 import specifications for 782
PICT file format Pop-up monitor
brief description of 778 loading into 403
import specifications for 782 viewing in 401
PICT files Position bar 408, 477
importing for custom countdown 705 Position indicator
importing for test pattern 690 in the Timeline 476
of bars, importing 315 using 408
PICT sequence import specifications 785 Postroll in Trim mode playback loop 534
Picture tracks, monitoring 507 Precompute media files
Pitch shift 615 deleting 326
Pixar file format Preparing
brief description of 778 sequences for export 737
import specifications for 782 sequences for OMF export 737
Planar RGB codec (QuickTime) 731 shot log files
Play button 409 with MediaLog 129
Play button (Script window) 370 with text editors 133
Play Calibration Tone command (Peak Hold to digitize 149 to 206
pop-up menu) 694
Play Loop button 529

839
Preroll Q
custom for digital cut 707
custom for digitizing 171 QRT file format
in Trim mode playback loop 534 brief description of 778
logging 126 import specifications for 782
using control track for 175 Quad menus 676
Preroll option (Deck settings) 157 Quad Split display 668
Preset buttons 196, 683 Quad Split menu 674
Previewing digital cuts 700 Quality option (QuickTime) 732
Print Bin command (File menu) 312 Quick Dissolve dialog box 629
Print Timeline command (File menu) 521 QuickTime codecs
Printing See Compressor options
bins 312 QuickTime export
Help topics 60 described 746
statistics 95 QuickTime file format
the Timeline 521 import and export specifications for 786
Production paths for multicamera editing 654 QuickTime files 786
Profile 94 Quitting the Avid application 50
Project settings, defined 76
Project window
bins display 66 R
closing 65
Info display, using 93 Read Audio Timecode command (Special
opening 65 menu) 263
Settings display, using 76 Read Audio Timecode dialog box 263
Projects Rearranging clips
closing 48 in Frame view bin display 309
creating new 43 in Script view bin display 312
deleting 35 Record Deck Time option (Digital Cut tool) 707
moving between systems 759 Record monitor
nesting in folders 46 described 383
opening 40, 47 viewing in 399
relinking media files for 339 Recording
saving 48 digital cuts 701
selecting 43, 45 to the Timeline 224
Projects folder types of 697
See Avid Projects folder Recording Voice-over narration 623
Pull list Redigitizing
generating 44 See also Autodigitizing, Batch digitizing,
Digitizing
master clips and subclips 232

840
Redigitizing (continued) Resizing
sequences monitors 406
procedure 232 slates in the Script window 363
using Decompose 233 the Audio tool 186
Redo command (Edit menu) 446 the Digitize tool 226
Reduce Frame command (Edit menu) 308, 363 Resolutions 163
Reducing and enlarging frames in the bin 308 Resolutions, mixed 239, 252
Reducing tracks in the Timeline 466 Restore Default Patch command (Special menu)
Reimporting material 510
batch import 252 Restoring
using Decompose 257 default settings 90
Relink command (Clip menu) 336 files from backup 49
Relink dialog box 336 Restricted characters, file names 41, 44, 82
Relinking Retrieving bin files 35
consolidated clips 338 Reveal File command (File menu) 335
media files and clips 336 Reverse Match Frame 431, 650
moved projects 339 Reverse Selection command (Bin menu) 326
to selected clips 338 Reviewing trim edits 534
Remove Pan/Vols command (Audio Mix Fast Rewind button 409
menu) 570 Rewind options (Composer settings) 398
Removing RGB graphics levels
add edits (match frames) 515 Export settings 726
color indicators (Script window) 372 Import settings 244
off-screen indicators (Script window) 371 Right Arrow key 414
text from the Script window 355 Rollers See Trim mode
Renaming Rough cut, creating in one step 444
bins 68 Rubberbanding See Audio Gain Automation
settings 88 Runup option (VTR Emulation settings) 712
Render On-The-Fly option (Trim settings) 526
Render settings
access and brief description of 78 S
Rendition file format
brief description of 778 S/PDIF (Sony/Philips Digital Interface
import specifications for 783 Format), defined 183
Replace edits 449 Sample Plot in the Timeline 562
Replacing Timeline and bin views 472 Sample Rate option (Audio settings) 182
Res (Resolution) pop-up menu (Digitize tool) Save As command (Timeline View pop-up
168 menu) 471
Reset Peak button (Audio tool), defined 185 Save Bin command (File menu) 73

841
Saving Script window
bins 48, 73 adding color indicators to 371
custom bin views 294 adding page and scene numbers in 356
projects 48 adding takes in 367
Timeline views 471 adjusting margins in 351
Scanning for tapes 137, 222 adjusting take lines in 370
Scene and page numbers (Script window) changing font in 352
adding 356 changing scene or page numbers in 357
changing 357 cutting, copying, and pasting text in 355
deleting 358 deleting slates in 366
searching for 359 deleting takes in 368
Screen resolution 793 displaying Clip Information from 350
Script box, in Script view 311 displaying take numbers in 368
Script integration editing with 378
See also Color indicators, Off-screen finding bins from 378
indicators, Scripts, Script marks, Script hiding slate frames in 364
window, Slates, Takes indicating off-screen dialog in 371
described 344 linking clips to 360
elements of 345 loading takes from 369
for video projects 346 moving slates in 365
importing a script for 348 navigating in 350
lining conventions in 342 opening, closing, and saving 349
workflow 345, 378 playing takes from 370
Script Mark button 373 removing text in 355
Script marks resizing slates in 363
adding 373 screening and marking in 374
adding during automatic screening 374 searching through 356 to 359
deleting 377 selecting slates in 362
described 345, 372 selecting text in 353
moving 376 splicing a range of script from 380
using for playback 375 Scripts
using to find script 377 importing into Script windows 348
Script settings linking clips to 360
access and brief description of 78 Scroll bar/position bar in the Timeline 476
how to use 347 Scrubbing (audio) 555 to 559
Script view (bin display) Searching
defined 270 for page and scene numbers in the Script
in Media tool 321 window 359
using 310 in the Script window 356 to 359
Script View button 310 Segment Drag Sync Locks option (Timeline
settings) 492

842
Segment effects, defined 503 Selecting (continued)
Segment mode 485 to 498 transitions for trimming 527
deleting segments in 495 trim sides 531, 535
editing from a bin in 497 unreferenced clips in the bin 287
extracting/splicing in 494 Sequence Time option (Digital Cut tool) 707
four-frame display Sequence Track buttons (Digital Cut tool) 701
described 489 Sequenced PICT files
suppressing 491 import specifications for 785
lifting/overwriting in 494 Sequences
marking segments in 496 adding comments 456
Segment Drag Sync Locks option 492 adding tracks to 440
workflow 486 consolidating 330
Segments copying 274
cutting, copying, and pasting 498 deleting 275
deleting 495 duplicating 273
marking 419, 496 exporting 716
moving in sync 492 finding original bin for 433
selecting 486 making the first edit in 443
Select a Bin dialog box 69, 438 marking INs and OUTs in 417
Select All Tracks command (Edit menu) 506 moving 273
Select Files to Import dialog box 135 output options for 681
Select Media Relatives command (Bin menu) playback loop in 458
286 playback performance tips 458
Select Offline Items command (Bin menu) 285 playing 457
Select Sources command (Bin menu) 286 redigitizing
Select Tape dialog box 137, 222 procedure 232, 235
Select Unreferenced Clips command (Bin menu) saving two versions for 232
287 using Decompose 233
Selecting reimporting
clips and sequences 272 using Decompose 257
media relatives in the bin 286 selecting 272
offline items in the bin 285 setting up 437
projects 43 sifting 279
segments in the Timeline 486 Serial digital
slates in the Script window 362 input, calibrating 194, 197
sources in the bin 286 output 682
text in the Script window 353 Serial Ports command (Tools menu) 123, 713
tracks Serial Ports settings
for audio scrub 556 access and brief description of 78
for digitizing 167 Serial Ports tool, specifying a controller in 124
in the Timeline 506 Set Bin Background command (Edit menu) 308

843
Set Bin Display command (Bin menu) 266 Settings scroll list (continued)
Set Bin Display dialog box 267 Composer 77
Set Calibration Tone command (Peak Hold Deck Configuration 77
pop-up menu) 694 Deck Preferences 77
Set Font command (Edit menu) 272, 352 Digital Cut 77
Set Level commands (Audio Mix Fast menu) Digitize 77
569 Export 77, 724
Set Pan commands (Audio Mix Fast menu) 569 General 78
Set Reference Level command (Peak Hold Grid 78
pop-up menu) 186 Import 78
Setting Interface 78
the bin display 266 Keyboard 78
Settings Render 78
audio pan defaults 264 Script 78
basic 80 Serial Ports 78
bin 80 summary of contents 77
button 75 Timecode window 78
default, restoring 90 Timeline 78
defining 79 Timeline View 79
deleting 89 Title Style Sheet 79
displaying 76 to 92 Trim 79
duplicating 88 Video Input 79
export 717 Video Output 79
general 82 VTR Emulation 79
import 240 Workspace 79
interface 82 Setup Control button (Audio tool), defined 185
location of 32, 76 SGI file format
modifying 86 additional export options for 735
moving between settings files 90 brief description of 778
moving between systems 761 import specifications for 783
multiple, working with 87 Shortcut menus See Context menus
overview of 76 Shot log files
renaming 88 Avid log file specifications 133
site converting with Avid Log Exchange 130
defined 76 exporting 146
using 93 importing 134
Settings scroll list preparing
Audio 77 text editors for 133
AvidNet 77 with MediaLog 129
Bin 77 Shot Log options (Import settings) 246
Bin View 77 Shot logs See Shot log files

844
Show All Takes command (Script menu) 365 SMPTE bars 687
Show Every Frame command (Timeline Fast SMPTE timecode, formats for entering 428
menu) 499 Snapping to transitions in Timeline 484
Show Frames command (Script menu) 364 Softimage file format
Show Track submenu (Timeline Fast menu) 499 brief description of 778
Showing bin columns 290 import specifications for 783
Shutting down the system 50 Solo track monitoring 509, 533
Shuttling Sony/Philips Digital Interface Format (S/
with J-K-L keys 413 PDIF), defined 183
with the mouse 415 Sorting
Sift Parameters dialog box 280 clips 302
Sifting clips and sequences 279 columns, multilevel 303
Single track monitoring See Solo track Source clips
monitoring finding with Match Frame 651
Single-field compression ratios 794 Source colors
Single-field step 411 assigning custom colors 278
Single-mark editing 450 assigning in bins 277
Single-Mark Editing option (Composer settings) displaying in Timeline 470
450 limiting available colors 279
Site settings Source frames, finding 433
defined 76 Source Loading options (Composer settings)
moving between systems 761 398
using 93 Source material
Slates (script integration) displaying in Timeline 483
creating 361 loading into monitors 402
deleting 366 Source monitor
described 345 described 383
hiding frames in 364 viewing in 399
moving 365 Source/Record mode
resizing 363 customizing window settings 384
selecting 362 entering 436
showing one take in 365 first edits in 435 to 457
Slipping and sliding shots slipping shots in 544
in Source/Record mode 544 Sources, selecting in the bin 286
in Trim mode 540 SPE
Small Trim mode See Sync Point Editing
defined 523 Specific File Type options (Export settings) 733
switching with Big Trim mode 530 Specifications
Smooth audio scrub animation file import 785
compared to digital audio scrub 555 Avid log 806
performing 556 graphics file import 779

845
Specifications (continued) Striped drives
OMF file import 788 preparing to digitize 150
QuickTime import and export 786 Striping record tapes 697
Splicing a range of script 380 Subclip status (Digitize tool) 211
Split edit (Overlap edit) 538 Subclipping on-the-fly 211
audio 421 Subclips
Spreadsheet, for reporting statistics 99 consolidating 329
Standard headings copying 274
in Avid logs 810 creating 420
Starting Help 54 creating during digitizing 211
Starting the application 37 deleting 275
Statistics duplicating 273
displaying drive space 100 handle 420
displaying usage 95 locating master clip from 433
file structure and layout 96 moving 273
imported into a spreadsheet 99 redigitizing 232
printing 95 selecting 272
sample file 96 sifting 279
viewing 95 SunRaster file format
Statistics folder 96 brief description of 778
Stepping import specifications for 783
by single-field 411 Supporting Files folder, defined 32
with buttons 410 Switching multicamera shots 672
with J-K-L keys 413 Sync
with mouse 415 autosyncing 635
Storage for audio-only input 180, 183
estimates in minutes per gigabyte 799 for output 682
for rolling titles 800 for video input 199
guidelines for multicamera 659 ganging footage in monitors 648
managing to improve playback performance maintaining
804 during segment move 492
maximizing 804 during trim 545
NTSC/PAL equivalency for estimating 800 with Add Edit 645
planning 798 with leader 643
Storage estimating with locators 644
for audio 800 with sync lock 641
for drive space 798 pop-up menu (Audio settings) 183
Storyboard editing sync-locked tracks, trimming with 546
from the Script window 380 using Match Frame 649
Storyboard worksheet 319

846
Sync breaks Targa file format
displaying 638 additional Export options 735
fixing 640 brief description of 778
Sync Breaks command (Timeline Fast menu) import specifications for 783
639 Target bin, choosing 168
Sync Lock icon in Track Selector panel 511 Target Drive pop-up menu (Digitize tool) 169
Sync locking tracks in the Timeline 512 Test patterns
Sync Mode option (Audio settings) 183 See also Bars and tone
Sync Point Editing (SPE) 646 importing 315
Sync Selection dialog box, options in 636 importing new 690
Sync-locked tracks 642 video 689
System information displayed 120 Text editor
creating Avid logs with 807
Text editors for Avid logs 133
T Text in the Script window
changing font of 352
Tabs cutting, copying, and pasting 355
Contents 56 linking clips to 360
Find 57 removing 355
Index 57 searching through 356 to 359
Takes (script integration) selecting 353
adding 367 Text search
adjusting lines in 370 in the Script window 359
applying color indicators to 371 Text view (bin display)
applying off-screen indicators to 371 defined 269
changing representative frame for 369 in Media tool 321
deleting 368 using 287 to 303
described 345 Text View button (bin) 288
displaying numbers for 368 Text, adding in Script view 311
loading 369 Three-button play (J-K-L keys) 413
loading from script marks 375 Three-point editing, with phantom marks 450
playing 370 Tick Marks option (Composer settings) 396
removing color indicators from 372 TIFF file format
removing off-screen indicators from 371 additional Export options 735
showing one per slate 365 brief description of 778
Tape deck See Video deck import specifications for 783
Tape name, finding 137, 222 Time compression and audio 615
Tapes See Videotape

847
Timecode Timeline (continued)
breaks in, digitizing across 220, 227 position indicator 476
default starting 82 printing 521
display options 393, 395 recording to 224
displayed 389 removing add edits in 515
finding frames with 427 resizing 481
headings in Avid logs 811 saving 471
setting muliple displays 395 scroll bar/position bar 476
SMPTE standard, formats for entering 428 scrolling option 472
time-of-day, digitizing with 223 Segment mode editing in 484
Timecode option setting the scroll bar 476
displaying tracking information 394 source material, displaying 483
Timecode window 393 Track Selector panel 504 to 512
access and brief description of 78 using 462
Timeline view
See also Segment mode customizing 463
adding new tracks 512 examples of 463
assigning local colors 468 replacing 472
changing background color in 468 restoring default 475
controlling movement in 484 viewing in 402
creating a view 471 working with multiple tracks in 503 to 517
customizing 465 zooming in and out of 480
deleting tracks in 513 Timeline settings
digitizing to 224 access and brief description of 78
displaying detail in 477, 479 Dupe Detection Handles option 473
displaying local colors in 470 how to use 473
displaying source colors in 470 Timeline Settings dialog box
dupe detection in 517 accessing 477
editing with film track 499 Timeline View pop-up menu 471
Fast menu 465 Timeline View settings
finding clip text in 430 access and brief description of 79
first edit displayed in 443 Timeline, adding offline media indicator 470
focusing 481 Time-remaining display (Digitize tool) 170
full-screen view 481 Tips
Heads (and Tails) view 501 logging 125
IN to OUT highlighting in 485 playback performance 458
locking tracks in 511 storage 659
monitoring tracks in 507 Title Style Sheet settings
motion mode indicator 484 access and brief description of 79
nesting 504 Toggle Source/Record button (Timeline) 483
patching tracks 509

848
Tone Tracks (continued)
creating media for 192 number supported 503
recording to tape 698 patching 509
Tool palette 83 preferences for creating and enabling 441
Tool Tips 83 selecting 506
Tools for digitizing 167
Audio 184 selecting for audio scrub 556
Audio EQ 573, 594 sync locking 512
Audio Mix 563 sync-locked, trimming with 546
Audio Punch-In 623 Transfer Tool
Calculator 118 access and brief description of 77
Compression 162 Transferring bins
Console 121 with MediaLog for Macintosh 129
Deck Controller 112 Transferring projects
Digitize 163 between systems 759, 761
Hardware 122 Transferring settings
Serial Ports 123 between systems 761
Video Input 194 Transition Corner Display 549
Video Output 684 Transition effects, defined 503
Tools menu, using 110 Transition Play Loop option (Trim settings) 526
Track Selector panel Transitions
user preferences for 441 audio, fine-tuning 629
using 504 to 512 selecting additional for trimming 531
Tracking color-frame shifts 518 selecting for trimming 527
Tracking Information Display menu trimming 549
388 Transparency
Tracking information, displaying 387 to 390 adding to a graphics image 779
Tracks Trash
adding 440, 512 emptying 71
audio, mixing down 632 moving bins from 71
deleting viewing contents of 71
in Segment mode 513 Trim
with Media tool 324 adding filler during 545
enlarging and reducing 466 during a playback loop 536
ganging in the Audio Mix tool 570 edits, reviewing 534
ganging on an external fader 591 maintaining sync during 545
locking 511 on-the-fly 535
managing sync in 641 sides, selecting 531, 535
matchframing 650 slip and slide
monitoring 507 procedures 540
moving in the Timeline 467 with sync-locked tracks 546

849
Trim mode Undo command (Edit menu) 446
basic procedures in 526 to 534 Undoing and redoing edits 446
Big Trim mode Unlinking media files 340
switching with Small Trim mode 530 Unlock Bin Selection command (Clip menu) 285
customizing 525 Unlock Tracks command (Clip menu) 512
defined 522 Unreferenced clips
entering 527 deleting 326
exiting 529 selecting in the bin 287
Play Transition Loop parameters in 534 Usage information
selecting displaying 95
several transitions in 531 User
single transitions in 527 identifying 40
trim sides in 531, 535 selecting another 85
Small Trim mode selecting existing 42
switching with Big Trim mode 530 setting up 41
using Transition Corner Display 549 User bits in LTC, reading 263
Trim Mode options (Trim settings) 525 User profile
Trim pots, adjusting 191 creating new 33, 41
Trim settings deleting 35
access and brief description of 79 User settings
Render On-The-Fly option 526 defined 76
Transition Play Loop option 526 opening a project with 47
Trim Mode options 525 selecting a user from 85
Trimming See Trim mode, Trim User-selectable buttons
Trimming two heads or tails 532 See also Buttons
Turnover points in Audio EQ tool 595 Add Dissolve 629
Two-field compression ratios 794 Add Edit 514, 628
Two-field media Add Locator 423
and field dominance 790 Add Script Mark 373
Two-field mode indicators 412 Clear IN 418
Clear Marks 418
Clear OUT 418
U Copy to Clipboard 453
Cycle Picture/Sound 506
Unattended batch digitizing Cycling Trim Sides 531
See also Batch digitizing, Digitizing, Extend 538
Redigitizing Extract 453
setting up for 227 Extract/Splice-in (Segment mode) 494
Uncompressed resolutions 163 Fast Forward 409
Uncompressed video Find Bin 432
defined 792 Find Frame 433

850
User-selectable buttons (continued) Video
Find Script 377 advanced, calibrating 688
Go to Next Edit 529 displaying in monitors 406
Go to Previous Edit 529 input
jog 410 calibration 198
Lift 452 preparing for 194 to 206
Lift/Overwrite (Segment mode) 494 leader
Make Subclip 420 creating 317
mapping 114, 115 using to maintain sync 643
Mark Clip 419 number of tracks supported 503
Mark IN 417 output, calibrating 684, 692
Mark OUT 417 output, calibrating for NTSC-EIAJ 683
Match Frame 431 sync on input 199
Mouse Jog 416 test patterns 689
Mouse Shuttle 416 tracks, monitoring 507
Mute 563 Video codec (QuickTime) 732
Pause 409 Video compression
Play 409 defined 792
Play Loop 529, 534 Video Compression options (Export settings)
Replace 449 728
Reverse Match Frame 650 Video deck
Rewind button 409 Avid-controlled, logging with 136
Slip Left button 544 non-Avid-controlled, logging with 140
Slip Right button 544 Video Input pop-up menu (Video Input tool)
Splice-in 443 198
Stop 409 Video Input settings
Transition Corner Display 549 access and brief description of 79
Trim A-side 531 Video Input tool
Trim B-side 531 Line slider 202
Trim mode 527 saving settings 204
Utilities Vectorscope monitor 203
Avid System Test Pro 123 Waveform monitor 201
Utilities folder 31 Video Input Tool command (Tools menu) 194
Video mixdown 738
Video Output settings
V access and brief description of 79
Video Output tool
Variable-speed play See Playback additional options display 688
Vectorscope monitor options display 684
using 203 Video Output Tool command (Tools menu) 684
VHS tape, digitizing from

851
Video resolutions VTR Emulation command (Special menu) 713
guidelines for use 792 VTR Emulation settings
Video solo feature 509 access and brief description of 79
Video streams Device Code option 712
defined 795 Inhibit Preloading option 713
Videotape Runup option 712
classification schemes for multicamera VTR play emulation 712
editing 653 VTR See Video deck
digitizing bars and tone from 315
naming guidelines 127
preparing for output 697 W
recording digital cut to 701
recording to 697 WAVE file format
striping requirements 697 brief description of 787
View option in General settings 82
Heads and Tails, in the Timeline 501 Waveform monitor
View Type command (Timeline Fast menu) 501 calibrating input with 201
View, Timeline Waveform plots (audio) 561
customizing 463 Wavefront file format
replacing 472 additional Export options 736
saving 471 brief description of 778
Viewing in monitors 399 import specifications for 784
VITC (Vertical Interval Timecode) What’s This? Help 55
in Bin View settings 306 Wide-screen (16 x 9) display option 386
NTSC 793 Wide-screen format (16 x 9) 150
PAL 793 With outpoint set option (Digitize setting) 152
V-LAN VLXi 154 Word processor
Voice-over narration 623 creating Avid logs with 807
Volume WordPad editor 133
adjusting while playing an effect 572, 573 Workspace
recording audio gain 585 assigning buttons to 102
Volume adjustments assigning windows to 102
ignoring 571 deleting 102
in Audio Mix tool 565 Workspace settings
in the Timeline 574 access and brief description of 79
Volume meters
in the Audio tool, defined 185
in the Timeline 576
Volume unit scale (Audio tool), defined 185
VTR Emulation
setting ports for 713

852
X
XWindows file format
brief description of 778
import specifications for 784

Y
YUV file format
additional Export options for 736
brief description of 778
import specifications for 784

Z
Zoom Back command (Timeline Fast menu) 480
Zoom In command (Timeline Fast menu) 480

853