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Avid® Media Composer® and Film Composer® Release 9.1 Release Notes for the Windows NT® Operating System Important Information Avid recommends that you read all the information in these release notes thoroughly before installing or using any new software release. This document describes compatibility issues with previous releases, hardware and software requirements, software installation instructions, and summary information on system and memory requirements. This document also lists fixed bugs and all known remaining bugs or limitations.
Contents Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 New Features in Releases 9.1 and 9.0 . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 New Features in Release 9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 New Features in Release 9.0 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Hardware and Software Requirements . . . . . . . . . . . . . . . . . . . . . . . . 16 About the Avid System Test Pro Diagnostics . . . . . . . . . . . . . . . 16 Checking Peripheral Board Revision Levels . . . . . . . . . . . . . . . . 17 Compatibility with Avid Video-Based Editing Products . . . . . . . . . 18 System Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 1
Display Controller Board . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Hardware Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 PAL Compatibility Between Media Composer 9.1, Film Composer 9.1, Symphony 2.1, and Film Composer 7.x. . . 20 Updating Your Application Key (Dongle). . . . . . . . . . . . . . . . . . . . . . 20 Installing the Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Removing Existing Avid Applications . . . . . . . . . . . . . . . . . . . . . 21 Installing Application Software. . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Updating the Video I/O Firmware . . . . . . . . . . . . . . . . . . . . . . . . . 25 Updating the Avid Edit Display Controller Software . . . . . . . . 25 Installing Demo Versions of AudioSuite Plug-Ins. . . . . . . . . . . 28 Performing a Custom Installation . . . . . . . . . . . . . . . . . . . . . . . . . 28 Windows NT Maintenance and Recovery . . . . . . . . . . . . . . . . . . . . . . 31 Setting Up User Accounts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Creating Windows NT Setup Disks . . . . . . . . . . . . . . . . . . . . . . . 32 Creating a Windows NT Repair Disk . . . . . . . . . . . . . . . . . . . . . . 33 Using the Windows NT Repair Disk. . . . . . . . . . . . . . . . . . . . . . . 34 Saving the Disk Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Network Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Software Files and Utilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 AvidStartup Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 About MacOpener. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Compression Utilities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 List of Effects for Avid Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Special Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Supported Decks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Striping Fibre Channel Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Transferring Media on Macintosh Drives . . . . . . . . . . . . . . . . . . 49 Warning Regarding Your Application Key . . . . . . . . . . . . . . . . . 49 Moving Tone Media from Macintosh to Windows NT . . . . . . . 50 Suggestions for Optimum Performance . . . . . . . . . . . . . . . . . . . . 50 Video I/O Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 New Disk Mounter Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 2
Erasing the Disk Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Getting Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 About the AvidNet Transfer Tool. . . . . . . . . . . . . . . . . . . . . . . . . . 55 Installing the AvidNet Transfer Tool . . . . . . . . . . . . . . . . . . . 55 Windows 98 Limitation When Running Avid Applications . . 55 Limitations When Using Consumer Video Decks . . . . . . . . . . . 56 Digitizing from Unstable Time-Base Sources . . . . . . . . . . . 56 Green Line in VHS Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Changes to the Timing of Video Signals . . . . . . . . . . . . . . . . . . . 57 Simultaneous Output Modes . . . . . . . . . . . . . . . . . . . . . . . . . 58 Genlock Timing Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . 58 Operation of the Green Video Sync Light on the Meridien I/O Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Black Levels When Outputting SDI from NTSC Input . . . . . . 59 Partitioning Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Striping SCSI Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Drive Striping Configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Documentation Changes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Calibrating Audio Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Changing the Audio Hardware Calibration Setting. . . . . . 63 Calibrating Input Channels of the Audio I/O Device . . . . 64 Calibrating Output Channels of the Audio I/O Device . . . 66 Sharing Bins and Projects on Avid Unity MediaNet . . . . . . . . . 66 Mapping Workspaces on the Avid Unity Network . . . . . . . 67 Sharing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Opening a Shared Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Working with Locks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Scratch Removal Using IN and OUT Points . . . . . . . . . . . . . . . . 73 Default Settings for Frame or Field Offset. . . . . . . . . . . . . . . . . . 75 Film Projects and Nested Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Exporting with the Avid QuickTime Codec. . . . . . . . . . . . . . . . . 76 Graphics File Types – Photo CD . . . . . . . . . . . . . . . . . . . . . . . . . . 76 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 3
Sawtooth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Using the Getting Started Guide Tutorials . . . . . . . . . . . . . . . . . 78 Hardware and Software Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Fixed Bugs in Release 9.1 and Release 9.0 . . . . . . . . . . . . . . . . . . . . . . 79 Known Bugs and Limitations in Release 9.1 . . . . . . . . . . . . . . . . . . . 81 24p Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 AvidNet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Bins and Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Digitizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Import and Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Play. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Technical Support Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
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Symbols and Conventions These release notes use the following special symbols and conventions:
✔ ✘
A check mark indicates a bug that has been fixed.
An X indicates a known bug or limitation. Where appropriate, a workaround is provided.
n
A note provides important related information, reminders, recommendations, and strong suggestions.
c
A caution means that a specific action you take could cause harm to your computer or cause you to lose data.
w
A warning describes an action that could cause you physical harm. Follow the guidelines in the manual or on the unit itself when handling electrical equipment.
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New Features in Releases 9.1 and 9.0 This section lists the features that are new for Release 9.1 as well as those that were new for Release 9.0.
New Features in Release 9.1 Table 1 lists the features that are new for this release.
Table 1
Release 9.1 New Features
Feature
Description
For More Information
Modify Default Audio Hardware Setting
You can change the default audio hardware See “Calibrating Audio Hardsetting to –14dBFS, –18dBFS, or –20dBFS. ware” on page 62 of these release notes.
Sharing Bins and If you are connected to Avid Unity Projects on Avid Unity™ MediaNet Release 1.1 or greater, you can MediaNet share bins and projects across the network. Scratch Removal Using IN and OUT Points
See “Sharing Bins and Projects on Avid Unity MediaNet” on page 66 of these release notes.
The Scratch Removal tool has been See “Scratch Removal Using improved to allow you to use IN and OUT IN and OUT Points” on page points to identify and fix scratches that are 73 of these release notes. repeated over multiple frames or fields. In particular, it allows for quick correction of a scratched frame in film-originated material that has been duplicated by the pulldown process in telecine transfer to video.
FilmScribe™ support for FilmScribe Release 1.2 supports Windows 98. Windows® 98
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See the FilmScribe Release 1.2 Release Notes for more information.
New Features in Release 9.0 Table 2 through Table 10 list the new features that were introduced in Release 9.0. The following manuals are abbreviated in the tables: •
Avid Media Composer and Film Composer Input and Output Guide: input and output guide
•
Avid Media Composer and Film Composer Effects Guide: effects guide
•
Avid Media Composer Editing Guide or Avid Film Composer Editing Guide: editing guide
Table 2
Support for 24-fps Progressive Media
Feature
Description
For More Information
24-fps Progressive Media
This release introduces 24-fps progressive See the “Planning a Project” (24p) media. Working in 24p simplifies digi- chapter of the input and tal editing of film or other 24-fps-originated output guide. content, such as HDTV video that has been downconverted to ITU-R 601 digital video.
Multiple Format Output
24p provides a common production format See the “Planning a Project” for multiversion, multiformat delivery. chapter of the input and When you are working in a 24p project, you output guide. can output multiple formats for NTSC video, PAL video, and audio, all from the same 24p media.
Pan and Scan Effect
This technique allows you to reformat See the “Creating Layered and media to different aspect ratios (for examNested Effects” chapter of the ple, converting 16:9 Anamorphic material to effects guide. the 4:3 aspect ratio). The Pan and Scan effect lets you pan across your media and select what portion of the media you want to retain for output.
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Table 2
Support for 24-fps Progressive Media (Continued)
Feature
Description
For More Information
Film-Tape-Film-Tape (FTFT) Relink
The film-tape-film-tape (FTFT) relinking feature lets you re-create an offline, filmoriginated sequence as a final finished sequence by using the key numbers of the original film footage.
See the “Film-to-Tape Transfer Methods” chapter of the input and output guide.
Performing an Insert Edit with Pulldown
If you are working in an NTSC 24p project, See the “Generating Output” and you need to insert a segment into a chapter of the input and sequence that has already been cut to tape, output guide. the Avid system automatically adjusts the insert edit to maintain the correct pulldown.
Table 3
Film Features
Feature
Description
For More Information
Film Composer® and Film Options
This release supports the Avid See the Avid Film Composer EditFilm Composer on the Windows NT® oper- ing Guide and the Avid ating system. Film Composer is available as Media Composer Editing Guide. a separate product and as an option with Media Composer®.
Previsualization Marker Tool
This tool enables you to place a marker in a See the “Intraframe Editing” segment to represent an effect that will be chapter of the effects guide. processed at an optical facility.
Cut List Improvements
The cut list indicates which dissolves need special opticals created. This allows you to go back and change the dissolve length to lower the final production costs.
See the Avid FilmScribe User’s Guide and release notes.
Bin Display
Bins display headings for media file name and audio file type. This helps you to determine whether the audio will transfer to another system.
See the “Organizing with Bins” chapter of the editing guide.
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Table 3
Film Features (Continued)
Feature
Description
Effect Grid
The Effect Grid has been enhanced for film See the “Customizing Effects in projects. One common use of a custom grid Effect Mode” chapter of the in an individual effect is to enable detailed effects guide. effect information, such as coordinate information, to be incorporated into a cut list that is used when creating effects at an optical house.
Table 4
For More Information
Editing Features
Feature
Description
For More Information
Workspaces
You can define workspaces that don’t change when you use them, and you can link User settings to a workspace.
See the “Working with the Project Window” chapter of the editing guide.
Search Across Ranges
In the Sift dialog box, you can search for a specific number (for example, timecode) and sift on it if it falls within a specific range.
See the “Organizing with Bins” chapter of the editing guide.
Timecode Window
You can add as many as 48 lines of timecode in the timecode window.
See the “Viewing and Marking Footage” chapter of the editing guide.
Clip Color
You can associate a color with a master clip See the “Organizing with Bins” as a source color. You can sort on that color chapter of the editing guide. and carry it over to the Timeline when you edit it into the sequence. You can also create a color for a clip or series of clips after it is in the Timeline.
Identify Offline Media in the Timeline
You can change the view in the Timeline to See the “Using the Timeline” show a bright red color for every clip that is chapter of the editing guide. offline and needs to be digitized.
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Table 4
Editing Features (Continued)
Feature
Description
For More Information
Eight-Channel Audio Scrub
You can scrub up to eight channels of audio, See the “Working with Audio” depending on the play speed. chapter of the editing guide.
Audio Solo Works in Trim Mode
Audio solo now works in Trim mode. This allows you to monitor a trim to a single audio track transition when working with many audio tracks.
See the “Working in Trim Mode” chapter of the editing guide.
Audio Gain Information If there is audio gain information on a track See the “Working with Audio” Visual Feedback in the Timeline, the system displays a small chapter of the editing guide. pink triangle next to the track. External Fader Boxes for Recording Audio Gain Information
This release adds support for the following: See the “Working with Audio” chapter of the editing guide. • Yamaha® 01v digital mixing console • JL Cooper MCS-3000X MIDI automation controller
Auto-Monitor
If you turn off Auto-monitor in the Timeline See the “Using the Timeline” settings, the system ensures that the monitor chapter of the editing guide. doesn’t move to the top track automatically when you are working on complicated, multilayered sequences.
Nesting Depth Displayed
The system displays the nesting depth in the See the “Creating Layered and Timecode track. Nesting controls can be Nested Effects” chapter of the mapped to the keyboard. effects guide.
Dragging IN and OUT Points
You can drag marked IN and OUT points by See the “Viewing and Marking Alt+dragging the point. This allows visual Footage” chapter of the editing feedback while positioning IN and OUT guide. points.
Turn Timeline Wrap On and Off
In the Timeline view, you can now turn off the Timeline wrap feature.
Segment Drag Sync Locks
You can drag segments around the Timeline See the “Using the Timeline” and maintain sync. chapter of the editing guide.
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See the “Using the Timeline” chapter of the editing guide.
Table 4
Editing Features (Continued)
Feature
Description
Faster Response Time When Moving Through a Sequence
Dragging through the Timeline doesn’t ren- See the “Preparing to Work der non-real-time effects on-the-fly until you with Effects” chapter of the release the mouse. effects guide.
Map Colored Locators to Keys
You can add locators in multiple colors for different search criteria while viewing material.
Audio Mark Out Button
You can specify an audio OUT point for the See the “Viewing and Marking edit separately from the video OUT point. Footage” chapter of the editing guide.
Mark Locators Button
You can move the position indicator See the “Viewing and Marking between two locators and use this button to Footage” chapter of the editing mark IN and OUT points at the locators. guide.
Reverse Match Frame Button
You can match frames on a source clip in the See the “Viewing and Marking Source monitor. The system cues the Footage” chapter of the editing sequence to the matching frame on the guide. record side.
Play Standby Button
This feature allows for instant playback under any conditions. This is very useful when showing a sequence to a client.
Table 5
For More Information
See the “Viewing and Marking Footage” chapter of the editing guide.
See the “Viewing and Marking Footage” chapter of the editing guide.
Digitizing Features
Feature
Description
For More Information
Multicolored Locators on Function Keys
This feature allows for fast retrieval of important parts of a scene after digitizing.
See the “Digitizing” chapter of the input and output guide.
Custom Preroll
You can set a custom preroll length for the digitizing deck directly from the Digitize tool.
See the “Preparing to Digitize” chapter of the input and output guide.
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Table 5
Digitizing Features (Continued)
Feature
Description
Adjust Deck
You can now access deck control parameters See the “Preparing to Digitize” in the Digitize tool. chapter of the input and output guide.
Video Output Controls
The Video Output tool shows separate con- See the “Generating Output” trols for composite and component. chapter of the input and output guide.
Table 6
For More Information
Effects Features
Feature
Description
For More Information
ExpertRender™
The ExpertRender command analyzes all the effects in selected material and determines which ones need to be rendered to achieve successful playback.
See the “Customizing Effects in Effect Mode” chapter of the effects guide.
Render Completion Sound
The render chime signals the completion of See the “Customizing Effects rendering. in Effect Mode” chapter of the effects guide.
Motion Effects Render Choice in Render Settings
When you create motion effects on an offline See the “Customizing Effects system, the system provides choices in the in Effect Mode” chapter of the Render Settings dialog box for dealing with effects guide. motion artifacts when redigitizing to an online system.
AudioSuite™ Plug-In Support
This release supports Digidesign® AudioSuite Plug-Ins on the Windows NT operating system.
See the “Working with Audio” chapter of the editing guide.
Effect Grid
The Effect Grid has been enhanced to provide more preset choices for different formats.
See the “Customizing Effects in Effect Mode” chapter of the effects guide.
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Table 6 Feature
Effects Features (Continued)
Description
For More Information
AVX™ Plug-In Enhance- The interface to AVX plug-ins has been ments enhanced, and it is now easier to upgrade plug-ins from one version to the next.
See the “Preparing to Work with Effects” chapter of the effects guide.
Render Ranges for Partial Render
You can perform a partial render if you See the “Customizing Effects in decide to cancel a render before the effect is Effect Mode” chapter of the finished. effects guide.
Improved Chroma Key in 3D Warp Category
Luminance controls are added as well as anti-aliasing and edge cropping.
Real-Time Spill You can use real-time Spill Suppression in Suppression (Enhance- conjunction with the chroma key to correct ment to 3D Chroma Key) spill. You can also use real-time Spill Suppression for spot color correction.
See the “3D Effects Reference” chapter of the effects guide. See the “2D Effects Reference” chapter of the effects guide.
Scratch Removal
Scratch removal allows you to paint with a See the “Intraframe Editing” section from an earlier or later frame or field chapter of the effects guide. to cover a scratch.
Pan and Scan Effect
See Table 2 on page 7.
Table 7
Title Tool Enhancements
Feature
Description
For More Information
Soft Edged Drop Shadows and Glows
You can add soft drop shadows and glows for Title text and objects.
See the “Creating Titles and Graphic Objects” chapter of the effects guide.
Style Sheets on Function While the Title tool is active, the system See the “Creating Titles and Keys allows you to use function keys F2 through Graphic Objects” chapter of the F12 to store and recall style sheets. effects guide. Multiformat Titles
You can generate multiple formats for titles See the “Editing with Titles” in a 24p project. chapter of the effects guide.
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Table 8
Import and Export Features
Feature
Description
For More Information
Drag-and-Drop Import and Export
You can drag a graphic, animation, or graphic sequence from the desktop and drop it into a bin for importing. The same behavior is available for export by dragging a clip, sequence, or frame from the bin.
See the “Importing Files” and “Exporting and Exchanging Material” chapters of the input and output guide.
32-bit QuickTime® Codec
QuickTime movies with alpha channels can See the “Exporting and be imported using the Avid QuickTime Exchanging Material” chapter codec. of the input and output guide.
Export Templates
You can create custom export templates that See the “Exporting and allow you to customize reusable settings Exchanging Material” chapter and carry them from project to project. of the input and output guide.
Table 9
Media Management Features
Feature
Description
For More Information
Decompose
New choices for the Decompose feature allow more flexibility for re-creating a sequence when using mixed resolutions.
See the “Digitizing” chapter of the input and output guide.
Consolidate
You can consolidate audio and video to sep- See the “Managing Media arate drives and create a drive queue by Files” chapter of the editing Shift+clicking multiple drives. guide.
Media Tool
You can now choose whether to examine all See the “Managing Media drives or just selected drives. You can also Files” chapter of the editing search for files for the current project, guide. selected projects, or all projects. You can also create Bin views dedicated to media management and use them with the Media tool.
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Table 9
Media Management Features (Continued)
Feature
Description
Refresh Media Directories
This command (on the File menu) instructs NA the system to re-examine all the media databases on the system. This is useful after media has been removed at the desktop level, for example, after you have physically moved drives or removed media from your drives. The command can take a long time to execute on systems that have large amounts of media online.
Table 10
For More Information
Digital Cut Features
Feature
Description
For More Information
User Interface
The Digital Cut tool has been redesigned. It See the “Generating Output” is now more intuitive and uses industrychapter of the input and output standard terminology. guide.
Multiple Format Output When you are working in a 24p project, you See the “Generating Output” can output multiple formats for NTSC chapter of the input and output video, PAL video, and audio, all from the guide. same 24p media. See also Table 2 on page 7. Add Black at Tail
This feature allows you to add black at the end of a digital cut, based on a timecode value.
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See the “Generating Output” chapter of the input and output guide.
Hardware and Software Requirements Avid Media Composer and Film Composer require the following system configuration:
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•
Windows NT Workstation Version 4.0 Service Pack 3, 4, or 5
•
Minimum 256 MB of RAM
For information about the status of Avid products and Y2K readiness, see the Avid Web site at www.avid.com/y2k. For information on Microsoft products and Y2K readiness, see www.microsoft.com/y2k. To verify the version of the operating system and RAM: 1. Double-click the My Computer icon. The My Computer window opens. 2. Choose About Windows NT from the Help menu. The About Windows NT dialog box appears and displays the version of Windows NT, the Service Pack, and the available memory. 3. Click OK to close the dialog box.
About the Avid System Test Pro Diagnostics The Avid System Test Pro diagnostics are a set of tests that check the Meridien™ board set located in the PC and the Meridien I/O box. Run these diagnostics before you begin editing with Media Composer or Film Composer, or if you think your system has a problem. Avid System Pro is divided into two separate test suites: •
Standard Board Diagnostics — Test the Meridien boards that are in the system with no intervention needed by the user. Always run these tests first.
•
External/User Interaction Board Diagnostics — Test the I/O portions of the Meridien board set, and need user interaction such as connecting cables and answering questions in a dialog box. 16
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Avid System Test Pro contains Help that provides information on each button, window, and diagnostic test.
Checking Peripheral Board Revision Levels To check board revision levels by using the Avid System Test Pro diagnostic utility: 1. Exit Avid Media Composer or Film Composer. 2. Click the Start button and then point to Programs. Point to Avid, point to Utilities, and then click Avid System Test Pro. 3. Click OK in the opening dialog box. 4. Choose Board Info from the Window menu. Table 11 lists the minimum revision levels of Avid peripheral boards required to run an Avid system.
Table 11
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Peripheral Board Revision Levels
Peripheral Board
Minimum Revision Levels
Meridien II digital media board
A
Edit display controller board
A
Meridien II 3D effects interface board
A
Meridien video I/O board
B
Meridien serial digital I/O board (attached to the video I/O board)
A
The Avid Media Composer and Film Composer Release 9.0 Release Notes incorrectly listed the minimum revision level for the Meridien video I/O board as C. 17
Compatibility with Avid Video-Based Editing Products This section explains compatibility issues with Media Composer and Film Composer. You can move a project (project information including bins) between Media Composer, Film Composer (30-fps, 25-fps, and 24-fps projects only), Avid Symphony™, and Avid Xpress™ for the Windows NT and Macintosh® operating systems. After you move the project, you need to redigitize the media if it is not already present on the system. You can move projects and compressed media between Avid products for the Macintosh operating system. If you are moving a project that requires uncompressed media, you must redigitize the media after you move the project. For detailed information on transferring projects to Avid systems, see the Avid Products Collaboration Guide, available in the Documentation section of the Avid Customer Service Knowledge Center. To access the Avid Customer Service Knowledge Center, click the Avid Customer Service Knowledge Center link at www.avid.com.
System Configuration Your system was configured either by Avid or by your Avid reseller. if you need assistance reconfiguring your Avid system please contact your Avid reseller. The Windows NT boot disk supplied with your system should be used only with the guidance of your Avid Reseller.
18
Display Controller Board Your system ships with the Meridien display controller board installed in place of the IBM® AGP card. The IBM AGP card is also shipped with your system in case you need to reinstall the IBM AGP card during troubleshooting. Don’t install this card when the Meridien display controller board is installed.
Hardware Profiles Windows NT supports multiple hardware profiles that selectively disable device drivers or services during the system boot process. Your system ships with the following hardware profiles: •
Avid Configuration This profile includes all the Avid standard hardware devices and enables the networking interface. This is the default profile that is used to boot the system.
•
Avid Configuration (Network Disabled) This profile disables networking. Select this profile if you are having problems with your Avid system that might be related to the network. To boot with this profile, you must select it during the boot process.
•
Original Configuration This profile omits Avid hardware devices from operation. This profile is primarily used for system debugging. To boot with this profile, you must select it during the boot process.
19
PAL Compatibility Between Media Composer 9.1, Film Composer 9.1, Symphony 2.1, and Film Composer 7.x When creating a new Film Composer Release 7.x project for PAL Method 1, choose Film option in the Project window and be sure to choose 24-frame editing. This will give you compatibility with a 24p PAL project for Media Composer Release 9.1, Film Composer Release 9.1, and Symphony Release 2.1. Note that the default setting for Film Composer Release 7.x is 25-frame editing. You need to change to 24-frame editing to maintain compatibility with Media Composer Release 9.1, Film Composer Release 9.1, and Symphony Release 2.1 PAL projects.
Updating Your Application Key (Dongle) The application key, commonly referred to as a dongle, allows the Avid software to run on your system.
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Protect your application key from loss or theft; your Avid software does not function without it, and acquiring a new key from Avid involves a fee. There are two different programs to update dongles: •
A dongle versioner is a software program created to update many Avid systems and is normally included in a software Maintenance Kit.
•
A dongle updater is a software program created to update a specific Avid system.
20
The following describes what you should do to update your dongle for this release: •
If you purchased Avid Media Composer or Film Composer Release 9.0 as a new system, then your dongle is still valid for Avid Media Composer or Film Composer Release 2.1. Therefore, your dongle does not need to be updated.
•
If you received a dongle versioner floppy disk with a Maintenance Kit, then you will need to use this floppy disk to update the dongle before installing the new software.
•
If you purchased this upgrade, you have received a unique dongle updater disk that reflects a specific System ID. You will need to use this floppy to update the dongle before installing the new software.
Instructions for running the dongle versioner or updater are included with the floppy disk.
Installing the Software Installing the software consists of the following steps: 1. Remove any existing Avid applications. 2. Install the application software. 3. Choose the Avid color scheme.
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In order to install or remove the application software, you need to use a login account with administrative permissions.
Removing Existing Avid Applications If you are currently running Media Composer or Film Composer on your Windows NT operating system, you will need to remove this application before installing the new Avid application. 21
The AVX_Plug-Ins folder will not be deleted when you remove the Avid application; therefore, no third-party AVX plug-ins will be removed. This folder will remain in the location where it currently exists. If you delete this folder, you will need to reinstall the thirdparty plug-ins. After you install the Avid application, you may need to move the third-party plug-ins to the new AVX_Plug-Ins folder. To remove an existing Avid application: 1. Click the Start button, point to Settings, and then click Control Panel. 2. From the Control Panel, double-click Add/Remove Programs. 3. Locate the Avid application and select it. 4. Click the Add/Remove button. A dialog box appears, asking if you are sure you want to remove this application. 5. Click Yes. The system uninstalls all files associated with this application. 6. Click OK when the uninstall procedure is complete.
Installing Application Software To install the application software: 1. Close all Windows NT applications. 2. Insert the Avid Media Composer Products CD-ROM into the CD-ROM drive. Avid systems ship with the CD-ROM Autorun setting disabled. If the installer doesn’t start automatically after you insert the application CD-ROM, do the following: a. Double-click the My Computer icon. b. Double-click the CD-ROM to open it. c. Double-click Launch.exe to start the installer. 22
3. In the Avid Technology window, click Installers. 4. Click Install Avid Media Composer or Install Avid Film Composer. 5. In the Welcome window, click Next. 6. In the Software License Agreement window, read the agreement, and then click Yes to accept the terms of the agreement. 7. In the Choose Destination Location window, accept the default path for the application folder (on drive C) by clicking Next. The default path for Media Composer is: C:\Program Files\Avid\Avid Media Composer The default path for Film Composer is: C:\Program Files\Avid\Avid Film Composer 8. In the Setup Type window, select an option: -
Select Typical to install all components except for the serial driver for VTR emulation. This is the recommended installation.
-
Select Custom to choose the components you want to install.
9. After you have selected an option, click Next. The AVX Plug-In window opens and displays the default destination folder as C:\Program Files\Avid\AVX_Plug-ins 10. Click Next to accept the default path. The Application Data Location window opens. 11. In the Application Data Location window, indicate a location for the application files (project folders and user folders). Avid recommends that you install these files on a drive or partition other than drive C.
23
To change the default path: a. Click the Browse button. b. In the Path text box, type: drive:\Avid\Avid Media Composer or: drive:\Avid\Avid Film Composer c. Click OK. A message asks if you want to create the folder. d. Click Yes. 12. Click Next. The installation begins. 13. When the installation is complete, a message asks if you want to restart the system. Click No, and then click Finish. The Avid Technology window reappears. 14. Install the Avid codecs by clicking Install Avid Codecs. Follow the on-screen instructions, and click No when the system asks if you want to restart the system. The Avid Technology window reappears. 15. Install QuickTime 4.0 by clicking Install QuickTime 4.0 and following the on-screen instructions. Close the QuickTime windows when you are done.
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The QuickTime 4.0 installation is self-contained and does not require a network connection. However, if you are connected to a network, you might be prompted for your connection speed. This setting applies to using QuickTime over a network; it does not directly affect Avid QuickTime import or export. The Avid Technology window reappears. 16. Install any other applications that you require from the Avid Technology window and then restart your system.
24
Updating the Video I/O Firmware The Avid Media Composer or Film Composer installation software automatically loads the latest firmware for the Meridien I/O box onto your hard drive. If you are upgrading an existing system to Release 2.1, you must run the Video I/O Utility to load the firmware onto the Meridien I/O box.
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If you bought your Avid Media Composer or Film Composer Release 2.1 system as a new system, the firmware is already loaded. You need to run the utility only if you are upgrading. To update the video I/O firmware: 1. Click the Start button, point to Programs, point to Avid, point to Utilities, and then click Video I/O Utility. The Meridien Video I/O Utility window opens. 2. Click the Video I/O Hardware Updater button. The system updates the software. See “Software Files and Utilities” on page 36 for information on the Video I/O Utility.
Updating the Avid Edit Display Controller Software This section describes how to update the software for the Meridien display controller board. The software used to perform the update is referred to as the edit display controller (EDC) software.
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If you bought your Avid Media Composer or Film Composer Release 2.1 system as a new system, the correct EDC software is already loaded. You need to run the utility only if you are upgrading. The Avid Media Composer or Film Composer installation software automatically copies updated versions of the EDC driver files onto 25
your hard drive, but the installation software does not run the software to actually install the device driver. Use the following procedure to install the device driver. To install and activate the updated version of the EDC software: 1. Shut down the system and restart it in VGA mode. To do this, select the following option when the system asks you to select the operating system: Windows NT Workstation Version 4.00 [VGA Mode] The system will start up in 16-color mode at 640 x 480 resolution.
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It is important to restart the system in VGA mode. Otherwise, the system cannot completely update the drivers. 2. Log in to the system. The system automatically displays an Invalid Display Settings dialog box and opens the Display Properties dialog box.
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If the Display Properties dialog box does not appear, right-click on the desktop, and select Properties. The Display Properties dialog box appears. 3. Click the Setttings tab. 4. Click the Display Type button. The Display Type dialog box appears. 5. Click the Change button. The Change Display dialog box appears. 6. Click the Have Disk button. The Install From Disk dialog box appears. 7. Type the path to the display driver files in the text box and click OK. The default path is as follows: C:\Program Files\Avid\EDCInstall The system displays a second Change Display dialog box.
26
8. Select Avid Technology EDC Board and click OK. The Third-party Drivers dialog box appears. 9. Click Yes to accept the Avid EDC Board selection. The system updates the drivers and displays the Installing Driver dialog box. 10. Click OK to close the Installing Driver dialog box. 11. Click Close to close the Display Type dialog box. 12. Click Close to close the Display Properties box. 13. Restart the system and allow it to restart normally. 14. Log in to the system. The Display Properties dialog box appears. 15. For single-monitor systems only, open the Avid EDC Display Control Center located under the Control Panel. Click the Desktop tab, and click the Normal Mode button. 16. Click the Settings tab, and select True Color in the Color Palette list. 17. Set the Refresh Frequency to 75 Hertz or above. 18. Set the Desktop Area to 2048 x 768 pixels for two-monitor systems and 1024 x 768 pixels for single-monitor systems. 19. Click the Test button. The system displays a test for the chosen resolution. 20. Click Yes in the Testing Mode dialog box if the Test values looked correct. 21. Click OK in the Display Properties dialog box to apply the changes.
27
Installing Demo Versions of AudioSuite Plug-Ins Your system comes with a number of standard AudioSuite Plug-Ins. See the Avid Media Composer Editing Guide or the Avid Film Composer Editing Guide for a complete list and a description of how to use the plug-ins. The software installation CD-ROM also contains several demo versions of plug-ins that you can purchase separately. Use the following procedure to install the demo plug-ins: 1. With no other applications running, double-click Setup.exe located in Goodies\AudioSuiteDemoInstaller. The installer will install the demo AudioSuite Plug-Ins as well as Pace Anti-Piracy software. 2. When the installer is complete, restart your system in order to properly load the plug-ins in Media Composer or Film Composer. 3. Start the Media Composer or Film Composer application and open the AudioSuite window. The system will attempt a DAE™ connection, pause, and then start the Pace Anti-Piracy software. 4. Click Welcome in the Windows NT taskbar to bring the Pace dialog box to the front. 5. Click Try-it to load the plug-in or Cancel to cancel the procedure. Repeat steps 4 and 5 for each Demo AudioSuite Plug-In. When the installation is complete, you will be able to use the plug-ins for 15 days.
Performing a Custom Installation You can perform a custom installation to install particular files from the installation CD-ROM. For example, you might want to install only the Sentinel drivers or only the Utilities. You can also reinstall an individual component of the Avid system if it becomes lost or damaged. 28
Depending on which file or application you want to install, the Avid Installation CD-ROM provides two different procedures for installing the components from the CD-ROM: •
Selecting the component from the Avid Technology window
•
Using the Custom option in Avid Application Installer
You can install the EDL Manager, MediaLog™, QuickTime, FilmScribe™, Avid Log Exchange applications, and Avid codecs from the Avid Technology window that opens when you insert the Avid Installation CD-ROM into the CD-ROM drive. Table 12 lists the components available when you use the Custom option of the Avid Application Installer.
Table 12
Custom Installation Components
Component
Description
Avid Media Composer Avid Film Composer
Installs the application and all the necessary supporting files
Edit Display
Copies all the drivers and setup files needed to use the system
Help Files
Installs the appropriate Help files
Serial Driver
Installs a modified version of the Windows NT serial driver used for VTR emulation
Utilities
Installs the utilities files
29
To perform a custom installation: 1. Follow the steps 1 through 7 in the procedure “Installing Application Software” on page 22. 2. In the Setup Type window, click Custom and then click Next. The Select Components window opens. 3. Click the check boxes next to the components you want to install. A check mark indicates the component is selected. 4. After you have selected the components to install, click Next. 5. In the Application Data Location window, indicate a location for the application files (project folders and user folders). Avid recommends that you install these files on a drive or partition other than drive C. To change the default path: a. Click the Browse button. b. In the Path text box, type: drive:\Avid\Avid Media Composer or: drive:\Avid\Avid Film Composer c. Click OK. A message asks if you want to create the folder. d. Click Yes. 6. Click Next. The installation begins. 7. When the installation is complete, a message asks if you want to restart the system. Click Yes, and then click Finish.
30
Windows NT Maintenance and Recovery Before you begin using your Avid system, you need to set up user accounts and create backup disks of system configuration files. The following sections help to prepare you in case of a system failure:
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•
Setting Up User Accounts
•
Creating Windows NT Setup Disks
•
Creating a Windows NT Repair Disk
•
Using the Windows NT Repair Disk
•
Saving the Disk Configuration
•
Network Configuration
You need to create the setup, backup, and recovery disks described in this section to facilitate proper Windows NT recovery or to rebuild in the event of a failure.
Setting Up User Accounts Avid ships your Avid system with the following two accounts enabled: •
Administrator
•
AvidTechnology
These accounts have Administrator privileges and have no password assigned. Avid recommends setting up individual, nonprivileged user accounts after integrating the system into the workplace environment.
31
Creating Windows NT Setup Disks Create a set of Windows NT setup disks before using your system. These disks are required to successfully reinstall Windows NT Workstation 4.0. To create the setup disks: 1. Format three high-density disks by doing the following: a. Insert a high-density disk into the floppy drive. b. Double-click the My Computer icon on the desktop. c. Right-click the 3-1/2 Floppy (A:) icon to display the menu. d. Choose Format from the menu and ensure the capacity box reads: 3.5” 1.44MB, 512 Bytes/sector e. Click Start to begin the format process. f. Repeat this procedure for the remaining two disks. 2. Insert the Windows NT distribution CD-ROM. 3. Click the Start button and then click Run. The Run dialog box appears. 4. In the Open text box, type: x:\i386\winnt32 /ox (The variable x: is the drive letter corresponding to your CD-ROM drive.) 5. Click OK. 6. Follow the instructions in the dialog boxes to complete building the disks. After you create the disk, you can abort the remainder of the installation procedure. Label and store the disks in a safe location.
32
Creating a Windows NT Repair Disk The Windows NT Repair Disk is essential to successful restoration of a user system in the event of a damaged operating system component. The emergency repair disk (ERD), as it is sometimes called, should be updated any time a change to the operating system occurs. This can happen whenever hardware is added or applications have been installed. The repair disk does not restore applications or device drivers. Instead, it holds copies of the user environment, software associations, passwords, and information about the system configuration.
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A Windows NT Repair Disk has been created for you and is included with the system. Every system ships with two Windows NT Repair Disks created at different times in the system integration process: •
Factory Default ERD — This disk was created as a means to bring the system back to a factory default configuration in the event of a complete Windows NT rebuild. Store this disk in a safe location. This disk was created under the following conditions:
•
-
Windows NT Workstation 4.0 was successfully installed along with the appropriate service packs and post-service-pack fixes.
-
All platform vendor default hardware components and device drivers were installed and successfully configured. This includes the networking and MIDI resource drivers.
AVID Operational ERD — This disk was created after all Avidspecific integration was completed. This disk should be used as the end-user ERD and should be updated or re-created whenever a system hardware or software change is made.
33
This disk was created under the following conditions: -
All Avid-recommended hardware, drivers, and applications were successfully installed and tested, and the system was as close to the shipping configuration as possible.
To create or update an ERD: 1. Click the Start button and then click Run. The Run dialog box appears. 2. In the Open text box, type: rdisk /s 3. Click OK.
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Do not use the Windows NT Explorer to execute rdisk because you do not save the Default and Security registry config files when you choose the Update option. Make sure you create repair disks by executing rdisk from the Start menu to ensure you save all the necessary config files. 4. You are instructed to insert a high-density disk (2.0MB HD DS) in the disk drive. Insert the AVID Operational ERD. The disk will be formatted and the appropriate files will be copied to the disk. 5. Exit the Repair Disk Utility. Store the repair disk in a safe, dry, static-free location.
Using the Windows NT Repair Disk The repair disk restores only registry data in the event of accidental user file deletion, operating system corruption, or other configuration problems. It does not restore your applications or other essential files. If the system disk is reformatted and a new copy of Windows NT is installed, your applications will require reinstallation.
34
To use the repair disk, you must initiate a Windows NT Setup by booting the Setup Disk #1. You will be given an option to perform a repair operation during this process.
Saving the Disk Configuration Whenever changes are made to the disk configuration on a system, such as creating stripe sets or changing drive letter assignments, the disk configuration should be saved to a disk. This permits a successful restoration of the disk configuration in the event of a hardware failure or other problems. This information is also saved as part of the repair disk process.
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Save the disk configuration after you install all the software. To create a disk configuration disk: 1. Click the Start button, point to Programs, point to Administrative Tools (Common), and then click Disk Administrator. The Disk Administrator dialog box appears. 2. From the Partition menu, point to Configuration, and then click Save. 3. Insert a formatted high-density disk in the floppy drive and click OK. The disk configuration information is copied to the disk. 4. Label this disk and store it in a safe location.
35
To restore the disk configuration: 1. Click the Start button, point to Programs, point to Administrative Tools (Common), and then click Disk Administrator. The Disk Administrator dialog box appears. 2. From the Partition menu, point to Configuration, and then click Restore. 3. Insert the saved disk configuration disk in the drive and click Yes. This action will copy the disk configuration information into the registry.
Network Configuration Your Windows NT system ships with TCP/IP installed and DHCP enabled. The first time you start your system with the network enabled, DHCP will search the network to automatically assign an IP address. If the system cannot assign an IP address, you need to configure the system for an address. For more information, see the Windows NT Help.
Software Files and Utilities Table 13 lists Avid software utilities, current revision levels, and the folders in which the utilities are located. To check the release version: 1. Right-click on the Utility icon and select Properties. 2. Click the Version tab and check the File version number.
36
Table 13
Software Utilities Revisions
Software
Release
Installed Folder Location
Meridien Video I/O Utility
4.0
C:\Program Files\Avid\Utilities\VideoIOUtil
Avid StorEx
1.10
C:\Program Files\Avid\Utilities\StorEx
Avid Disk Mounter
1.22
C:\Program Files\Avid\Utilities\Diskmounter
Avid System Test Pro
4.0
C:\Program Files\Avid\Utilities\AvidSystemTestPro
Avid Startup
1.11
C:\WinNT\System32\AvidStartup
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Avid is not responsible for the support or sales of the products in the Goodies folder. They are provided as suggestions for users to decide if any of these products fit into their process. Avid is also not responsible for any loss of data or time related to the use of these products. For more information, see the ReadMe files in the Goodies folder.
AvidStartup Utility AvidStartup is a utility that runs each time you start or restart your system. It sets any attached Avid MediaDrives for the optimal read and write performance. The utility does not make any changes to non-Avid hard drives.
About MacOpener MacOpener® is a Windows NT application that lets you read a disk formatted for Macintosh. By using MacOpener, you avoid the need to use PC-formatted disks to transfer files. MacOpener allows you to add Windows NT file name extensions to Macintosh file names. MacOpener is included with your system. 37
To add a Windows NT file name extension to a Macintosh file, you must add both the Macintosh and Windows NT file format information to the MacOpener Extensions Database. Table 14 lists the Macintosh file types and creators and the equivalent Windows NT file name extension for each Avid file.
Table 14
Macintosh File Type and Windows NT Equivalent
Avid Files
Macintosh File Type
Macintosh Creator
Windows NT File Name Extension
Bins
ATob
ATve
.avb
Projects
ATpj
ATve
.avp
Settings
ATpf
ATve
.avs
Users
ATe8
ATve
.ave
Script
ATsc
ATve
.avc
To install MacOpener, insert the MacOpener Installation CD-ROM into the CD-ROM drive. The installer will run automatically.
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If the installer does not run automatically, double-click the CD-ROM icon, double-click the WIN95NT folder, and then double-click setup.exe. If the system displays an Access Denied error when you attempt to access a Macintosh drive, refer to the workaround in “Import and Export” on page 90.
Compression Utilities When you move a project from Media Composer or Film Composer on a Macintosh system to Media Composer or Film Composer on a Windows NT system, you might want to compress the project folder. 38
You can use the software tools DropStuff and StuffIt™ Expander. These products run on both Macintosh and Windows NT systems. Use DropStuff on the Macintosh to compress the folder and use StuffIt Expander on the Windows NT system to expand it. The Avid system ships with the Windows NT versions of DropStuff and StuffIt Expander.
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Do not use the Macintosh version of WinZip® to compress files. To install DropStuff or StuffIt Expander on a Windows NT system: 1. Close all Windows NT applications. 2. Insert the Avid Installation CD-ROM into the CD-ROM drive. Avid systems ship with the CD-ROM Autorun setting disabled. If the installer doesn’t start automatically after you insert the application CD-ROM, do the following: a. Double-click the My Computer icon. b. Double-click the CD-ROM to open it. c. Double-click Launch.exe to start the installer. 3. In the opening window, click Browse CD. A window opens displaying the top level of the CD-ROM. 4. Double-click Aladdin Systems. 5. Double-click one of the following files to start the InstallShield®: •
Aladdin_Expander_2_0.EXE (installs StuffIt Expander V2.0)
•
dropstuff_1_0.EXE (installs DropStuff V1.0)
6. Follow the instructions in the installer to install the utility.
39
List of Effects for Avid Models This section lists all the effects available in the Avid Media Composer or Film Composer system. The Avid model and the exact options you have determine which effects you have. Key to effects:
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•
S = standard non-real-time effect
•
RT = standard real-time effect
•
FR = standard fast rendered effect
The information in this section is accurate for Media Composer and Film Composer Release 9.1. The available effects can change with a new release of the system and might not be reflected in this document. For a complete description of each effect, see the Avid Media Composer and Film Composer Effects Guide.
Table 15
Effects Available for Avid Models
Effect Category
Effect Name
Media Composer 9000 XL
Media Composer 1000 XL
Film Composer XL
Media Composer Offline XL
Blend
3D Warp
RT
RT
RT
RT
Blend
Dip to Color
RT
RT
RT
RT
Blend
Dissolve
RT
RT
RT
RT
Blend
Fade from Color
RT
RT
RT
RT
Blend
Fade to Color
RT
RT
RT
RT
Blend
Picture-in-Picture
RT
RT
RT
RT
Blend
Superimpose
RT
RT
RT
RT
40
Table 15
Effects Available for Avid Models (Continued)
Effect Category
Effect Name
Media Composer 9000 XL
Media Composer 1000 XL
Film Composer XL
Media Composer Offline XL
Box Wipe
Bottom Box
RT
RT
RT
RT
Box Wipe
Bottom Left to Top Right
RT
RT
RT
RT
Box Wipe
Bottom Right to Top Left
RT
RT
RT
RT
Box Wipe
Left Box
RT
RT
RT
RT
Box Wipe
Right Box
RT
RT
RT
RT
Box Wipe
Top Box
RT
RT
RT
RT
Box Wipe
Top Left to Bottom Right
RT
RT
RT
RT
Box Wipe
Top Right to Bottom Left
RT
RT
RT
RT
Conceal
Bottom Left to Top Right
RT
RT
RT
RT
Conceal
Bottom Right to Top Left
RT
RT
RT
RT
Conceal
Bottom to Top
RT
RT
RT
RT
Conceal
Left to Right
RT
RT
RT
RT
Conceal
Right to Left
RT
RT
RT
RT
Conceal
Top Left to Bottom Right
RT
RT
RT
RT
Conceal
Top Right to Bottom Left
RT
RT
RT
RT
Conceal
Top to Bottom
RT
RT
RT
RT
Edge Wipe
Horizontal
RT
RT
RT
RT
Edge Wipe
Horizontal Open
RT
RT
RT
RT
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Table 15
Effects Available for Avid Models (Continued)
Effect Category
Effect Name
Media Composer 9000 XL
Media Composer 1000 XL
Film Composer XL
Media Composer Offline XL
Edge Wipe
Lower Left Diagonal
S
S
S
S
Edge Wipe
Lower Right Diagonal
S
S
S
S
Edge Wipe
Upper Left Diagonal
S
S
S
S
Edge Wipe
Upper Right Diagonal
S
S
S
S
Edge Wipe
Vertical Open
RT
RT
RT
RT
Edge Wipe
Vertical
RT
RT
RT
RT
Film
1.66 Mask
RT
RT
RT
RT
Film
1.85 Mask
RT
RT
RT
RT
Film
16:9 Mask
RT
RT
RT
RT
Film
Anamorphic Mask
RT
RT
RT
RT
Film
Blowup
RT
RT
RT
RT
Film
Film Dissolve
RT
RT
RT
RT
Film
Film Fade
RT
RT
RT
RT
Film
Mask
RT
RT
RT
RT
Image
Color Effect
RT
RT
RT
RT
Image
Flip
RT
RT
RT
RT
Image
Flip-Flop
RT
RT
RT
RT
Image
Flop
RT
RT
RT
RT
42
Table 15
Effects Available for Avid Models (Continued)
Effect Category
Effect Name
Media Composer 9000 XL
Media Composer 1000 XL
Film Composer XL
Media Composer Offline XL
Image
Mask
RT
RT
RT
RT
Image
Paint Effect
S
S
S
S
Image
Pan and Scan
RT
RT
RT
RT
Image
Resize
RT
RT
RT
RT
Image
Scratch Removal
S
S
S
S
Image
Submaster
FR
FR
FR
FR
Key
AniMatte™
S
S
S
S
Key
Chroma Key
RT
RT
RT
RT
Key
Luma Key
RT
RT
RT
RT
Key
Matte Key
S
S
S
S
Key
RGB Keyer
S
S
S
S
L-Conceal
Bottom Left
RT
RT
RT
RT
L-Conceal
Bottom Right
RT
RT
RT
RT
L-Conceal
Top Left
RT
RT
RT
RT
L-Conceal
Top Right
RT
RT
RT
RT
Matrix Wipe
Grid
S
S
S
S
Matrix Wipe
One-Way Row
S
S
S
S
Matrix Wipe
Speckle
S
S
S
S
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Table 15
Effects Available for Avid Models (Continued)
Effect Category
Effect Name
Media Composer 9000 XL
Media Composer 1000 XL
Film Composer XL
Media Composer Offline XL
Matrix Wipe
Spiral
S
S
S
S
Matrix Wipe
Zig Zag
S
S
S
S
Motion
Freeze Frame
RT
RT
RT
RT
Motion
Variable Speed (Slo-Mo Forward)
RT
RT
RT
RT
Motion
Variable Speed other
S
S
S
S
Motion
Strobe
S
S
S
S
Motion
Interpolated
S
S
S
S
Peel (2D)
Bottom Left Corner
RT
RT
RT
RT
Peel (2D)
Bottom Right Corner
RT
RT
RT
RT
Peel (2D)
Bottom to Top
RT
RT
RT
RT
Peel (2D)
Left to Right
RT
RT
RT
RT
Peel (2D)
Right to Left
RT
RT
RT
RT
Peel (2D)
Top Left Corner
RT
RT
RT
RT
Peel(2D)
Top Right Corner
RT
RT
RT
RT
Peel (2D)
Top to Bottom
RT
RT
RT
RT
Push
Bottom Left to Top Right
S
S
S
S
Push
Bottom Right to Top Left
S
S
S
S
Push
Bottom to Top
S
S
S
S
44
Table 15
Effects Available for Avid Models (Continued)
Effect Category
Effect Name
Media Composer 9000 XL
Media Composer 1000 XL
Film Composer XL
Media Composer Offline XL
Push
Left to Right
S
S
S
S
Push
Right to Left
S
S
S
S
Push
Top Left to Bottom Right
S
S
S
S
Push
Top Right to Bottom Left
S
S
S
S
Push
Top to Bottom
S
S
S
S
Sawtooth Wipe
Horizontal Sawtooth
S
S
S
S
Sawtooth Wipe
Horizontal Open Sawtooth
S
S
S
S
Sawtooth Wipe
Vertical Open Sawtooth
S
S
S
S
Sawtooth Wipe
Vertical Sawtooth
S
S
S
S
Shape Wipe
4 Corners
S
S
S
S
Shape Wipe
Center Box
RT
RT
RT
RT
Shape Wipe
Circle
S
S
S
S
Shape Wipe
Clock
S
S
S
S
Shape Wipe
Diamond
S
S
S
S
Shape Wipe
Ellipse
S
S
S
S
Shape Wipe
Horizontal Bands
S
S
S
S
Shape Wipe
Horizontal Blinds
S
S
S
S
Shape Wipe
Vertical Blinds
S
S
S
S
45
Table 15
Effects Available for Avid Models (Continued)
Effect Category
Effect Name
Media Composer 9000 XL
Media Composer 1000 XL
Film Composer XL
Media Composer Offline XL
Spin (2D)
X Spin
S
S
S
S
Spin (2D)
Y Spin
S
S
S
S
Spin (2D)
Z Spin
RT
RT
RT
RT
Squeeze
Bottom Centered
RT
RT
RT
RT
Squeeze
Bottom Left
RT
RT
RT
RT
Squeeze
Bottom Right
RT
RT
RT
RT
Squeeze
Bottom to Top
RT
RT
RT
RT
Squeeze
Centered Zoom
RT
RT
RT
RT
Squeeze
Horizontal Centered
RT
RT
RT
RT
Squeeze
Left Centered
RT
RT
RT
RT
Squeeze
Left to Right
RT
RT
RT
RT
Squeeze
Right Centered
RT
RT
RT
RT
Squeeze
Right to Left
RT
RT
RT
RT
Squeeze
Top Centered
RT
RT
RT
RT
Squeeze
Top Left
RT
RT
RT
RT
Squeeze
Top Right
RT
RT
RT
RT
Squeeze
Top to Bottom
RT
RT
RT
RT
Squeeze
Vertical Centered
RT
RT
RT
RT
46
Table 15
Effects Available for Avid Models (Continued)
Effect Category
Effect Name
Media Composer 9000 XL
Media Composer 1000 XL
Film Composer XL
Media Composer Offline XL
Xpress 3D
3D Arrow
RT
RT
RT
RT
Xpress 3D
3D Ball
RT
RT
RT
RT
Xpress 3D
3D Bumps
RT
RT
RT
RT
Xpress 3D
3D Center Burst
RT
RT
RT
RT
Xpress 3D
3D Multi Wave
RT
RT
RT
RT
Xpress 3D
3D PIP
RT
RT
RT
RT
Xpress 3D
3D Page Curl
RT
RT
RT
RT
Xpress 3D
3D Page Fold
RT
RT
RT
RT
Xpress 3D
3D Sine Wave
RT
RT
RT
RT
Xpress 3D
3D Slats
RT
RT
RT
RT
47
Special Notes This section contains important information about system-level changes that affect the way your Media Composer or Film Composer system software and hardware operate.
Supported Decks For an updated list of supported decks, search for “Supported Decks” in the Avid Customer Service Knowledge Center. To access the Avid Customer Service Knowledge Center, click the Avid Customer Service Knowledge Center link at www.avid.com.
Striping Fibre Channel Drives The Fibre Channel (F/C) disk subsystem, which previously shipped with 9-GB F/C drives, now ships with 18-GB F/C drives. The drive size and speed determine the way that you stripe the drives to provide proper system performance.
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•
9-GB Drives — Avid recommends 10-way striping for the disk drives in the F/C disk set and using them for storing digitized video. Use standalone disks connected to a SCSI chain for storing digitized audio.
•
18-GB Drives — Avid recommends either 6-way striping or 10-way striping for the disk drives in the F/C disk set and using them for storing digitized video. Use standalone disks connected to a SCSI chain for storing digitized audio.
You cannot combine 9-GB drives and 18-GB drives in the same F/C drive enclosure.
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If you have more than one F/C disk subsystem, striping needs to be performed within each disk subsystem. Do not stripe across disk subsystems. For specific information on how to stripe drives, see the setup guide that came with your system.
Transferring Media on Macintosh Drives You can use an external drive formatted for Macintosh (HFS drive) to transfer audio and other compatible media from a Macintosh system to a Windows NT system if the receiving system is running the MacOpener application (see “About MacOpener” on page 37). To avoid problems when reading a connected HFS drive, you must do one of the following:
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•
On the Macintosh system, after transferring the media files to the HFS drive, give the media folder a name other than “OMFI MediaFiles.” You cannot change the name of the OMFI folder after you connect the drive to the Windows NT system.
•
On the Windows NT system, after you have connected the drive and have transferred the media files to an NTFS drive, turn off the system, disconnect the drive, reboot, and restart the Avid system.
If the system displays an Access Denied error when you attempt to access a Macintosh drive, refer to the workaround in “Import and Export” on page 90.
Warning Regarding Your Application Key The application key, commonly referred to as a dongle, allows the Avid software to run on your system. Protect your application key from loss or theft; your Avid software does not function without it, and acquiring a new key from Avid involves a fee.
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Moving Tone Media from Macintosh to Windows NT When you move a project containing tone media from an Avid system on Macintosh to an Avid system on Windows NT, the tone media is not included with the moved project. To add tone media to your sequence, do one of the following: •
Create new tone media and cut it into your sequence.
•
If the Macintosh sequence uses the tone media in several places, you can use the Batch Import command to recover those edits.
To create new tone media: 1. Create new tone media with the same duration as the original. 2. Export the tone as either AIFF or WAVE files to the desktop. 3. Select the original offline tone media clip. 4. Choose Batch Import from the Clip menu. 5. Select the exported tone for the offline master clip. The exported tone media will link to the original tone media master clip and will be present in all the places it was used originally.
Suggestions for Optimum Performance Windows NT is a multitasking operating system. However, background tasks can interrupt time-critical operations, such as digitizing, playing, or rendering. Make sure that background tasks are not running while you are working in the Avid system. The following list contains suggestions for ensuring optimum performance when working with the Avid system: •
Do not leave a Windows NT Explorer window open. Windows NT Explorer will try to update file information. 50
•
Do not schedule automatic backups at times when your Avid system might be in use.
•
Do not leave other applications open. Some applications, such as Microsoft® Office, run background processes.
•
Do not allow the Find Fast background process (find.exe) to run. The process will try to update its cache of file and folder locations. Check your Startup folder and delete the file if it is there.
•
Do not leave an e-mail application open if it is set to do periodic checks for mail.
•
Do not run any application that includes prescheduled or automatically scheduled activities, such as a calendar program.
•
Disable screen savers.
•
Do not transfer network data during critical operations.
•
Do not insert a CD-ROM in a drive during time-critical operations. Most CD-ROM drives and software perform an autoscan or autostart operation. The Avid system is shipped with autostart disabled.
•
Do not keep media on the internal system drive.
•
Always use small fonts to avoid missing characters in the application dialog boxes. To review font settings, check the Settings tab of the Display control panel.
•
Do not use large graphics as wallpaper.
•
Clear all Visual settings on the Plus! tab in the Display Properties dialog box.
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Video I/O Utility The Avid Media Composer or Film Composer installation software automatically loads the latest firmware for the Meridien I/O Box onto your hard drive. If you are upgrading an existing system to Release 9.1, you must run the Video I/O Utility to load the firmware onto the Meridien I/O box. See “Updating the Video I/O Firmware” on page 25.
New Disk Mounter Utility Disk Mounter is an Avid utility that allows you to easily move striped sets of drives from one Avid system to a second Avid system. Both systems need to have a copy of Disk Mounter installed because it is used to set up the move on the first system and complete the move on the second system. A new function allows you to erase the disk key from the registry if needed. Complete information about Disk Mounter can be found in one of three locations: •
The DiskMounter.pdf file (Using Avid Disk Mounter Release Notes) is located on your system disk in the same folder as the Disk Mounter application. The DiskMounter.pdf file explains how to use all the Disk Mounter features, including the Erase Disk Key function.
•
The Avid MediaDrive Utilities Guide, used in conjunction with the Using Avid Disk Mounter Release Notes.
•
On the Avid Media Composer and Film Composer Online Publications CD-ROM, see Using Avid Disk Mounter Release Notes.
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Erasing the Disk Key When you attempt to run Disk Mounter, you might receive an error that tells you to run Disk Administrator. You should then stop Disk Mounter and run Disk Administrator. After you run Disk Administrator, the problem is normally fixed. You can then start Disk Mounter to mount or register the striped sets with no problem. Occasionally, running Disk Administrator does not fix the problem resulting in an endless loop. This problem is usually a corrupted disk key in the system registry due to complex striping configurations frequently being created and modified. When you encounter this problem, use the Erase Disk Key function.
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Do not use the Erase Disk Key function if you have: •
Striped non-Avid drives on your system
•
Striped Avid drives that have not been registered using Disk Mounter
The disk key is located in the system registry and contains striping configuration information. The Erase Disk Key function removes all striping configuration information from the system by removing the corrupted disk key from the registry. After you erase the disk key, use the Mount function within Disk Mounter to restore the stripe set information to the system.
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A DiskMounter.pdf file is located on you system disk in the same folder as the DiskMounter application. The DiskMounter.pdf file explains how to use all the DiskMounter features. Use the Avid MediaDrive Utilities Guide in conjunction with these release notes. The Erase Disk Key function should be used only when needed.
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To use the Erase Disk Key function: 1. Click the Advanced button in the Main window.
Main window
Advanced button
The Advanced Options window opens.
Advanced Options window
Erase Disk Key button
2. Click the Erase Disk Key button. A Caution window opens.
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When you use the Erase Disk Key function, it erases the disk key from the system registry.
3. Click OK. The disk key in the system registry is erased. 54
Getting Help Disk Mounter provides you with Help that explains the various functions available within the application. To get Help: •
Click Help in the Disk Mounter Main window, or any other window or dialog box where it is available.
•
Click the Help Topics menu in any Help window.
About the AvidNet Transfer Tool The AvidNet™ Transfer Tool provides media transfer and sharing capabilities from within your Avid system or from the desktop when it is run as a standalone application. It is shipped with your Avid system on a separate CD-ROM.
Installing the AvidNet Transfer Tool To install the AvidNet Transfer Tool, insert the AvidNet Installation CD-ROM into the CD-ROM drive. The installer will automatically run.
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If the installer does not run automatically, double-click the CD-ROM icon, and then double-click the Launch icon.
Windows 98 Limitation When Running Avid Applications If you load MediaLog, Avid Log Exchange, or FilmScribe onto a system running Microsoft Windows® 98, files that are greater than 68K will not open.
55
Limitations When Using Consumer Video Decks This section describes some difficulties you might encounter when working with consumer video decks and tapes (such as VHS). Workarounds are described when available.
Digitizing from Unstable Time-Base Sources The Meridien subsystem used in Avid systems is optimized for use with modern, broadcast-quality VTRs that contain time-base correctors (TBCs). However, some sources do not include an internal TBC (including various S-Video decks or composite VHS, ¾-inch, or Hi-8 decks). In some cases, the Meridien subsystem will not lock to non-TBC sources, and, as a result, the image might be unstable or have reduced or missing color, or syncing might not be possible at all. If you click the Consumer Source button on the Video Input tool, a wider bandwidth more closely tracking time-base will improve the syncing capability. In this mode, the video input levels will be set by automatic gain control. Not all of the Video Input tool’s adjustment sliders will operate and the video might be slightly softened, but the syncing will be more reliable and far more stable. The overall image quality will not be as high as with normal operation. If you continue to experience difficulty with a source that does not include an internal TBC, Avid recommends that the video signal be processed through an external TBC for maximum image quality. For more information on time-base correctors, contact your Avid reseller.
Green Line in VHS Video Some VHS tape decks do not output the full 240 lines of video normally included in the VHS format. As a result, after you digitize from a device such as a VCR, a green line might appear at the bottom of the monitors in the Avid system.
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This line is at the bottom of the visible area of the picture and is not seen in a standard consumer monitor in most cases. If you use the video when the line is visible, you can remove it by cropping the bottom edge of the picture.
Changes to the Timing of Video Signals Genlocking is now different from that of previous Avid video-based editing products. The system’s timing is now modeled on that of a VTR; it uses only a single time base that is switched between input and output. Note the following operation modes: •
Timing during video capture: When capturing (that is, recording) an input video signal, sync timing will be derived from that input signal. The timing of the captured video and audio will be correct. The green Video Sync light on the Meridien I/O box will be on when synchronization to that signal is attained.
•
Passthrough video outputs: During capture, timing in the media files will be correct. The timing of the passthrough output signals, however, will be correct relative to themselves but will have slight delays relative to the input time base. In particular, the composite output will have one line of additional delay due to comb filter operation compared to Serial Digital and other analog modes. This is normal operation.
•
Passthrough audio versus video: During capture, the recorded video and audio will be correctly timed. However, because passthrough audio does not undergo delay, the previously described video delays will exist relative to the undelayed audio. In media files, the video and audio will be synchronized.
•
Timing during capture for audio with no video present: Timing will be derived from any signal present on the REF input. If no reference signal is detected there, then the timing will automatically switch to an internal, free-running, highly accurate time base and the green Video Sync light will not be lit. 57
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If you are digitizing audio only from a source that uses REF IN (with black burst, for example) on the Meridien I/O box for sync, the system will change the timing reference to the video input signal when the option “Always display incoming video in the client monitor” is selected in the Digitize Settings dialog box. To avoid losing the REF IN sync source, deselect this option before capturing audio only. •
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Timing during playback: In all playback modes, the video timing is derived either from the external genlock source (the REF input) or from the accurate internal time base. If a composite reference signal is present on the REF input, that signal will be used for deriving genlock and system timing. The green Video Sync light will be lit. If no lock is detected to a signal on the REF input (or if no signal is present), then the system will automatically switch to its internal timing source and the Video Sync light will not be lit.
For additional information on digitizing with consumer or prosumer video decks (such as VHS, Hi8, and some 3/4-inch decks), see “Limitations When Using Consumer Video Decks” on page 56.
Simultaneous Output Modes The video outputs are all simultaneously active with one exception: only one of the S-Video or Analog Component outputs can be active at the same time. You select the one you want with the Video Output tool.
Genlock Timing Adjustments Adjusting the genlock timing to the house reference at switchers or routers can be done only in Playback mode. With previous Avid systems, this could have been done in passthrough mode. You could either record your own test signal and then play it back or you could produce a test pattern from the application’s Video Output tool and use it for doing the usual HPHASE and SCPHASE adjustments. Only one format of the active outputs can be accurately genlocked at a time. Because there is only a single adjustable output time base, you 58
simply set the genlock parameters for the critical output that is the one you choose to genlock. For most applications, this will be either the composite or the SDI outputs. All the video output signals — Composite 1, 2, and 3, Serial Digital (if this option is on your system), and component or S-Video — are synced to the same time base, and therefore are synced to each other. However, they all have slightly different internal delays. This means that you can set the HPHASE so that only one — the one you choose — will be exactly synced to an external genlock reference. The other output signals will be properly timed relative to themselves but will not be precisely genlocked.
Operation of the Green Video Sync Light on the Meridien I/O Box The green Video Sync light is lit whenever the timing is successfully locked to either REF or to the video input signal. If the green light is off, the timing is being obtained from the internal, free-running time base.
Black Levels When Outputting SDI from NTSC Input When video input is NTSC with setup and video output is SDI (which does not use setup), the half lines at the top and bottom of the analog frame will contain blanking and black setup at two different levels (zero and 7.5 IRE). When the input video's black at setup is properly adjusted to correspond to digital 16, then the blanking level will correspond to approximately digital 1. This can result in video levels in the SDI output that are below black in several places:
59
•
The first half of the top half line (line 283) will be below black at approximately digital 1.
•
The last half of the bottom half line (line 263) will be below black at approximately digital 1.
•
The horizontal blanking edges can have pulses that go down to near digital 1 at the left and right edges of the image. This is due to the 720-pixel ITU-R-601 frame extending beyond the edges of the NTSC setup pedestal by a few pixels. These few pixels will be at approximately the blanking level (digital 1), and the rest of the horizontal line will be at black at digital 16.
When the video is played back as SDI, there will be negative pulses that appear for the above reason. If the output is NTSC with setup, these pulses will be canceled out. If, however, the SDI output ultimately goes to an NTSC-EIAJ encoder, then these pulses will be below blanking. This latter problem is common to other equipment as well and is a property of the difference between the black levels of these three formats. A similar problems occurs with the SDI output that is converted to 625-line analog formats (either component or PAL composite).
Partitioning Restrictions Windows NT allows you to create multiple partitions on a single drive or striped partitions across multiple drives as a way to manage projects and files. The following restriction applies when partitioning drives: Disk Mounter does not work with extended partitions.
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For information about drive partitioning, see the Avid Composer Products Setup Guide.
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Striping SCSI Drives The new SCSI LVD board replaces the SCSI accelerator board in some configurations. If you receive four Avid iS18™ drives, Avid recommends placing two drives on each channel of the SCSI LVD board and performing a 4-way stripe across both channels. In general, if your configuration allows, striping across both channels will yield optimal performance with SCSI drives.
Drive Striping Configurations Avid provides drive striping information when configurations are tested and when drives and software are released. This information refers to the number of drives that need to be striped to achieve a specific resolution. This information is available in the Documentation section of the Avid Customer Service Knowledge Center. To access drive striping information: 1. Click the Avid Customer Service Knowledge Center link at www.avid.com.
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If you are not already a registered user of the Knowledge Center, register now. Registered users can access more information. 2. Choose Utilities from the Storage + Networking menu. 3. Click Go. 4. Click the Documentation tab. 5. Click Release Notes. Links to the latest drive striping information are posted here.
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If you have trouble navigating to this document in the Knowledge Center, search for “drive striping.”
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Documentation Changes The information in this section is not in the Media Composer or Film Composer documentation.
Calibrating Audio Hardware You can now use the Audio Project Settings dialog box to change your default audio hardware calibration. The application’s default audio hardware calibration is set to –14 dBFS and new audio I/O devices (888) shipping from Avid are calibrated to –14 dBFS. If you change the application’s default, you must recalibrate your audio I/O device to match. The Avid application’s audio hardware calibration setting must match the calibration of your audio I/O device. The Avid application cannot determine the calibration of your audio I/O device. If you are using older audio hardware or if you are unsure of your audio device’s calibration, you might need to change the calibration of your audio I/O device. If the application’s hardware calibration setting value does not match the calibration of your audio I/O device, the analog VU (volume unit) scale in the Audio tool will display incorrect values. To synchronize the audio hardware calibration setting with the audio I/O device, do one of the following: •
Change the calibration of the audio I/O device to match the application’s hardware calibration setting value.
•
Change the application’s hardware calibration setting value to match the calibration of the audio I/O device.
For procedures on how to calibrate the audio I/O device, see “Calibrating Input Channels of the Audio I/O Device” on page 64 and “Calibrating Output Channels of the Audio I/O Device” on page 66. 62
For example, if your audio I/O device is calibrated to –14 dBFS, you can set the application’s hardware calibration setting value to –14 dBFS. After you change the application’s hardware calibration setting value, the following settings also change to match: •
Reference Level in the Set Reference Level dialog box (Peak Hold pop-up menu — Audio tool)
•
Calibration Tone in the Set Calibration Tone dialog box (Peak Hold pop-up menu — Audio tool)
Changing the Audio Hardware Calibration Setting To change the audio hardware calibration setting: 1. Double-click Audio Project in the Settings scroll list of the Project window. The Audio Project Settings dialog box appears.
2. Select a new default hardware calibration setting from the Hardware Calibration pop-up menu, either –14 dBFS, –18 dBFS, or –20 dBFS. A message box appears.
63
3. Do one of the following: •
If the calibration of your audio I/O device does not match the new Hardware Calibration setting value, click Help for procedures on how to calibrate the audio I/O device, or see “Calibrating Input Channels of the Audio I/O Device” on page 64 and “Calibrating Output Channels of the Audio I/O Device” on page 66.
•
If the calibration of your audio I/O device matches the new Hardware Calibration setting value, click OK.
4. Save the new Hardware Calibration as a Site setting. To establish a global setting, see “Using Site Settings” in the editing guide for your Avid product.
Calibrating Input Channels of the Audio I/O Device To calibrate input channels for the audio I/O device: 1. Double-click Audio Project in the Settings scroll list of the Project window. The Audio Project Settings dialog box appears. 2. Select a new default hardware calibration value from the Hardware Calibration pop-up menu, either –14 dBFS, –18 dBFS, or –20 dBFS. A message box appears.
3. Click OK.
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4. Connect a sine wave generator that can produce a 1-kHz tone, +4 dBu @ 0 VU to channel 1 of the audio I/O device. 5. Send a 1-kHz tone into channel 1 of the audio I/O device. 6. In the Audio tool, click the In/Out toggle buttons for channel 1 to display I for input. You should see a level in the meter display. 7. Choose Calibrate from the PH (Peak Hold) pop-up menu in the Audio tool. The Audio tool changes to Calibrate mode: the scales display a range of approximately 2 dB, and the meters indicate levels within this range.
The Volume Unit scale varies, displaying a custom reference level setting, +1 dB above and –1 dB below.
Indicates the hardware calibration value you selected in step 2, either –14, –18, or –20.
8. Adjust the channel 1 input level by inserting a screwdriver into the trim pot on the audio I/O device and turning it until the Audio tool’s on-screen meter reaches 0 VU. The input channel is now calibrated. 9. Repeat this procedure for each input channel of the audio I/O device.
65
To return to the default Audio tool display, choose Calibrate from the PH (Peak Hold) pop-up menu.
Calibrating Output Channels of the Audio I/O Device If the input channels of the audio I/O device are calibrated correctly, you can use the input channels to calibrate the output channels. To calibrate output channels for the audio I/O device: 1. Make sure the audio I/O device is calibrated properly for input (see “Calibrating Input Channels of the Audio I/O Device” on page 64). 2. Connect two output channels to two different input channels. For example, connect output channels 1 and 2 to input channels 7 and 8. 3. Choose Set Calibration Tone from the Peak Hold (PH) pop-up menu in the Audio tool. 4. Click the In/Out toggle buttons to display I for the channels you are using for input, for example, 7 and 8. Click the In/Out toggle buttons to display O for the channels you are calibrating, for example, 1 and 2. 5. Choose Calibrate from the Peak Hold (PH) pop-up menu. 6. Choose Play Calibration Tone from the Peak Hold (PH) pop-up menu. 7. Adjust the audio I/O device trim pots on the output channels (1 and 2) to 0 VU, using the meters of the input channels (7 and 8) as your guide. 8. Repeat this procedure for each channel.
Sharing Bins and Projects on Avid Unity MediaNet Avid Unity MediaNet Release 1.1 allows you to share bins and projects across the network. When you place your bins and projects on 66
Avid Unity MediaNet workspaces (drive volumes), several users can work on the same project at the same time. For example, an editor can create sequences in one bin while an assistant redigitizes media in another bin. At the same time, other users can add audio effects or titles to other bins in the project. Each user can perform tasks from his or her own computer. The system provides a simple locking mechanism to help you keep track of who is currently working in a bin. The method allows one writer and multiple readers of a bin.
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The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin.
Mapping Workspaces on the Avid Unity Network For information on mapping workspaces, see the Avid Unity MediaNet for Windows NT Clients Quick Start Card. These instructions assume that Avid Unity MediaNet is up and running. For details on Avid Unity MediaNet, see the Avid Unity MediaNet Administration Guide.
Sharing Methods Before you begin copying or creating bins and projects on an Avid Unity MediaNet workspace, you need to determine the sharing method you will use for the project. Shared Bins When you use this method, you store the project on your local computer and store bins and media files on the shared workspace. This method allows users in a shared environment to share only selected bins with other users. The system uses the following methods to identify the shared bins:
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•
Stores the bin in a Unity Bins folder in the Project window. This folder is similar to the Other Bins folder.
•
Displays a second column of information for the bin that identifies the computer that currently has the bin locked.
•
Uses bold text to identify bins that are locked by another user.
Shared Bins and Projects If you share bins and projects, you create and store the project folder and bins on the shared workspace (or copy an existing project, bins, and the related media files). The system uses the following methods to identify information from each computer using the shared workspace: •
Creates a project folder for each computer that accesses the project. The system adds the computer’s name to the folder name to create a unique name and stores any project-specific information in the folder. This mechanism prevents users from overwriting the project-specific data for other users. The folder is similar to the folder created when you choose New Folder from the Project Window Fast menu. For more information, see “Managing Folders and Bins” in the “Working with the Project Window” chapter of the editing guide.
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•
Displays an extra column in the project window that identifies the computer that has the bin locked.
•
Uses bold text to identify bins that are locked by other users.
•
Creates a folder at the top level of the shared workspace called Unity Attic. This folder contains backup files for each project on the shared volume.
Depending on the number of users sharing a workspace, you may want to increase the number of files that the Avid system will store in the Attic folder (use the Bin Settings dialog box).
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The following illustration shows the Project window for a shared project.
Bold bins are locked for editing but can be viewed.
Computer that currently has the bin locked
Project folders for each user
The following illustration shows the contents of a shared workspace at the desktop level.
Shared projects Shared media files Unity Attic
Opening a Shared Project To open an existing project on the shared volume: 1. Start Avid Media Composer or Film Composer. 2. In the Open Project dialog box, navigate to the project on Avid Unity MediaNet. The following illustration shows an example. 69
3. The Project window opens. For a description of the Avid Unity-specific elements of the Project window, see “Sharing Methods” on page 67. 4. Open one of the bins as usual by double-clicking the Bin icon. The bin appears with a Bin Lock Status button. You can click the red (locked) or green (unlocked) Bin Lock Status button to view a history file that shows which computers and users have modified the bin and the date and time of the modifications. The following illustration shows locked and unlocked bins.
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Unlocked bin
Locked bin
When a bin is unlocked, you have permission to make changes. You should not make changes to a locked bin. See “Restrictions and Limitations for Locked Bins” on page 72. The Bin Lock Status button does not appear if the bin is not on Avid Unity MediaNet.
Working with Locks The system uses a simple locking mechanism to help you keep track of who is currently working in a shared bin. This allows one writer and multiple readers of a bin. Default Locking Mechanism The user who opens the bin first gets the lock and obtains write access to the bin. The system uses bold text in the Project window to identify bins that are locked by another user. When the person who owns the lock closes the bin, it becomes available for another user to open and take the lock. If one user has the lock and another user has the same bin open, when the first user closes the bin, the second user must close and reopen the bin to get the lock.
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You can click the red or green Bin Lock Status button in the bin to view a history file that shows which computers and users have modified the bin. To open a bin without taking the lock, Alt+double-click the bin in the Project window. Overriding the Default Locking Mechanism You can instruct the system to keep a bin locked even after you close it. To permanently lock a bin: 1. Select one or more bins in the Project window, and click the right mouse button. 2. Choose Lock Project Bin from the shortcut menu. An asterisk appears next to the user name in the Project window. In this case, the bin remains locked even after you close it. To unlock the bin, right-click the bin in the Project window and choose Unlock Project Bin from the shortcut menu.
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The Lock Project Bin and Unlock Project Bin commands are also available on the Clip menu. Restrictions and Limitations for Locked Bins The following restrictions apply to bins that are locked by another user: •
You cannot select a locked bin for operations such as digitizing, title creation, and importing. This helps to minimize the problems of modifying a locked bin.
•
You cannot drag to a locked bin.
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•
If you drag from a locked bin to a writeable bin, the system will create a duplicate (not a copy) of the selection in the writeable bin. The original item is not removed from the locked bin. This operation is the equivalent of duplicating a selection and then dragging the duplicate to another bin.
•
You cannot move a bin that is locked by another user.
•
If you modify a locked bin, the system will not let you save the bin to the same name, but it will allow you to save the bin to another name. However, this causes duplicate bin IDs and may cause system-level conflicts with the contents of the two bins. The application will see the duplicates of the contents of these bins and resolve the conflicts by newest modifications (this may not be desirable behavior). You should avoid creating duplicate bins by modifying a locked bin. If you do create a duplicate bin in this way, you should manually merge the changes into the original bin and delete the duplicate bin.
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The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin.
Scratch Removal Using IN and OUT Points You can use IN and OUT points to define multiple frames or fields of video that contain a scratch and then use the Scratch Removal button to quickly create a Scratch Removal effect that covers the scratched frames or fields together with the clean frame or field immediately before them. When you draw a shape to cover the scratch, the system will fill that shape with clean material in every frame or field of the effect. This method is useful in any situation where a scratch is repeated across several frames or fields. In particular, it allows for quick correc-
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tion of a scratched frame in film-originated material that has been duplicated by the pulldown process in telecine transfer to video. To remove a scratch covering more than one frame or field: 1. Mark an IN point at the first scratched frame or field. 2. Mark an OUT point at the last scratched frame or field. 3. Move the position indicator to one of the following locations: •
Between the marked IN and OUT points
•
On the frame or field immediately before the marked IN point
4. Click the Scratch Removal button. The system applies a Scratch Removal effect that covers the scratched frames or fields and the clean frame or field immediately before them.
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The position indicator must be between the marked IN and OUT points or on the frame or field immediately before the marked IN point. If the position indicator is at any other location, the system creates the Scratch Removal effect at that location and ignores the marked IN and OUT points. 5. Select a shape tool or a brush from the Effect Editor. 6. Click the image and drag to create a shape that covers the scratch. The system replaces the material in the shape with material from the clean frame or field. The same clean material covers the scratch on every scratched frame or field within the effect.
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The Scratch Removal positioning parameters are set by default to reference the part of the clean frame that corresponds to the shape you draw. In most cases, you do not need to make any adjustments to these parameters to cover the scratch successfully. 7. (Option) Use the Feathering parameters to help blend the replacement material into the surrounding area. 8. Render the effect to play it back in real time. 74
In some unusual circumstances, you might need to animate the shape that contains the replacement material by using keyframes together with positioning adjustments to follow movement and changes. For example, if the image is changing rapidly from frame to frame and the scratch covers several frames, the clean material might not match the later scratched frames without repositioning. For more information on Scratch Removal and on animating Intraframe shapes, see Chapter 8 of the Avid Media Composer and Film Composer Effects Guide.
Default Settings for Frame or Field Offset The default settings for Frame or Field offset in the Scratch Removal effect are now as follows: Frame/Field: 0 Offset: From Start These settings correctly reference the clean frame or field whenever you apply the Scratch Removal effect using the Scratch Removal button. The settings reference the clean frame when you use the Scratch Removal button without marking IN and OUT points to remove a scratch on a single frame or field. They also reference the clean frame when you use the Scratch Removal button with IN and OUT points to remove a scratch or other flaw that repeats across more than one frame or field. For more information on scratch removal, see “Scratch Removal Using IN and OUT Points” on page 73 and Chapter 8 of the Avid Media Composer and Film Composer Effects Guide.
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Film Projects and Nested Tracks If you are in a film-based project and try to add tracks while inside a track group, a dialog box appears. The message states: Notice: FilmScribe will not represent tracks nested at this level. The track will be added, and you must also either click OK to display this message every time you attempt to add a nested track or click OK All to disable this message until you have restarted the application.
Exporting with the Avid QuickTime Codec Page 9-43 of the Avid Media Composer and Film Composer Input and Output Guide contains an incorrect cross-reference. Step 6b should read: “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 j.” Page A-11 of the Avid Media Composer and Film Composer Input and Output Guide states that the QuickTime 4.0 software is automatically installed when you install the Avid application software. This is incorrect. You must install the QuickTime 4.0 software from the Avid Media Composer Products CD-ROM as a separate step. See “Installing the Software” on page 21 of these release notes.
Graphics File Types – Photo CD The following section was omitted from the Avid Media Composer and Film Composer Input and Output Guide. It should be located in the File Format Specifications table in Appendix A. Photo CD is developed by Kodak for use with the Kodak™ Photo CD™ storage medium. You cannot import this format directly into your Avid system. However, you can open the file first in an application 76
such as Photoshop® and use the Save As feature to save the file in a format that can be imported, such as TARGA®, PICT, or TIFF.
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If your camera creates JPEG files and stores them on a floppy disk, you can import the JPEG files directly into your Avid system.
3D Effects The Sawtooth Offset Shape effect was inadvertently left out of Chapter 10 of the Avid Media Composer and Film Composer Effects Guide. The effect should have been listed under the Offset Shapes effect category.
Sawtooth
This is similar to a Sawtooth Wipe effect except that you have more control over the shape. Alternating slats of video turn and slide against each other to fill the screen or turn and slide away to reveal incoming video. Amplitude changes the tilt of the slats. Frequency changes the size and number of the slats. Higher values increase the number of slats.
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Using the Getting Started Guide Tutorials Your system cannot automatically locate the tutorial project unless it is inside the Avid Projects folder. The location on your system of the Avid Projects folder depends on your Media Composer or Film Composer installation. If the Boat Shop tutorial project does not appear in the Project window after installing the tutorial, copy the Boat Shop NTSC or Boat Shop PAL folders to drive:\Avid\Avid Media Composer\Avid Projects or to drive:\Avid\Avid Film Composer\Avid Projects. If the Saturn tutorial project does not appear in the Project window after installing the tutorial, copy the Saturn folder from C:\Program Files\Avid\Film Composer 24p Tutorial to drive:\Avid\ Avid Film Composer\Avid Projects.
Hardware and Software Limitations Static titles are not supported in OMFI 1.0 or 2.0. Static titles exported to earlier versions of Symphony, Media Composer, Film Composer or Avid Xpress might appear as empty matte keys. Workaround: To avoid this problem, export the bin containing the static title created in Media Composer Release 9.1 or Film Composer Release 9.1. Multiformat titles must be real-time DSK. If your Avid system includes support for 24p projects, you can save titles in multiple formats (NTSC 4:3, PAL 4:3, NTSC 16:9, or PAL 16:9, depending on your source media). When you create a digital cut, you can choose the appropriate format. This feature works only for real-time DSK titles. It does not work for rendered titles. Rendered titles will play in the original rendered format.
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If you need to render effects that play at the same time as the title, render all effects except the title. Alternatively, create a video mixdown of all tracks except the title. For more information, see “Working with Titles on Systems with 24p Support” in the effects guide for your Avid system.
Fixed Bugs in Release 9.1 and Release 9.0
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The “8 Device Error” will no longer appear when you render a motion effect created from a clip that has multiple files.
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In a PAL project, when you apply a shadow to a 3D Warp effect and set the X parameter to greater than –1 and the Y parameter to –100, the shadow no longer flickers and the effect renders correctly.
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Shadows on PAL 3D titles no longer have a vertical line on the left edge.
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If you import files into Media Composer that were not generated via a Media Composer digitize, you can now successfully export these files to your OMM™ Asset Manager. The files will appear correctly in the Asset Manager after export.
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A transition effect that crosses the OUT point is no longer ignored when you perform a digital cut with the Add Black at Tail option selected.
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The Video Input tool does not reverse the odd and even fields in the video data displayed in the Waveform monitor.
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If you lose signal from the serial deck control cable during digitizing, a single error message appears.
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Large multilayered sequences with unrendered effects now export successfully to AVI.
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Sequences with effects that you export from Media Composer Release 7.1 using OMF® 2.0 display properly when imported into Media Composer Release 9.1 or Film Composer Release 9.1.
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Saving large bins (more than 8000 clips, for example) does not cause an error.
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Fading an imported PICT graphic works properly when DSK is turned off.
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Font names are not cropped in the Title Tool font display when the font style is set to “system” with many fonts installed.
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You can create a rolling title at maximum length and then make a change that further increases the size (by adding a border, for example) without receiving the message “Unhandled Access Violation.”
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When you promote a Center Box shape wipe to 3D in the Effect Editor, the original aspect ratio of the box is retained.
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Promoting a 2D Luma Key effect to 3D no longer inverts the key.
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The background color in a real-time 3D Picture-in-Picture effect no longer flashes or disappears during playback when it closely follows other effects in the sequence.
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A loud spike of sound no longer occurs when you change the Input Source selection in the Audio Settings dialog box.
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You can create a digital cut of a sequence containing a rolling title without receiving the message “Rolling Title Underrun.”
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You can move media files from Media Composer Release 9.1, Film Composer Release 9.1, Symphony Release 2.1, or Avid Xpress Release 3.1 to a Media Composer Release 8.0 system, and then consolidate the media without receiving errors.
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Digitizing across partitions no longer gives you the message “Digitize aborted due to lack of preallocated disk space. Keep or discard?”
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The Interface setting option “Windows® Standard Alt Key Behavior” switches between Insert mode and Selection mode. When you select “Windows® Standard Alt Key Behavior” in the Interface settings, the Ctrl and Alt modifier keys have no effect in the Title tool.
Known Bugs and Limitations in Release 9.1 24p Projects
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Decomposing an NTSC 24P sequence with mixed "Film to Video Transfer" types will result in all clips being the same as the current setting instead of the original clip types. Workaround: There are two workarounds for this problem: Workaround 1: Bring all of the original clips with the sequence instead of decomposing. Workaround 2: At the beginning of the project, when first digitizing, create a custom column that you can use to manually indicate transfer type of Pulldown or Video Rate, this step make the following steps easier. (optional, but recommended)
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When decomposing to batch digitize follow these steps: 1. Make a copy of the sequence and place it in a second bin. 2. Decompose the original sequence at Film Settings -- Pulldown 3. Decompose the copy at Film Settings -- Video Rate 4. Sort both bins by Tape Name or the custom column created at the beginning of the project, check tapes to make sure that they don’t contain mixed transfer rates 5. Delete the Video Rate clips that are in the Pulldown bin 6. Delete the Pulldown clips that are in the Video Rate bin 7. Batch Digitize the bins individually at their respective Film Settings 8. Move the Video Rate clips into the Pulldown bin (or vice versa) 9. Select All and Relink to selected.
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When you change the pullin of a sequence in a PAL 24p project, the pullin letter does not appear in the Pullin Bin column. The sequence is correctly updated with the new pullin.
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The Audio Settings dialog box contains incorrectly labeled text boxes. The Incoming and Outgoing text boxes are reversed, which causes the incoming and outgoing audio frame information you specify to be reversed.
Audio
Workaround: To adjust Digital Scrub parameters in the Audio Settings dialog box, enter incoming frames in the Outgoing text box, and enter outgoing frames in the Incoming text box.
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Illegal Object message or problems with the Undo list after performing an Automation Gain recording. The system might display an Illegal Object error message under the following circumstances: 1. On a sequence with IN and OUT points, use the Play Loop button on one of the Audio tools (for example, the Audio Mix tool or the Automation Gain tool). 2. Use the Automation Gain tool to create an automation gain recording. 3. Click the Trash button to end the recording. You might also experience problems using the Undo list after you click the Trash button. Workaround: You need to clear the Undo list to fix the problem. Do one of the following: •
Clear the monitors by choosing Clear Monitor from the Clip menu for both the Source and Record monitors.
•
Exit and restart the application.
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Due to privilege limitations of the Digidesign DAL driver, you can load AudioSuite windows only if you are logged in as an administrator.
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If your system is configured with a JL Cooper MCS-3000X MIDI automation controller connected and you record automation gain by using the mouse, the volume keyframe at the beginning of the record will snap to infinity for the duration of a frame.
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AvidNet
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The system may generate an error or display distorted video when you attempt to play a Full Composition that was originally transferred as a Consolidated sequence. This error is specific to sequences containing either compressed video (that is, any resolution other than 1:1) or video that spans two media files (for example, if you had digitized to multiple media files). If you transfer a sequence containing either of these cases to another system as a Consolidated transfer, and sometime later receive the same sequence as a Full Composition transfer, the system will do one of the following: •
Generate a DISK_EOF error when attempting to load the sequence in the monitor
•
Generate a fatal error when attempting to load the sequence into the Timeline
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Display distorted video when attempting to play the second media file (for the case where the video spans two media files)
Workaround: After transferring the Consolidated sequence, exit and then restart the Media Composer or Film Composer application. Then you will be able to receive the Full Composition sequence with no problem.
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If you have a clip that you think you might be getting back as a Full Composition sequence, Consolidate the sequence locally (using Consolidate on the Clip menu) first, and then transfer the sequence as a Full Composition. This will also minimize the amount of media that is transferred, as the media files that already exist on the first system would not be sent again.
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Bins and Projects
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Logging into an existing Media Composer or Film Composer project from MediaLog corrupts Media Composer or Film Composer settings and results in a Fatal Error when you open the project in the Media Composer or Film Composer application. Create a new project in MediaLog. In Media Composer or Film Composer, open or import the new project or bins from the new project. Alternately, if you have logged directly in to an existing Media Composer or Film Composer project from MediaLog, open the Avid Projects file on the desktop, and delete the Settings.avs file from any projects into which you have logged.
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The view of an opened shared bin can sometimes revert to the view it had when you previously opened it. This applies to bins that are shared over Avid Unity MediaNet. For example, if you choose Frame view for your open bin, close the bin, and then reopen it, it will revert to Text view.
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The log file for a shared bin might not be automatically deleted when you delete a bin. For example, if you delete a shared bin that uses a default bin name and then create a new bin that uses the same default bin name, the entries from the deleted bin’s log file will appear in the new bin’s log file.
Compatibility
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Redigitize media before re-creating titles from Media Composer Release 7.0, Film Composer Release 7.0, or Avid Xpress Release 2.0. If you move a sequence forward from Media Composer Release 7.0, Film Composer Release 7.0, or Avid Xpress Release 2.0, you should redigitize the media before 85
re-creating titles. If you re-create the titles first, the titles will not be relinked to the sequence because of differences in the video compression.
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The versions of the D-Fi™ AudioSuite Plug-Ins shipped with Media Composer Release 7.x and Avid Xpress Release 2.x are not compatible with the D-Fi AudioSuite Plug-Ins shipped with this release of Avid Media Composer or Film Composer. Workaround: Render any D-Fi AudioSuite Plug-Ins before you move them to a Media Composer Release 9.1 or Film Composer Release 9.1 system.
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The versions of the D-Fx™ AudioSuite Plug-Ins shipped with Media Composer Release 7.x and Avid Xpress Release 2.x are not compatible with the D-Fx AudioSuite Plug-Ins shipped with this release of Media Composer or Film Composer. An error will occur when you open the plug-in window or render D-Fx plug-ins in bins or sequences imported from earlier versions of Avid Symphony, Media Composer, Film Composer, or Avid Xpress. Workaround: Render any D-Fx AudioSuite Plug-Ins before you move them to a Media Composer Release 9.1 or Film Composer Release 9.1 system, or perform an audio mixdown of all tracks.
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When you step and play a sequence by using a User setting created with Symphony Release 1.0 and a project from Media Composer Release 7.0, a CM_offset_out of range message appears. Workaround: Create a new user.
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When you move User settings from Media Composer Release 9.1 or Film Composer Release 9.1 to Media Composer Release 7.2, the Digitize settings are changed.
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After you transfer a sequence that contains a full-frame, multipleline, static title created in a PAL project on Media Composer Release 9.1 or Film Composer Release 9.1 to Media Composer Release 7.2, 86
and after you re-create the title, the title appears blown up with only half the title displaying during play. The title appears normal when you play it in Effect mode. Workaround: Render the title.
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When you transfer a PAL project that contains a long rolling title from Media Composer Release 9.1 or Film Composer Release 9.1 to Media Composer Release 7.2, the title is truncated when you re-create it.
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Static titles are not supported in OMFI 1.0 or 2.0. When importing a static title from a Media Composer Release 9.1 or Film Composer Release 9.1 system to another system, the static title will come across as a matte key. Workaround: Use the actual bin where the static title was created, and copy it to the other system.
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When you move Media Composer Release 7.2 film projects with TC 24 columns, duplicate columns might appear. This problem applies to Media Composer Release 7.2 film projects that you moved to Media Composer Release 9.1 or Film Composer Release 9.1. If you had information in a TC 24 bin column, you might see two TC 24 columns in the Bin Headings menu when you open the project in Media Composer Release 9.1 or Film Composer Release 9.1. One column will be empty and the other will hold the values you entered in the Media Composer Release 7.2 project.
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You can lose sync on analog outputs if you interrupt the flow of serial digital video input to the Meridien I/O box. If the Digitize tool is active, and you have selected Serial Digital as the input selection in the Video Input tool, you will lose sync on the analog outputs (Component, Composite, and S-Video output) if you interrupt the flow of serial digital video input to the Meridien I/O box. This can happen
Digitizing
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either by removing the SDI cable from the Serial Digital Input BNC connector or by using a switcher, which switches the input from one Serial Digital deck to another. Workaround: In order to avoid this problem, select a different input source in the Video Input tool before you disconnect the cable or switch the signal through a switcher. Then switch the input source back to Serial Digital. The correct way to recover from this problem is to shut down the application, power cycle the Meridien I/O box, and then start the application again.
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There are timing problems with some DAT decks when you use the AES/EBU digital input. Avid recommends that you run reference (black burst) into the DAT deck and the Meridien I/O box when you are digitizing.
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Canceling a Select Tape operation after deleting a deck channel can result in a Record ready indication (Record button is bright red) from the Digitize tool even though the Digitize tool message bar indicates “No Source Tape Selected.” Workaround: Close and reopen the Digitize tool to correct the status.
Editing
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Reveal file does not work correctly when Internet Explorer is running. The Reveal File command might not work correctly if you are running Internet Explorer as your default desktop browser. The Reveal File command should open the desktop view of the hard drive directory and highlight the video track. However, if you are using Internet Explorer as the default desktop browser, the system does not locate the file.
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Workaround: Disable Internet Explorer as follows: 1. Click the Start button, point to Settings, and then click Control Panel. 2. Double-click Add/Remove Programs. 3. Select Microsoft Internet Explorer 4.0 from the list, and click Add/Remove. The system displays the Internet Explorer 4.0 Active Setup application. 4. Make sure the option “Add the Windows Desktop Update component from Web site” is not selected.
Effects
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When you shuttle above 24 fps inside a 2-stream baseboard effect, and then shuttle down below 24 fps, a black screen with a green vertical line in the middle flashes on a frame. The black screen and green line disappear when you continue to play the sequence.
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The Reverse Match Frame feature does not work correctly with motion effects. For example, if a 50% Motion Effect clip is loaded into the Source monitor, and Reverse Match Frame is activated, the sequence position bar may stops on a 25% motion effect or a different render type frame. Reverse Match Frame recognizes only the source timecode of the Motion Effect clip and matches to that frame.
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Adding a dissolve to a title over an AVX effect may cause a “Pixel to VDM error.”
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When you enable Stamp on a 3D Warp effect, the background video might stutter.
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If you apply two 3D effects of different shapes to a sequence and then shuttle at 1 fps from before the first effect into the second effect, the second effect will start one frame late.
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Trail effects might show flashes if playback begins at or near the head of the effect.
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If you colorize a title or a motion effect, the color appears in the bin. If you cut the title or motion effect into the Timeline, the Timeline track does not retain the color.
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If you add a Stamp effect on the first keyframe of a 3D Picture-inPicture, the stamp will not take effect.
Import and Export
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The installation software does not automatically install QuickTime 4.0. If you attempt to import a QuickTime movie file and receive the following error: Exception: Cannot start module. The system cannot find the file specified. then you need to install QuickTime 4.0 from the Avid Media Composer Products CD-ROM. See “Installing the Software” on page 21 for more information.
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After you batch import a 32-bit QuickTime movie, the alpha track might remain offline in the sequence After you batch import a 32-bit QuickTime movie that has an alpha channel, the tracks for graphic fill and alpha matte are online in the bin but the alpha matte track remains offline in the sequence. If you delete the precompute media files of the movie master clip in the bin, the
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sequence does not relink to the alpha matte track following batch import. Workaround: Batch importing a QuickTime movie that has an alpha Matte Key effect in a bin creates new media only for that single effect, not for all effects in sequences. Therefore, do one of the following:
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•
Batch import from the matte key’s rendered effect reference clip in the bin.
•
Batch import from a particular sequence.
You might receive an access denied message after you start a Windows NT system and then attempt to access a Macintosh drive. An “Access denied” message might appear after you start a Windows NT system and then attempt to access a Macintosh drive to read or write a file. If this happens, you can temporarily fix the problem by opening the MacFormat option (by clicking the Start menu, pointing to MacOpener, and selecting MacFormat) and then closing MacFormat without formatting anything. Because this is only a temporary solution, the next time you restart the Windows NT system, the problem will occur again. Workaround: To permanently fix the problem, follow these steps: 1. Navigate to C:\Program Files\MacOpener. 2. Copy the MacLic.exe file. 3. Using Windows NT Explorer, open the following folder: C:\Winnt40\Profiles\All Users\Start Menu\Programs\Startup 4. Choose Paste Shortcut from the Edit menu. 5. Double-click the shortcut that you just pasted. Although nothing seems to happen, MacOpener recognizes the license and you can then read from and write to a Macintosh disk, even after restarting your Windows NT system.
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OMF batch import of consolidated master clips might not work. Workaround: If you get errors when you batch import OMF files, import the files individually into Media Composer or Film Composer.
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Audio fades are not extracted from OMFI when pan/vol is on the clip. When you import this OMFI file into another system, the dissolve will be unrendered. Workaround: You might want to perform an audio mixdown of the clip before exporting.
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PAL Method 1 film audio exports are not supported when you export to AudioVision®, Pro Tools®, or any release of Media Composer, Film Composer, or Symphony that has 24p capabilities.
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Long-duration, high-resolution source clips might cause errors during OMF export. Workaround: If you receive an error during OMF export, try consolidating the sequence.
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Batch Import might not work correctly when bringing forward projects with QuickTime alpha mattes. This problem applies to projects that you bring forward from Media Composer Release 7.x or earlier or Avid Xpress Release 2.x or earlier. If the project contains an imported QuickTime with alpha effect, Batch Import does not link the QuickTime alpha matte properly. The graphic fill appears but the alpha matte shows MEDIA OFFLINE. Workaround: To fix the problem on the Media Composer Release 9.1 or Film Composer Release 9.1 system, import the QuickTime with alpha movie normally instead of using Batch Import. Then cut the effect into your sequence by hand in appropriate locations. To avoid the problem: On the Media Composer Release 7.x or Avid Xpress Release 2.x system, create one 32-bit QuickTime with 92
alpha movie, and then create and import two QuickTime movies: one RGB and one alpha. Create a Matte Key effect using Matte Key in the Effect Palette with these two imported clips and use it in your sequences. Batch Import will work properly when the project is brought forward to Media Composer Release 9.1 or Film Composer Release 9.1.
Play
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The Dual Image Play option might not work correctly at ¼ speed. The Dual Image Play option, which is a Trim setting, might not work correctly if you use the K and L keys to play back at ¼ speed — both monitors display the same image. Workaround: To display a different image in each monitor, press and hold the L key, and then use the K key to slow down playback to ¼ speed.
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Single-field step might not update the Client monitor on marked frames. Problems can occur with single-field stepping if you mark a frame of a two-field clip while the “Draw graphics on Client monitor” setting is enabled. If you step forward one field, the first field after the marked frame plays twice. If you step backward one field, the second field on the marked frame plays twice. Workaround: Disable the “Draw graphics on Client monitor” setting.
System
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Some versions of the BlueICE board cause the system to hang the very first time that you access an ICE effect. This only happens immediately after a system reboot.
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Workaround: Open the Windows NT Task Manager, select Media Composer or Film Composer, click the End Task button, and then relaunch Media Composer or Film Composer. The problem should not reoccur until the next system reboot. Please contact ICE (Integrated Computing Engines, Inc.) Technical Support if you have an ICE board and observe this behavior.
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Renaming an OMFI MediaFiles folder might cause an Access Violation error when you launch the Digitize tool. Workaround: Do not rename the OMFI MediaFiles folder or create a new OMFI MediaFiles folder manually.
Technical Support Information If you require technical assistance and are currently covered under an Avid Assurance support contract, you may call our technical support representatives at 800-800-2843 from 8 A.M. to 8 P.M. local time, Monday through Friday. If you are not covered or are due for renewal of your Avid Assurance support contract, please contact Avid Assurance Contract Sales at 800-949-2843, option #6. International customers may contact either their Avid Reseller or local Avid office for assistance. As an Avid Assurance customer, you are entitled to access technical support information and product information, as well as the latest news from our Web-based Knowledge Center. Simply navigate to www.avid.com and select Customer Service. If you need help locating the reseller or Avid office nearest you, please visit our Web site at www.avid.com/misc/dealer.html. Customers in the United States and Canada may obtain this information by calling the Avid Customer Relations Desk at 800-894-5654.
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Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Avid products or portions thereof are protected by one or more of the following United States patents: 4,746,994; 4,970,663; 5,045,940; 5,063,448; 5,077,604; 5,245,432; 5,267,351; 5,309,528; 5,325,200; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,583,496; 5,584,006; 5,627,765; 5,634,020; 5,640,601; 5,644,364; 5,654,737; 5,701,404; 5,715,018; 5,719,570; 5,724,605; 5,726,717; 5,729,673; 5,731,819; 5,745,637; 5,752,029; 5,754,180; 5,754,851; 5,781,188; 5,799,150; 5,812,216; 5,828,678; 5,842,014; 5,852,435; 5,883,670; 5,889,532; 5,892,507; 5,905,841; D352,278; D372,478; D373,778; D392,267; D392,268; D392,269; D395,291; D396,853; D398,912. Additional U.S. and foreign patents pending. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, for any purpose without the express written permission of Avid Technology, Inc.
© 1999 Avid Technology, Inc. All rights reserved. Printed in USA. Attn. Government User(s). Restricted Rights Legend U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial computer software” or “commercial computer software documentation.” In the event that such Software or documentation is acquired by or on behalf of a unit or agency of the U.S. Government, all rights with respect to this Software and documentation are subject to the terms of the License Agreement, pursuant to FAR §12.212(a) and/or DFARS §227.7202-1(a), as applicable.
Trademarks AirPlay, AudioVision, Avid, CamCutter, Digidesign, FieldPak, Film Composer, HIIP, Image Independence, Marquee, Media Composer, Media Recorder, NewsCutter, OMF, OMF Interchange, Open Media Framework, Pro Tools, and Softimage are registered trademarks and AniMatte, AudioSuite, AutoSync, AVIDdrive, AVIDdrive Towers, AvidNet, AVIDstripe, Avid Unity, Avid Xpress, AVX, DAE, D-Fi, D-FX, D-Verb, ExpertRender, FilmScribe, Intraframe, iS9, iS18, iS23, Lo-Fi, Magic Mask, Matador, MCXpress, MEDIArray, MediaDock, MediaDock Shuttle, Media Fusion, Media Illusion, MediaLog, Media Reader, MediaShare, Meridien, OMM, QuietDrive, Recti-Fi, rS9, rS18, Sci-Fi, Sound Designer II, Symphony, tools for storytellers, Vari-Fi, and Video Slave Driver are trademarks of Avid Technology, Inc., or its subsidiaries or divisions. IBM is a registered trademark of International Business Machines Corporation. InstallShield is a registered trademark of InstallShield Corporation. Macintosh and QuickTime are trademarks of Apple Computer, Inc., registered in the United States and other countries. Kodak and Photo CD are trademarks of Eastman Kodak Company. MacOpener is a registered trademark of Data Viz, Inc. Microsoft, Windows, and Windows NT are registered trademarks of Microsoft Corporation. PhotoShop is a registered trademark of Adobe Systems Incorporated. StuffIt is a trademark of Aladdin Systems, Inc. TARGA is a registered trademark of Pinnacle Systems. WinZip is a registered trademark of Nico Mak Computing, Inc. Yamaha is a registered trademark of Yamaha Corporation of America. All other trademarks contained herein are the property of their respective owners.
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tools for storytellers™
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