Dictionary

Transcript

DICTIONARY ® UM-14264-C Third Edition October, 1995 Created by: Matt Allard Ralf Berger Bill Bliss Thomas Boudrot Susan Czerepak Phil DiBello Anthony DiMarco Mike Grant Alexander Hartenstine Michael Healy Dan Holmes Marshall Houskeeper Elaine King Matt Kingman Edwin Kroeker Larry Liu Gabe Mahoney Tony Molinari Marianna Morley Keith Niemyjski Perry Paolantonio Suzanne Poirier Chris Prosser Kevin Quigley Ken Rice David Saggio Bill Tsen Martha Warkentin Existing video, photographic and audio materials are generally protected under copyright law. Permission from the copyright owners should be secured before incorporating any such material into a program. Multimedia Group Data Translation, Inc. 100 Locke Drive Marlboro, MA 01752-1192 (508) 460-1600 Easylink MBS 62825999 Telex 951646 (DATATRANS MARO) Fax (508) 481-8627 Information furnished by Data Translation, Inc. is believed to be accurate and reliable; however, no responsibility is assumed by Data Translation, Inc. for its use; nor for any infringements of patents or other rights of third parties which may result from its use. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form by any means, electronic, mechanical, by photocopying, recording, or otherwise, without the prior written permission of Data Translation, Inc. Use, duplication or disclosure by the United States Government is subject to restrictions as set forth in subparagraph (c)(1)(ii) of the Rights in Technical Data and Computer Software clause at 48 C.F.R., 252.227-7013, or in subparagraph (c)(2) of the Commercial Computer Software -- Registered Rights clause at 48 C.F.R. 52.22719 as applicable. No license is granted by implication or otherwise under any patent rights of Data Translation, Inc. The Media 100 program was written with the following: • MacApp® copyright © 1984-1995 Apple Computer, Inc. The MacApp software is proprietary to Apple Computer, Inc. and is licensed to Data Translation, Inc. for distribution in combination with Media 100. • Mercutio MDEF from Digital Alchemy Copyright © Ramon M. Felciano 1992-1995, All Rights Reserved. APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED, REGARDING THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. Apple and Macintosh are registered trademarks. QuickDraw, QuickTime, Quadra, Power Macintosh, TrueType, and HyperCard are trademarks of Apple Computer, Inc. Adobe, Adobe Premiere, Adobe Photoshop, PostScript, and Adobe Type Manager are trademarks of Adobe Systems, Inc. Sound Designer II and DigiDesign are trademarks of DigiDesign, Inc. CharisMac and ANUBIS are trademarks of CharisMac Engineering, Inc. NuBus is a trademark of Texas Instruments. Contents may include other manufacturers’ trademarks. Media 100, the Media 100 logo, and Data Translation are registered trademarks, and POWER Option, EDL Option, FX Option, CG Option, HDR Option, Component Option, All-On-One, PowerLog, FastFX, MotionFX, and ColorFX are trademarks of Data Translation, Inc. Printed on recycled stock. Copyright © 1995 by Data Translation, Inc. All rights reserved. Printed in U.S.A. Overview The Media 100 Dictionary is an alphabetical reference that provides information about Media 100, the Macintosh, and the video industry. Related Documents The Media 100 documentation set includes the following items: • Media 100 Installation Guide Explains how to install Media 100 hardware and software; connect audio and video equipment; connect cabling for S-video, composite, and component signals; and format and initialize disk drives. • Media 100 Tutorial Describes how to create a simple program from supplied video and audio clips. Its step-by-step lessons teach you how to use Media 100’s features. • Media 100 User Manual Describes basic and advanced techniques for editing and authoring video programs with Media 100. Topics include managing media files and projects, setting up input signals, digitizing media, importing media, arranging clips, adjusting and synchronizing audio, applying transitional effects, applying titles and graphics, applying motion and color effects, exporting media, creating EDLs, and mastering to tape. • Media 100 Quick Reference Card Describes command key shortcuts, function key usage, and timeline navigation shortcuts. iii Overview iv A roll 3:2 pulldown (telecine) The phrase 3:2 pulldown refers to the telecine process of transferring film to videotape. It compensates for the difference between the film play rate of 24 frames per second (fps) and the NTSC nominal rate of 30 fps by recording four film frames as five video frames. This process maintains the film’s timing interval and thus synchronization with the audio. A Converting film to PAL videotape is a less complicated procedure because of the lesser difference between play rates. Consult a film-totape service for complete information about using this process. A mode (EDL) An Edit Decision List (EDL) mode where independent edits are sorted by record In point timecodes. This mode requires the maximum shuttling of source reels in online editing applications. The record tape deck records the master linearly. See also: B mode (page 11), C mode (page 18), D mode (page 47), E mode (page 55), and edit decision list (page 55). A notation (EDL) The “A” notation in an Edit Decision List (EDL) file indicates that an audio cut occurred in that edit. For example, A1 means that audio is present on track A1, and A2 means that audio is present on track A2. See also: Edit Decision List (page 55). A roll A copy of the master videotape prepared offline. The A roll is used in an online post-production editing suite where you intend to introduce transitional effects (dissolves, wipes, etc.) between sequences on the complementary A roll and B roll. See also: A/B roll editing (page 2) and B roll (page 11). 1 a track a track The video a track in the Media 100 Program window allows you to position video clips. The a track can be used for the straightforward assembly of clips with cuts-only transitions. It’s also used to establish transition points (cut arrows) between its clips and clips in the b track to define cuts and opportunities for application of transitional effects. See also: b track (page 12), Dissolve–FastFX™ (page 51), and video track (page 164). A/B roll editing A/B roll editing (also referred to as online editing) is the process of recording source material from cassettes (the rolls) in multiple VTRs through a computer-controlled editing system to a master cassette in the object VTR. A/D converter A hardware device that transforms analog video and audio signals to digital levels as part of the digitizing process. See also: D/A converter (page 47). Add Black Clip The Add Black Clip command in the Program menu either (1) adds a 2-second black clip in the chosen video track of the active Program window at the Current Time Indicator (CTI) position; or (2) fills the gap between clips if the CTI is in a gap. The black clip appears with its duration displayed in place of a name. The Add Black Clip command is dimmed if the CTI is not in a video track gap. Keyboard shortcut: -B See also: black clip (page 15) and Current Time Indicator (CTI) (page 43). Add Graphics Clip The Add Graphics Clip command in the Program menu adds a graphics clip of 2 seconds duration in the Graphics track of the active Program window beginning at the Current Time Indicator (CTI) posi- 2 AIFF tion. The Program window must have a Graphics track present. Adding a graphics clip also automatically places the Edit Suite in Graphics mode. A See also: Current Time Indicator (CTI) (page 43) and Graphics Mode–Edit Suite (page 67). Additive Dissolve A Media 100 transition effect available with the FX Option. Out frames blend through In frames by the progressive addition of luminance values for the sequential frames. This transition produces the effect that brighter areas dissolve sooner than darker areas. ADO® The trademarked name of a digital video effects generator developed by the Ampex Corporation. ADOs are popular special effects devices in post-production houses. Adobe Type Manager™ This software application from Adobe Systems Incorporated supports the screen display of PostScript™ fonts. ADB See Apple Desktop Bus (ADB) (page 6). AIFF The abbreviation for Audio Interchange File Format, the audio file format supported by QuickTime. AIFF is the equivalent of the PICT standard for audio files. Media 100 can export AIFF files. See also: QuickTime (page 116). 3 alias alias An alias is a Macintosh feature that permits you to place an auxiliary icon for a file or application, such as Media 100, on the desktop (or anywhere else) where you can conveniently double-click it to launch the application. You can have any number of aliases. To create an alias, pick a file or application, then choose Make Alias from the Finder File menu. (You can rename the alias icon if you wish.) Drag it to the desktop. It remains there for convenient access. Refer to your Macintosh documentation for more information about using this feature. Align The Align command in the View menu aligns the active bin’s clip keyframe icons along their baselines based on the view in effect. This is useful as an automatic way of reorganizing the icons if you have dragged the clips around in the Bin window. Align To Grid The Align To Grid command in the CG Option’s Objects menu turns on an invisible grid in the CG Canvas. The grid is an alignment feature used to position objects. When the Align To Grid command is active, objects move in set increments whenever they are created, moved, or scaled. The objects “snap” to invisible grid points, ensuring easier alignment. See also: Grid Visible (page 68). All-On-One™ Mastering When you digitize video at low compression to produce the highest quality images, you consume disk space at a rapid rate. Media 100’s All-On-One Mastering capability gives you the flexibility to choose the appropriate compression level and image quality for your video material. For example, if you have hours of source material and limited disk space, you might edit the program in stages. For the first, or draft stage, digitize the video material at high compression (lower image quality), then edit and position all elements to create the pro- 4 Animated Title gram. In the second, or final stage, redigitize only the material that actually appears in the program at low compression to increase image quality. You can then master the program to videotape. A alpha channel A reserved byte within the Macintosh color system. The 32-bit color system employed by the Macintosh allocates 8 bits (or one byte) each to the red, green, and blue color channels — the other byte is reserved for the alpha channel. Graphical and video applications can use the alpha channel to define masks ranging from black through 254 shades of gray to white. This mask dictates the areas of transparency and opaqueness applied to the related image when the image is rendered with video frames. Alpha Channel Utility A Media 100 software utility that allows Media 100 to capture and restore alpha channel content generated from third party software applications. This utility provides Media 100 quality for users who want to create alpha channel graphics. ambient audio Background noises and related sounds usually added during the audio post-production process to enhance a program’s sound. See also: audio post-production (page 8). Animated Title A Media 100 transition effect available with the FX Option. The effect keys a text or image PICT file (prepared outside of Media 100) over video frames for crawl or scroll presentation. See also: crawl (page 40) and static titles (page 144). 5 Apple Desktop Bus (ADB) Apple Desktop Bus (ADB) A bus for the connection of input devices to Apple computers. Apple key The Apple key (also called the Command key) is the key identified by the symbol. It’s used frequently as a modifier key in combination with one or two other keys to initiate a command action from the keyboard. Apple menu The Apple menu is the left-most item in the menu bar. It gives you quick access to a variety of system features, including control panels and utility programs. See your Macintosh documentation for complete information about using this feature. application frozen A condition where an application on your Macintosh freezes (or locks up), as evidenced by no movement of the cursor in response to mouse or keyboard actions. aspect ratio The ratio of the width to the height for a graphical image area or a display screen. Today’s video monitors, television displays, and computer displays have an aspect ratio of 4:3. High-definition television proposes an aspect ratio of 16:9, which expands the picture area horizontally. 4:3 aspect ratio 6 16:9 aspect ratio audio headroom assemble edit When mastering a program to tape, the assemble edit mode can be selected from the Master to Tape dialog box. Assembly editing is tape-oriented, linear editing where you copy clips in sequence from source tapes onto the record master tape. All audio and video tracks, including control pulse and timecode, are output. Each edit replaces existing video and audio timecode. A See also: insert edit (page 74) and Master to Tape (page 89). ATM Abbreviation for Adobe Type Manager. See page 3. audio clips Iconic representations of digitized aural material stored in audio media files. audio cross fade See cross fade (page 42). audio headroom Headroom in analog audio refers to the recorded signal range included above the average levels at which audio peaks. Headroom allows the audio signal to occasionally spike above the normal peaking level without introducing distortion in the recording. Recorded digital audio does not technically provide headroom. The levels at which the audio signal peaks are the maximum playing levels. If a digital audio signal is allowed to spike above the maximum, or peaking level, it introduces distortion in the recorded representation. When digitizing analog audio (such as from a videotape) into Media 100, you must monitor the peaking indicators to verify that the level of the input audio does not exceed this recommendation. Adjust the level at the VTR or at a mixer to eliminate the clipping condition. 7 Audio In Audio In The Audio In field (in the Hardware Settings dialog box from the Edit menu) selects the class of the incoming signal at the Media 100 Junction Box audio input connectors: –10dB (used with consumer equipment) or +4dB (used with professional equipment). See also: Hardware Settings (page 69) and Junction Box (page 79). Audio Out The Audio Out field (in the Hardware Settings dialog box from the Edit menu) selects the class of the outgoing signal at the Media 100 Junction Box audio output connectors: –10dB (used with consumer equipment) or +4dB (used with professional equipment). See also: Hardware Settings (page 69) and Junction Box (page 79). audio nodes Audio nodes are points you can place in expanded audio tracks to allow you to make adjustments in a clip’s level or pan at frame-specific locations. For example, you may want to soften (fade) the music, yet keep it in the background while actors speak. Or you may wish to have an audio sound effect pass from the left channel to the right channel, or vice-versa. Audio nodes allow you complete control over what is heard and when it’s heard. audio post-production Improvements or additions made to a production’s basic audio. For example, equalizing (EQ) to eliminate or reduce background noise acquired during taping, adding background noise to simulate an environment, and adding a musical score. audio scanning See Scan Audio (page 130). audio track A track in the Program window where you position audio clips such as dialog, voiceovers, music, and sound effects that play with and support the video clips in your program. Audio clips can be synchro- 8 Audio window nized to specific video clips or left unsynchronized. Up to four audio tracks are available with the base product. With the HDR Option, eight audio tracks are available. A audio track expansion button This button at the left of the audio track in the Program window expands the track to allow access to the Audio Level and Audio Pan controls. audio track expansion button audio track name The name that is displayed in the text box to the left of an audio track. You can enter up to 10 characters in an audio track’s text box to differentiate among the tracks in a program. audio waveforms A visual representation of the volume level per frame for all audio clips in the selected track. Audio waveforms provide visual cues when determining the appropriate locations for adjustments. Note that waveforms represent the clips as digitized. They do not reflect adjustments made in Media 100. To display (or hide) the waveforms in audio clips, choose Show/Hide Audio Waveform in the Track menu. Audio window The Audio window supports real-time previewing and adjustment of level (volume) while you play through clips in Program mode. This window allows you to adjust the master level and the levels and pan settings of individual clips or tracks. 9 Auto Digitize Auto Digitize The Auto Digitize command in the Tools menu initiates the digitizing of video and audio source material, either under control of a log or interactively. It also provides for the replacement of missing media files associated with any clips for a bin, program, or project. This command can be used only if the POWER Option is installed. Auto Digitize Selected The Auto Digitize Selected command in the Tools menu initiates the digitizing of currently selected video and audio source material, either under control of a log or interactively. This command can be used only if the POWER Option is installed. Auto-Fit Object An item in the CG Preferences dialog box (from the CG Option’s File menu). When this item is selected, text objects are automatically resized when the point size of the text is increased or decreased. Auto Relink Media A field in the Media 100 Preferences dialog box that allows you to enable or disable automatic relinking of media files. See also: Relink Media (page 122). Auto save files interval A field in the Media 100 Preferences dialog box that allows you to determine how often your files will be saved. Click the checkbox when you want automatic reminders to save your current project, program(s), and bin(s). The text box accepts a value in the range of 5 to 60 (minutes) to set the interval between appearances of the Save dialog boxes. If you have not yet named open bins and programs, the alert initiates Save As dialog boxes. The default setting is 30 minutes. 10 B–Y B mode (EDL) An edit decision list (EDL) mode where independent edits are sorted by source reel or cassette (the first key) and record In point timecodes (secondary key). The intent of B mode is to minimize shuttling of the record reel in on-line editing applications. It does, however, increase shuttling of the source tape deck. See also: A mode (page 1), C mode (page 18), D mode (page 47), E mode (page 55), and edit decision list (EDL) (page 55). A B B notation (EDL) The “B” notation in an edit decision list (EDL) indicates that both video and audio cuts occurred in that edit. For example, a B alone shows that audio is present on both audio tracks A1 and A2; while a B1 shows that audio is present on track A1 only. See also: edit decision list (EDL) (page 55). B roll The videotape copy of all or selected sequences from the master videotape prepared offline. The B roll is used in an online post-production editing suite where you intend to introduce transitional effects (dissolves, wipes, etc.) between sequences on the complementary A roll and B roll. See also: A roll (page 1), A/B roll editing (page 2). B–Y A symbolic representation for the “blue difference” component of an NTSC or PAL video (television) signal. It is derived by subtracting the value of luminance (Y) from the blue chrominance signal (B). Also represented as Cb. On component video, it is carried on a separate line. See also: NTSC (page 100), PAL (page 105), and RGB (page 125). 11 b track b track The video b track in the Media 100 Program window allows you to position video clips. The b track can be used for the straightforward assembly of clips with cuts-only transitions. It’s also used to establish transition points (cut arrows) between its clips and clips in the a track to define cuts and opportunities for application of transitional effects. See also: a Track (page 2), Dissolve–FastFX (page 51), and video track (page 164). back porch The portion of a video signal occurring between the trailing edge of the horizontal sync pulse and the start of the active picture time. The color burst pulse sequence appears during back-porch time. back timing In tape editing, back timing refers to the specification of an insert edit backwards in time from the marked Out point on the record deck. A back-timed edit requires that you synchronize the source deck’s Out point to the record Out point. One use of back timing is where you wish to overwrite a previous edit with new material that must end at the Out point, but may or may not start at the previous In point. Background Palette The Background Palette command in the CG Option’s Windows menu allows you to specify the background of the CG Canvas. You can specify a color, a color gradient, a PICT image, or a video frame image for the background. backing up files The practice of copying important files to protect them against possible damage or loss. The Media 100 Preferences dialog box provides settings where you can specify backups for your bins and programs. 12 Barn Doors Band Wipe A Media 100 transition where interlaced bars of Out frames wipe In frames from opposite edges. A B Band Wipe is available with the FX Option. Band Wipe-FastFX is a hardware-assisted, accelerated version available with the POWER Option. Band Slide A Media 100 transition where Out frames slide bands from opposite directions across In frames. Band Slide is available with the FX Option. Barn Doors A Media 100 transition where In frames split in the middle to reveal Out frames. Barn Doors is available with the FX Option. Barn Doors-FastFX is a hardware-assisted, accelerated version available with the POWER Option. 13 bars and tone bars and tone Color and audio reference signals recorded at the beginning of a videotape for video and audio calibration prior to playback. See also: color bars (page 34) and tone (page 157). Betacam SP A tape format developed by the Sony Business and Professional Group. It separates the input video signal as luminance (Y) and chrominance (R–Y and B–Y). It offers superior image capturing and presentation. Characteristics include more than 600 lines of horizontal resolution, dual video tracks, four audio tracks, and 1/2-inch tape. Timing is by EBU/SMPTE timecode. billboard An industry term for a sponsor identification of some form, such as graphics or a logo. Billboards usually have a duration of several seconds, just sufficient for viewer recognition. bin Media 100 bins store clips for eventual use in a program. You digitize source video and audio material into media files and direct the iconic representations of this material (the clips) to bins for eventual use in a program. You access these clips through the Bin window. bin grid Each Media 100 bin provides an invisible grid for easy alignment of clip keyframes. The grid dimensions are based on the size of the keyframe. The Align command (View menu) aligns keyframes to the current grid. Bin window The Media 100 Bin window allows you to store, sort, and view clips in a variety of ways, making it easy to locate your video and audio clips. 14 black-striped tape bit A computer industry term for binary digit. A bit is always in one of two states: on or off, true or false, and the more common 0 or 1. Bit sequences form bytes in digital computers and employ binary arithmetic to provide the logical execution of programs. See also: byte (page 17). A B black burst A black burst signal is the timing reference component of a composite video signal. The signal provides composite sync, reference burst, and a black video signal which appears at the reference black level of 7.5 IRE above the blanking level. See also: blanking level (below), composite video (page 37), and reference black (page 122). black clip A black clip can be used as a placeholder for a clip that is not yet available, or it can be used to add video black to a program. A black clip can be dragged and trimmed like any other clip, but does not have a media file associated with it. A black clip can be dragged or copied into a Bin window and it also can be synchronized with audio clips. See also: Add Black Clip (page 2). black-striped tape A black-striped tape is produced by recording black video in video tracks of a blank videotape along with timecode information in appropriate locations. This process is also called blackening, or striping a tape. Insert editing records only audio and video information, and therefore requires black-striped tape. Assembly editing records all tracks, including control pulse and timecode, and therefore only requires black-striped tape for the first five seconds (for the preroll). 15 blank videotape - stretching blank videotape - stretching Professionals routinely run new videotapes from beginning to end in real time to stretch them and thereby remove inherent elasticity. If this is not done, a tape may stretch during the first recording session, and introduce incorrect timecode or image framing in subsequent playback. blanking level The level of a video signal that separates the picture information area from the synchronizing information area. Also known as pedestal. boot system Booting a system refers to the start-up of a computer system from a cold (powered down) state. See also: system start-up (Macintosh) (page 150). borders Many of the transition effects provided by the FX Option and POWER Option have the capability to include borders of specified width, softness, and color. The border settings specify characteristics for the effect edges. brightness Brightness is the amount of light in a color — how light or how dark the color appears. The brightness information present in a signal is called luminance. See also: contrast (page 38), intensity (page 75), and luminance (page 85). broadcast quality Broadcast quality means compliance with the prevailing standards and regulations governing the public transmission of video and audio material. This term is now universally a synonym for high quality in the non-broadcast world. 16 byte bump (a tape) A video industry colloquialism for the practice of duplicating a videotape onto a tape of a higher quality standard. Typical objectives are: 1) add timecode to footage that had been captured in a non-timecode (control track) environment to support off-line and on-line editing; 2) create a dubbing master on better tape stock; and 3) improve or maintain the inherent video and audio quality of the original. A B Media 100 can digitize video and audio sources from a variety of timecode or non-timecode tape types and master an assembly program to any tape format. However, Media 100’s redigitization feature does require your source videotape to have timecode. burn-in The practice of producing a copy tape (dub) of footage with the running timecode “burned in” (visible in a window over the footage). This is also known as “window dubs.” The technique is typically employed by reviewers of rough footage for logging or listing shots in preparation for offline editing. It is also used for work prints (copies of daily offline and online edits) and to preclude unauthorized use of material, such as stock footage, from being previewed. See also: stock footage (page 145). bus A bus connects devices or computer components for the purpose of transmitting data and control signals among them. butt edit Two clips placed end-to-end form a butt edit. The transition between them is a cut. byte A computer term for eight contiguous bits. A byte can represent values in the decimal range of 0–255. The 32-bit RGB color model employed by the Macintosh allocates one byte each to the R, G, and B channels, and one byte to the alpha channel. 17 C C An abbreviation for chrominance. See also: chrominance (page 26). C mode (EDL) An Edit Decision List (EDL) mode where independent edits are sorted by source reel or cassette (the primary key) and source In point timecodes (the secondary key) for material from each reel. The intent of C mode is to minimize shuttling of source reels in on-line editing applications. It does, however, dramatically increase shuttling of the record tape deck. See also: A mode (page 1), B mode (page 11), D mode (page 47), E mode (page 55), and edit decision list (EDL) (page 55). cache size The amount of memory reserved to help applications work more efficiently. For Media 100, the disk cache setting in the Memory control panel should be set to 32K. can-drop cursor The cursor that displays when a clip is positioned in the Program window over a track area where it can be dropped. The can-drop cursor displays only if (1) the clip outline is positioned in an appropriate track and (2) there is enough space in the track at that location to accept the full clip. can-drop cursor See also: cannot-drop cursor (page 19), in-fill cursor (page 73), and out-fill cursor (page 101). 18 CCIR cannot-drop cursor The red cursor that displays when a clip outline is positioned in the Program window over a track area where the clip cannot be dropped. A cannot-drop cursor See also: can-drop cursor (page 18), in-fill cursor (page 73), and outfill cursor (page 101). C Can’t Undo The Can’t Undo command displays dimmed in the Edit menu when the last action cannot be undone (reversed). Actions that cannot be undone include Save, Revert, and those that alter the current focus or selection. Keyboard shortcut: -Z See also: Redo (page 121) and Undo (page 160). cassette A plastic self-enclosed container for video or audio tape. Cb An alternative symbolic representation for B–Y, the “blue difference” component of an NTSC or PAL video (television) signal. It is derived by subtracting the value of luminance from the chrominance blue signal. See also: NTSC (page 100), PAL (page 105), and RGB (page 125). CCIR An abbreviation for the International Radio Consultative Committee (Comite Consultatif International des Radiocommunications) with headquarters in Geneva, Switzerland. It is an international body of 19 CCIR Recommendation 601 members from contributing countries that seeks to standardize color television broadcasting systems and promote cooperation among member countries. CCIR Recommendation 601 A recommendation for standardizing 625-line and 525-line digital television for broadcasting studios, published by the CCIR in 1986. CCITT The abbreviation for International Telephone and Telegraph Consultative Committee. CCITT is a standards body, within the framework of the ISO, the International Standards Organization. CCITT is the steering organization for work accomplished by the JPEG (Joint Photographic Experts Group) and MPEG (Moving Pictures Experts Group) standards-producing organizations. See also: JPEG (page 79), and MPEG (page 96). CD-ROM This acronym stands for compact-disk, read-only memory. It refers to a write-once, read-only disk format. CD-ROMs provide a convenient, low-cost medium for distributing large amounts of text and graphical material for on-line access or for transfer to hard drives. The current CD-ROM disk size, 5-1/4" in diameter, stores up to 650 megabytes. cel animation A traditional method of producing animation for film. Individually drawn and painted cels (frames) are photographed in a prescribed sequence with a stop-action camera to create the illusion of motion, or animation. The process is somewhat analogous to the writing of individual computer-generated still images to videotape with an animation-controlled (single-frame), frame-accurate video tape recorder. Center Horizontally The Center Horizontally command in the CG Option’s Objects menu center-aligns a selected object in relation to the left and right borders of the Safe Title Area. See also: Safe Action, Safe Title Areas (page 128). 20 Center Split Center Merge A Media 100 transition where In frames zoom from full frame toward the center to reveal Out frames. Center Merge is available with the FX Option. A C Center Peel A frame-rendered Media 100 transition where In frames curl outward from the center in four parts to reveal Out frames. Center Peel is available with the FX Option. Center Split A Media 100 transition where In frames split at the center into four parts and slide to the corners to reveal Out frames. Center Split is available with the FX Option. 21 Center Vertically Center Vertically The Center Vertically command in the CG Option’s Objects menu center-aligns a selected object in relation to the top and bottom borders of the Safe Title Area. See also: Safe Action, Safe Title Areas (page 128). CG An abbreviation for character generator. See also: character generator (page 24). CG Canvas A window within the CG Option where you create and manipulate graphic overlays. CG Option™ Media 100’s CG Option gives you desktop access to a broad range of character-generation capabilities to enhance your Media 100 video programs. You can add static pop-on titles or dynamic titles along motion paths you design. You can also add graphics and logos. Alpha-channel masking, transparency settings, gradients, antialiased, crisp characters, complete character control — the CG Option provides all this on your Media 100 system. CG Preferences The CG Preferences command in the CG Option’s File menu displays a dialog box that allows you to set parameters for the CG Option. The following preferences can be selected: • Screen Render Simulation When this item is selected, mapped areas in text objects display so that you can judge what the impact of mapping will be on their appearance. When this item is not selected, mapped text objects display in black. These objects still preview and render fullymapped. Because more time is required to find and map textures than is required to draw a flat color, deselecting this item saves time and memory when creating a graphic overlay. 22 CG Preferences • Faster Gradient Display When this item is selected, gradients in objects display an “approximate” banded version of the actual gradient chosen. When this item is not selected, gradients display more realistically, but require more time to draw on the screen. • Auto-Fit Object When this item is selected, text objects are automatically resized when the point size of the text is increased or decreased. • A Symmetrical Map C Use this item when you are mapping a picture to a text object that is larger than the picture. When this item is selected, the CG Option flips the picture to create a seamless map to cover the entire object. When this item is not selected, the CG Option simply tiles the picture to cover the object. • Display Rendering Status When this item is selected, a progress indicator displays whenever a preview, finish, or render process is occurring. • Safe Title Area When this item is selected, an inner Safe Title frame is displayed in the CG Canvas. • Safe Action Area When this item is selected, an outer Safe Action frame is displayed in the CG Canvas. • Grid Spacing This field allows you to enter a pixel value to increase or decrease the spacing of the grid. You can enter values from 4 to 64 pixels. The higher the value, the wider the spacing. 23 Change Media Attributes • Display Font This pop-up menu allows you to change the font used for dialog boxes and windows in the CG Option. (Note that changing the font can truncate or expand field names. This can cause some characters to display incorrectly.) Any updated preferences are stored in the CG Option Preferences file in your System Folder. To return to the CG Option’s defaults, drag the Preferences file to the Trash before opening the CG Option. Change Media Attributes The Change Media Attributes command in the Tools menu allows you to correct or change the reel name and the input setup file used for the selected clip(s). Use the Reel Name field if you need to correct the reel identifiers assigned to selected clips. Normally, the reel name used during digitization should match a physical label on the source media. However, since Media 100 does not automatically prompt you for a new identifier when you are digitizing material, you may forget to update the reel name field when you insert a new cassette. The Change Media Attributes command allows you to correct the reel name. There is a 12-character limit for the reel name field. (Note that if you leave the reel name blank, the name will not be changed.) Use the Input Setup field to change the input setup file assigned to selected clip(s). If the clips you select use different setups, the Input Setup pop-up menu will read “Mixed.” Input setup files are saved with each clip you digitize so that they can be shared across multiple bins and programs. The next time you redigitize the selected clip, it will use the new input setup. character generator Traditionally, this is a PC-based device usually located in an online suite. It formats keyboarded strings of characters (titles) for compositing on the master videotape via the object tape deck. In the context of digital-video, nonlinear editing systems, character generators are integrated applications with capabilities that surpass traditional character-generation devices. 24 Chooser (Macintosh) chase (chasing) An industry term that refers to synchronizing a timecoded audio tape to a timecoded videotape for the purpose of transferring audio information in sync with the video; the audio tape chases the videotape. It’s usually the last step in the audio post-production process. Also refers to the initial transfer of videotape timecode to an audio tape to be used in the chase. See also: audio post-production (page 8). Checkerboard A Media 100 transition where a checkerboard pattern of Out frames wipes In frames. A C Checkerboard is available with the FX Option. Chooser (Macintosh) The Chooser allows you to choose from available devices, such as printers and modems, connected to the Macintosh serial modem or printer ports. Note that this control does not affect Media 100’s VTR remote control capability made available by the Machine Control cable and software. The remote control capability function is initiated through the setup options in Media 100’s Hardware Settings dialog box. See also: Hardware Settings (page 69). 25 chroma crawl chroma crawl Chroma crawl typically appears in video as an apparent blurring of hues across the boundaries of graphical objects or text. It usually results from overly saturated colors in adjacent areas. See also: illegal colors–NTSC, PAL (page 72). chroma key An electronic masking process where a background color, usually blue or green, is used as a “key” to form a mask around a selected image (person or object) and superimpose it onto a background image. The key color can be any color (hue). However, the chosen hue must not appear in the selected image or it will appear as holes through which the background image will be visible. The chroma key concept has broad applications in video production. “Blue screen” is a related term from film. chrominance (chroma) Color information contained in a video signal. Chrominance (or chroma) refers to the combination of hue (U) and saturation (V). Chrominance is plotted on the Media 100 vectorscope with the hue indicating the phase angle (direction) and the saturation indicating the amplitude (distance from the center). See also: hue (page 71), luminance (page 85), saturation (page 129), and YUV (page 168). clean list (EDL) The process performed by many off-line Edit Decision List (EDL) systems, whereby an EDL is scanned for timecode inconsistencies and other entries that may be in error. The end result is an error-free EDL for on-line editing. Clean Program The Clean Program command in the Tools menu hides non-playable (trimmed) portions of overlapped clips in the expanded video subtracks, a and b, of the active Program window. Its purpose is to dis- 26 Clear – Delete play a cleaner, less obstructed view of the program. The non-playable clip portions can be independently restored to view at a later time, if desired, by retrimming the transition points. A See also: clips (page 29) and Program window (page 114). Clean Program trim handles A field in the Media 100 Preferences dialog box that sets the number of frames retained for the head and tail of every clip in the active program when you choose the Clean Program command (Tools menu). The text box accepts a value in the range of 1 to 60. The default setting is 60. C See also: Clean Program (above) and clips (page 29). Clear The Clear command in the Edit menu remains dimmed (inactive) until you choose a clip in a Bin or Program window, text in a text field, or a subfield in a timecode box. The Clear command also removes selected bins and programs from a Project window. The appropriate suffix (Clip, Text, Timecode, Remove, Delete, Level Nodes, Pan Nodes) is then appended to Clear, and the command becomes active. See below for descriptions of the Clear actions. Clear Clip The Clear command converts to Clear Clip when you choose a clip or clips in a bin. This command removes the clips without altering the current contents of the Macintosh Clipboard. Keyboard shortcut: Delete key Clear – Delete When you press the Option key, the Clear command converts to Clear – Delete. This command deletes the selected clips from the Program window without altering the contents of the Macintosh Clipboard. Clips in the timeline “ripple” to the left to close gaps caused by the clear function. The Current Time Indicator (CTI) moves to the beginning of the first deleted clip. Synchronized clips are cleared as a unit. 27 Clear Level Nodes Clips in locked tracks cannot be cleared. If any clip of a synchronized set is in a locked track, the set cannot be cleared. Keyboard shortcut: Option-Delete key Clear Level Nodes The Clear Level Nodes command in the Edit menu clears any audio level nodes in the selected audio track and resets the level line to the center setting. Clear Pan Nodes When you press the Option key, Clear Level Nodes converts to Clear Pan Nodes. This command clears any audio pan nodes in the selected audio track and resets the pan line to the center setting. Clear – Remove The Clear command converts to Clear – Remove when you choose a clip in a Program window. This command removes the selected clips from the window without altering the contents of the Macintosh Clipboard. All other clips in the timeline remain in place with gap(s) remaining where the clear function removed the chosen clips. The CTI moves to where the first gap begins (the beginning of the first removed clip). Synchronized clips are cleared as a unit. Clips in locked tracks cannot be cleared. If any clip of a synchronized set is in a locked track, the set cannot be cleared. Keyboard shortcut: Delete key Clear Text The Clear command converts to Clear Text when you have chosen characters in a text field (clip name, title, or comment field). This command removes the characters from the text field without altering the current contents of the Macintosh Clipboard. Keyboard shortcut: Delete key 28 clips Clear Timecode The Clear command converts to Clear Timecode when you have chosen any subfield of a timecode box. This command resets the timecode to the previously defined value without altering the current contents of the Macintosh Clipboard. A Keyboard shortcut: Delete key clips A media file is a frame-oriented sequence of digitized visual or aural material. A clip is an iconic representation of its related media file. Media file types include: video, audio, rendered transition effects, rendered motion effects, rendered titles, imported single or multiple PICTs, and QuickTime movies imported into Media 100 and converted to the Media 100 QuickTime CODEC format. C A clip includes pointers to the original media file to define the beginning frame (the In point) and the ending frame (the Out point). When you trim a clip, you adjust the positions of these pointers — the original media file is not affected. Similarly, when you delete a clip, the original media file is not deleted. clip In point first frame head frames Out point media file tail frames last frame See also: Edit Clip Mode–Edit Suite (page 55), media file (page 91), and Trim Mode–Edit Suite (page 159). 29 clip colors (Program window) clip colors (Program window) Colored bars represent clips positioned in a Program window. Media 100 automatically assigns clip colors to differentiate among clip types in the video track, the audio tracks, and the Graphics track as follows: • Light Green Video, unsynchronized • Blue Audio, unsynchronized • Pink Synchronized • Dark Gray Black video clip • Dark Green Fx track, transition effects, unrendered • Light Green Fx track, transition effects, rendered • Dark Purple Video track, MotionFX, unrendered • Light Purple Video track, MotionFX, rendered • Light Orange Graphics track, overlays, unrendered • Dark Orange Graphics track, overlays, rendered • Dark Orange Graphics track, overlay fade settings • Light Gray Video track, collapsed or expanded clip names Media 100 automatically assigns unique names to video and audio media files and their related clips when they are first digitized. Imported video and audio clips have names derived from the imported media files. You can alter the name of a clip in the active bin or while it’s in the Edit Suite window in Edit Clip mode by entering a name of no more than 31 alphanumeric characters in the “name” field. See also: media file names (page 91). Clipboard The Macintosh clipboard is a volatile storage mechanism, resident in RAM. It retains the last item or group of items (clips, text characters, timecode values) either cut or copied until you cut or copy a new 30 Close item. Whatever is on the clipboard is available for pasting at a specified location. The clipboard’s contents are lost when you shut down or restart the system or, in some instances, when you close an application. A See also: Cut (page 44), and Copy (page 39). clipping Placing an electronic limit on an audio or video signal to prevent over-driving it. Clock Wipe C A Media 100 transition where Out frames wipe In frames with a clock-like sweep. Clock Wipe is available with the FX Option. Clock Wipe-FastFX is a hardware-assisted, accelerated version available with the POWER Option. Close The Close command in the File menu closes the active Program, Bin, or Project window. If the content of the window has changed since the last save, an alert asks if you want to save your changes. If you click the Save button, the window is closed and the file is saved. Click the Don’t Save button to close the active window and discard changes to the file. Click the Cancel button to abort the Close function. Keyboard shortcut: -W See also: bins (page 14), Project window (page 114), and Program windows (page 114). 31 Close All Close All Pressing the Option key converts the Close command in the File menu to Close All. This command closes the current project and all open bins and programs. This command is dimmed when you have made no changes since the last save. Keyboard shortcut: Option- -W close box The close box is an alternative way to close an active window. Simply click the close box (the small square located on the left-hand side of the window’s title bar). If the content of the window has changed, an alert dialog box gives you the opportunity to save, not save, or cancel the close function. Close Gap The Close Gap In Track command in the Program menu converts to Close Gap when you press the Option key. Close Gap removes gaps between pairs of clips in multiple tracks. To use this command, you must position the Current Time Indicator (CTI) in a gap. All the clips to the right of the CTI move left by the length of the gap. If a clip to the right of the CTI is synchronized to other clips, those clips also move to the left by the same amount. If there is insufficient room for any of the synchronized clips to move the full distance, all the clips move the longest distance that any individual clip can move while maintaining synchronization. Keyboard shortcut: Option- -G See also: Close Gap In Track (below) and Current Time Indicator (CTI) (page 43). Close Gap In Track The Close Gap In Track command in the Program menu removes the gap between a pair of clips in a selected track. To use this command, you must position the Current Time Indicator (CTI) in a gap. All the clips to the right of the CTI in the selected track move left by the length of the gap. 32 Collapse Track If a clip to the right of the CTI is synchronized to other clips, those clips also move to the left by the same amount. If there is insufficient room for any of the synchronized clips to move the full distance, all the clips move the longest distance that any individual clip can move while maintaining synchronization. Keyboard shortcut: A -G CODEC An acronym used to describe the compression-decompression process. Video compression occurs after the digitizing, or capturing, phase to reduce storage requirements. An additional benefit is that the data rate required to retrieve the video from disk for decompression and playback is also reduced. Video decompression occurs in real time during playback. CODECs can be either software-only implementations or hardware-assisted implementations. The latter offer distinct advantages in the speed at which data can be compressed and decompressed, as well as in the quality of the resulting images. C See also: Media 100 QuickTime CODECs (page 90) and QuickTime CODECs (page 118). cold start A cold system start (also referred to as a cold boot) is a computer launch from a power-off state. See also: warm start (page 166). Collapse Track The Collapse Track command in the Track menu hides the expanded information for the currently selected audio or video track in the active Program window. For an audio track, this command hides the audio level and pan controls, leaving the audio track to display any audio clips present. For the video track, this command hides the a, fx, and b video subtracks, leaving the single V video track to summarize the playable contents of these tracks. When a chosen track is collapsed, the command appears in the menu as Expand Track. 33 color bars Mouse shortcut: Click on the small triangle button next to the V and A1–A4 buttons to toggle between the collapsed and expanded states. See also: Expand Track (page 58). color bars Color bars are a video signal of specific color and interval conformation recorded at the beginning of a videotape, usually for one minute. Typically, color bars occur in the same interval as tone. Color bars provide a calibration basis for adjusting the setup (vectorscope and waveform monitor) of the receiving video system to display the videotape as recorded. There are three types of color bars for NTSC: full field, split field, and SMPTE (the more common). There are two types of color bars for PAL: full field and split field. Full-field bars occupy the full vertical span of the image area. White may be set to 75 or 100 IRE units. SMPTE bars include a white reference at 100 IRE at the bottom together with samples of the I and Q signals. See also: tone (page 157), vectorscope (page 163), and waveform monitor (page 166). color burst The color burst is 8 to 9 cycles of the 3.58 MHz NTSC (4.43 MHz PAL) color subcarrier signal inserted in the back porch interval for each horizontal line. See also: black burst (page 15) and color subcarrier (below). Color Palette The Color Palette command in the CG Option’s Windows menu displays the CG Option’s color choices. The palette provides a choice of color chips, color filters, and color schemes. Color Picker The Color Picker, an element of the Macintosh color management system, is accessed by the CG Option and by graphical and video applications. The Picker includes two color models: Hue-SaturationLightness (HSL) and Red-Green-Blue (RGB). The HSL model, similar to HSV (value corresponds to lightness) or to HSB (brightness corresponds to lightness or value), represents color more intuitively than 34 Command key RGB, and hence is typically preferred by graphic artists. See also: HSL (71) and RGB (page 125). color subcarrier A Refers to the high frequency signal used to modulate and demodulate the color difference signals of the NTSC and PAL standards. The subcarrier frequency is ~3.58 MHz for NTSC and ~4.43 MHz for PAL. color tag When the active bin is in Medium, Large, In and Out keyframe view, or List view, you can assign one of eight colors (available through a pop-up color palette) to a clip as a color tag to identify related clips. The default is green. A clip’s tag can be assigned or changed while its bin is active by simply clicking on a color. Assignable colors include: green, blue, red, orange, yellow, magenta, cyan, and gray. C color tag ColorFX™ Media 100’s ability to provide real-time color effects allows you to adjust all color parameters for each clip. ColorFX™ is part of Media 100’s FX Option. Using the ColorFX subpanel, you can adjust luminance, chrominance, and style settings for your clips. Additionally, several preset color effects are included with ColorFX. Command key The Command key, labeled with the symbol (also called the Apple key), acts as a modifier key for many Media 100 keyboard command shortcuts. Typically, you first press the Command key and then the action key (usually a character key or symbol key) and then release both keys. See Appendix D in the Media 100 User Manual for a complete list of Media 100 command key shortcuts. 35 component video component video A video signal that processes and maintains the video signal in three parts: • luminance (Y) • red difference (red minus luminance, R–Y, also referred to as Pr, Cr, and V) • blue difference (blue minus luminance, B–Y, also referred to as Pb, Cb, and U) This signal separation establishes an inherently higher video quality than that available from either composite or S-video (Y/C) equipment. Component video equipment is frequently employed by those seeking to create and distribute broadcast-quality video information. Component Video In When selected from the Hardware Settings dialog box (Edit menu), Component Video In activates the three video input component connections (B – Y, R – Y, and Y) on the Media 100 Junction Box for digitizing source material from a component tape deck or camera. For signal synchronizing purposes, you must also connect the Composite Output at the deck or camera to the Junction Box Composite Video Input connection. Use of component video requires that the Media 100 HDR Option be installed. Otherwise, the Component choice is dimmed in the Hardware Settings dialog box. Composite Video In is the default choice. See also: Hardware Settings (page 69) and Junction Box (page 79). Component Video Out If the HDR Option is present, component video output signals are always available at the Junction Box Video Output connections (B – Y, R – Y, and Y) for video display on a component-capable monitor or for mastering programs as component video. Media 100 also permits the display or mastering to tape of component video material as S-video (Y/C) or composite video. See also: Junction Box (page 79). 36 compound clip composite video Composite video combines luminance and chrominance color image information to form a single video signal. Its simplicity and lower cost (compared to component video) make it the video system of choice for many applications. Television broadcasting around the world employs composite video, as does all consumer video equipment and many post-production facilities. Composite Video In When selected from the Hardware Settings dialog box (Edit menu), Composite Video In (the default setting) activates the Composite Video Input connection on the Media 100 Junction Box for digitizing source material from a composite tape deck or camera. A C See also: Hardware Settings (page 69) and Junction Box (page 79). Composite Video Out The composite video output signal is always available at the Junction Box Video Output Composite connection for video display on a composite-capable monitor or for mastering programs as composite video. Media 100 also permits the display or mastering to tape of composite video material in the component or S-Video (Y/C) format. See also: Junction Box (page 79). compound clip A compound clip consists of multiple clips joined together. If you drag multiple clips from a Program window to a Bin window, you create a compound clip in the bin. Compound clips are named “Compound N,” where N starts at 1 and increments for each compound clip you create. Compound clips are useful for program segments containing a number of clips. Creating compound clips for the segments saves you the effort of assembling them again. You can also form a compound clip by copying clips and pasting them in a bin. If you hold down the Option key while dragging clips from the Program window to a bin, they become individual clips in the bin rather than a compound clip. 37 compression compression Digital video editing systems that play back video in full-frame size at the rate of 30 frames per second for NTSC or 25 frames per second for PAL must process significant amounts of data. Compression, one requirement for these systems, can be classified as lossless or lossy. Lossless compression refers to a compression process that codes all of the original material such that it can be reconstructed without loss at a later time. Lossless compression cannot currently achieve the levels of image-size reduction necessary for full-frame, full playback of video images. Lossy compression refers to a compression process that in coding the original material discards some data to achieve compression. The original material cannot be completely reconstructed at a later time. A lossy compression can, when reversed, result in an excellent to fair reproduction of the original subject to the degree of the original reproduction and the process used. continuity The check that visual elements in a production’s sequence match. This is of particular importance when production shoots are out of script sequence. A member of the production staff (the continuity supervisor, the script supervisor, etc.) monitors and corrects continuity errors prior to shooting. The goal is that for scenes in a film time period, the background, props, makeup, and costumes are consistent. contrast The range between the lightest and darkest areas of an image or video frame. A high contrast signifies a broad range of brightness values; a low contrast has a limited range. Control key The Control key acts as a modifier key for several Media 100 keyboard command shortcuts. Typically, you first press the Control key, then the action key (usually a character key or symbol key). Some Media 100 functions require that the Control key be pressed while the mouse is used. 38 Copy control panels Macintosh control panels are accessible from the Apple menu. Typically, they allow you to choose or modify setup parameters for Macintosh system software routines and for various application packages. Media 100 requires that general control panel setups be initiated at installation time and maintained thereafter. Refer to the Media 100 Installation Guide for information about the recommended control panel settings for specific Macintosh models. control track A C Control-track timing pulses approximate frame locations by indexing a counter that might be reset to zero or begin from a current value, a process somewhat analogous to counting sprocket holes in film. A camera records timing pulses on a control track to control the speed when a videotape recorded in one of these formats is played on a VTR. This timing has no relationship to the frame accuracy and repeatability of SMPTE timecode. Media 100 can digitize a videotape with control track rather than timecode. It synchronizes to the video signal, if it can, establishes a zero timecode for the first frame detected, and increments the timecode as frames are digitized. Note: Although Media 100 can digitize source material from a nontimecoded videotape, it cannot redigitize source material from that tape. If you intend to use the All-On-One Mastering capabilities included with the POWER Option, you must have all your video material available on timecoded videotapes. Copy The Copy command in the Edit menu copies a chosen clip or clips from a Program window or a Bin window to the Macintosh Clipboard without changing the copied clip(s). The Copy command is dimmed when no clips are selected. Keyboard shortcut: -C 39 Copy Text Copy Text The Copy command converts to Copy Text when you choose characters in a text field (clip name, title, or comment field). This command copies the characters from the text field to the Macintosh Clipboard without changing the text field. Keyboard shortcut: -C Copy Timecode The Copy command converts to Copy Timecode when you choose any subfield of a timecode box. This command copies the characters from the text field to the Macintosh Clipboard without changing the text field. Keyboard shortcut: -C Cr An alternative symbolic representation for R–Y, the “red difference” component of an NTSC or PAL video (television) signal. It is derived by subtracting the value of luminance from the chrominance red signal. See also: RGB (page 125), PAL (page 105), and NTSC (page 100). crash A term used to describe an inadvertent system stoppage, due typically to a malfunction (bug) in the application or system software. You should protect against loss of data by frequently saving your working files to disk and by backing up your disk-resident files to alternative media. crawl A crawl, or animated title, typically flows from the off-screen right side across the screen to the off-screen left side. A crawl may also flow from left to right, or may be designed to flow onto the screen and then halt. Its line of animation usually occurs in the lower third of the Safe Title Area. 40 credit roll The duration you create for a crawl title should allow a typical reading time of 2–3 seconds for each frame in the title plus 1 frame-time for crawling the title from off-screen to on-screen. Thus, a 5-frame crawl title should have an effective duration in the range of 12–18 seconds. A See also: credit roll (below) and Safe Action, Safe Title areas (page 128). Create Range From Selection The Create Range From Selection command in the Program menu creates a time range (the light blue bar in the Program window timeline) from the In point of the left-most chosen clip to the Out point of the right-most chosen clip in one track or in multiple tracks. Clips may be any combination of video, audio, or graphics clips in their corresponding tracks. This command is dimmed if no clips are chosen. C See also: clips (page 29) and timeline range (page 156). credits Opening credits precede a presentation and usually identify the people who managed the production, those who were more involved with the creative aspects of the production, and of course the stars. Closing credits follow a presentation and acknowledge the contributions of those people and organizations who participated in or supported the production. They typically include the actors by role, the pre- and post-production facilities, the special-effects team, the animators, and the crew. credit roll A credit roll identifies (credits) the parties involved in a production. It typically flows from the bottom of the screen across the screen to the top of the screen. Credits may also occur as pop-on titles. See also: crawl (page 40). 41 Cross Dissolve Cross Dissolve A Media 100 transition where In frames fade away uniformly to be replaced by Out frames. Cross Dissolve is available with the FX Option. cross fade A simultaneous fade-up and fade-down of the audio levels on complementary tracks (for example, reducing the level of a musical score while increasing the level of an actor’s voice). Cross Stretch A Media 100 transition where Out frames stretch from the selected edge as In frames shrink to the opposite edge. Cross Stretch is available with the FX Option. 42 Current Time Indicator (CTI) Cross Zoom A Media 100 transition where In frames zoom out as Out frames zoom in. Cross Zoom is available with the FX Option. A C CTI An abbreviation for Media 100’s Current Time Indicator (see below). Cube Spin A Media 100 transition where In frames and Out frames map onto cube faces and In frames rotate away to reveal Out frames. Cube Spin is available with the FX Option. Current Time Indicator (CTI) The Current Time Indicator (CTI) marks the frame displayed by the video monitor — the “current” frame. The CTI also establishes the timecode point for pasting clips in a program. The CTI displays as a “caret” in the area just under the time ruler. A vertical line extends from the caret down through the video and audio tracks. Dragging the CTI left or right alters the current time and the frame displayed. Pressing the Home key returns the CTI to the beginning of the program. Pressing the End key moves the CTI to the program’s end. 43 Curtain Pressing the Left or Right Arrow keys moves the CTI one frame backward or forward, respectively. Curtain A Media 100 transition where In frames simulate stage-curtains drawing back to reveal Out frames. Curtain is available with the FX Option. Cut The Cut command in the Edit menu acquires different suffixes based on what you choose to cut and its context. The descriptions that follow detail the use of each instance. Cut Clip The Cut command converts to Cut Clip when a clip in the active bin is selected. This command copies the chosen clip(s) to the Clipboard and removes them from the bin. Keyboard shortcut: -X Cut – Delete Pressing the Option key converts the Cut – Remove command to Cut – Delete. This command copies the chosen clip(s) to the Clipboard and removes them from the Program window. Clips in the timeline “ripple” to the left to close gap(s) caused by the cut function. Synchronized clips are selected and cut as a unit. When you cut multiple clips, their relative program timecodes (spacing) and transition states are preserved when they are copied to the Clipboard. 44 Cut Timecode Clips in locked tracks cannot be cut. If any member of a selected set of synchronized clips is in a locked track, the set cannot be cut. The Cut command is dimmed if no “cuttable” items are selected. Keyboard shortcut: Option- A -X Cut – Remove The Cut – Remove command (Edit menu) copies the chosen clip or clips to the Clipboard and removes the clip or clips from the Program window. Clips left in the timeline maintain their positions with the gap(s) caused by the cut function. C Synchronized clips are selected and cut as a unit. Cutting clips from a program leaves gaps in the program and sets the current time to the starting point of the left-most clip that you cut. When you cut multiple clips, their relative program timecodes (spacing) and transition states are preserved when they are copied to the Clipboard. Clips in locked tracks cannot be cut. If any member of a selected set of synchronized clips is in a locked track, the set cannot be cut. The Cut command is dimmed if no “cuttable” items are selected. Keyboard shortcut: -X Cut Text The Cut command converts to Cut Text when you choose characters in a text field (clip name, title, or comment field). This command removes the characters from the text field and copies them to the Macintosh Clipboard. Keyboard shortcut: -X Cut Timecode The Cut command (Edit menu) converts to Cut Timecode when you choose any subfield of a timecode box. This command transfers the timecode to the Macintosh Clipboard and replaces the numeric characters with all zeros (zeros the timecode). Keyboard shortcut: -X 45 cut cut The transition between any two sequential clips; that is, the end of one clip joined to the start of the following clip. A cut transition does not include transitional effects (wipes, dissolves, etc.). cutaway A cutaway is a visual presentation of other than the principal focus, such as cutting to one actor while another continues speaking, or cutting away from and then back to a scene to maintain continuity. Cutaways are frequently used in place of jump cuts. cuts-only edit This term describes a video sequence that transitions only with cuts between clips; that is, there are no effects (dissolves, wipes, etc.) applied to the clip transition points. Cyan-Magenta-Yellow-Black (CMYK) This color model is based on the subtractive primaries, or process colors, of Cyan, Magenta, Yellow, and Black, abbreviated as C-M-Y-K. Colors from this model are preferred for applications such as film, printing, and photographic work. 46 deck D mode (EDL) An Edit Decision List (EDL) in D mode is similar to an A mode EDL in that it sorts the independent edits by record In point timecodes. The difference is that all transition effects (dissolves, wipes, etc.) are sorted at the end of the list. A See also: A mode (page 1), B mode (page 11), C mode (page 18), E mode (page 55), and edit decision list (EDL) (page 55). D/A converter A hardware device that transforms digital video and audio signals to analog levels. See also: A/D converter (page 2). dailies D An industry term for footage shot during a day’s production schedule. This footage is also sometimes called “rushes.” Dailies are typically viewed as soon as possible to measure the production’s quality and its creative progress, according to its schedule and budget. DAT An abbreviation for Digital Audio Tape. DCT An abbreviation for Discrete Cosine Transform, the computational process involved in JPEG compression and decompression of images. See also: JPEG (page 79). decibel (dB) A logarithmic-based unit of sound measurement that compares the relative intensity of sound sources. deck Industry term for a video or audio tape recorder. 47 decoder decoder The Media 100 decoder directly converts analog composite or S-video signals to 4:2:2 YUV data format for processing. decompression The reverse process of compression. It restores the compressed image to its original frame size and content. If the compression process was lossy in nature, the restored content is subject to any artifacts that might have been introduced. See also: compression (page 38). Delete Clip and Media The Delete Clip and Media command in the Edit menu removes selected clips from a bin or program and also removes the media files associated with the clips from Media 100. A checkbox in the Preferences dialog box allows you to choose whether the deleted files should be deleted immediately or placed in the Trash on your desktop. One way to free up disk space is to delete media files that are not needed. Unused files might include extraneous files produced by trying out transition effects or titles, or surplus media produced from QuickTime exports and imports. To find media files that are not used, select the Find Media command in the Tools menu and then the Delete Clip and Media command. See also: bin (page 14) and Find Media (page 62). Delete Media The Clear command in the Edit menu converts to Delete Media when you choose clips in a bin and then press the Option key. The Delete Media command removes the media files associated with the clips from Media 100 while preserving trim points for the clips. A typical application is to clear disk space before redigitizing the source material associated with the clips. Keyboard shortcut: Hold down the Option key and press Delete. See also: bin (page 14) and Clear Clip (page 27). 48 digitizing desktop rebuild A process that helps your Macintosh eliminate unneeded icons (and all Get Info comments) from your current Desktop file. You should periodically rebuild the desktop files for all drives to improve the performance of your system. To initiate the desktop rebuild dialog box, hold down the Option key and the Command key ( ) when you boot or restart your Macintosh. You’ll be asked to approve the rebuilding of the desktop file for each hard drive and any network volumes mounted at start-up (and any floppy in the floppy drive). Note that rebuilding discards any information you may have entered in the “comments” field of a Get Info dialog box unless you have a freeware program such as Comment Keeper installed. This program is available from many BBS and on-line services. Digitize mode–Edit Suite A D The Edit Suite in Digitize mode digitizes and compresses analog video and audio source material for use in Media 100 programs. Media 100 stores the data in media folders on the disks you specified in the Media Settings dialog box for access during editing, program assembly, playing, and output. digitizing The process where Media 100 converts analog signals from a video source, such as a VTR, into digital data and stores this data on disk. To conserve disk space, digitized video undergoes JPEG compression before it is stored in a video media file. Because digitized audio requires much less storage than video, it is stored as uncompressed media. JPEG Compression Digitize VTR Video Out # # # # ###### Video Media Disk CH-1, CH-2, etc. Audio Output # # # # # # Digitize A1, A2, etc. Synced Audio Media 49 directional pins Media 100 assumes that video and audio material digitized simultaneously is synchronized; that is, it has a timecode relationship that must be maintained. Synchronized audio media files are linked to the parent video media file until you break the link. See also: compression (page 38). directional pins Some FX Option and POWER Option transition effects allow you to choose the image edge or corner from which the effect starts. These choices are shown as a number of small checkboxes, called “directional pins,” in the border surrounding the Edit Suite video monitor. Clicking on one of these pins alters the effect’s directional aspect. Their positions are visual cues as to the available options. A green dot in a pin, or paired set of pins, signifies the current choice. Disable Track The Disable Track command in the Track menu disables output from the selected track or tracks (Video, Audio, or Graphics). You can choose a track by clicking in the track or in the label area to the left of the track. When you select Disable Track, the track area becomes dark gray to flag its disabled state. If the video track is disabled, both the external video monitor and the Edit Suite submonitor will display black when you play the program. If an audio track is disabled, it produces no sound when you play the program. Disabling the Graphics track inhibits the display of any titles or graphical overlays. You can add, delete, or move clips, or perform other operations on a track while it is disabled. When you choose a disabled track, Disable Track becomes Enable Track. Mouse shortcut: Click a track’s identifier button (G, V, A1, A2, A3, A4, etc.) to toggle its state between disabled and enabled. See also: Enable Track (page 57). disk array Two or more external disk drives linked together to perform as a single drive. 50 Dissolve–FastFX™ disk usage The Media Settings dialog box (accessible from the Edit menu) indicates both graphically and numerically how much unused space is currently available on each drive connected to your Macintosh system. A See also: Media Settings (page 93). Display Rendering Status An item in the CG Preferences dialog box (from the CG Option’s File menu). When this item is selected, a progress indicator displays whenever a preview, finish, or render process is occurring. dissolve A transition where one image fades into another. D Dissolve–FastFX™ Media 100’s fast-rendering transition effect (renders at approximately five times real time) that fades uniformly from one video sequence into the next video sequence. See also: transition effects (page 159). 51 Dither Dissolve Dither Dissolve A Media 100 transition effect where In frames dissolve into Out frames. Dither Dissolve is available with the FX Option. dolly-in, dolly-out Industry slang for a director’s request that a camera and its mount be moved physically closer to or farther from the subject. dongle Computer-industry term for a license key (see page 83). Doors A Media 100 transition effect where Out frames swing in over In frames, simulating doors. Horizontal or vertical orientation can be selected using side directional pins. Doors is available with the FX Option. Draft mode Lower image quality settings available in the Media Settings dialog box. The Draft mode ranges from 5 KB to 45 KB for PAL (5 KB to 40 KB for NTSC). When you select Draft mode, only the first field of each video frame is stored during digitizing. When Media 100 plays 52 dub (dupe) these frames back, it doubles the stored fields to complete the frames. The benefit is sufficient video quality for editing with greatly reduced disk storage. A You can later replace the lower quality frames with high-quality video through the automatic redigitizing capabilities made available with the POWER Option. See also: Media Settings (page 93) and Online mode (page 101). drop frame timecode A type of timecode that ensures that NTSC material is time-accurate. One hour of indicated drop frame timecode plays for exactly one hour. Drop frame timecode skips frame numbers 00 and 01 at the beginning of each minute, except at each ten-minute mark. Video frames are not dropped — only the respective frame numbers are omitted from the timecode sequence. This compensates for the difference between the actual video rate and the timecode’s assumed rate by dropping 108 frame numbers per hour, which equals 3.6 seconds. D Use drop frame timecode when the exact length of a program is important, particularly for programs that are longer than one minute. Media 100 restricts you from having more than one form of timecode in a program. The first clip brought into a Program window establishes the initial timecode mode for the program. This mode can be changed by selecting Show in Drop Frame or Show in Non-Drop Frame from the Program menu. See also: non-drop frame timecode (page 99), Show in Drop Frame (page 136), Show in Non-Drop Frame (page 136), and timecode (page 155). dropout Missing information on videotape. Dropouts look like white horizontal scratches. Any tape that was recorded where its protective coating has flaked off is likely to show dropouts. dub (dupe) A copy of a videotape. 53 Duplicate Clip Duplicate Clip The Duplicate Clip command in the Edit menu makes an exact copy of the clip(s) chosen in the active bin. The operation is the same as sequentially choosing the Copy and Paste commands from the Edit menu, except that the contents of the Clipboard are not altered. The Duplicate command is dimmed if there are no clips selected in a bin. DVE The abbreviation for digital video effects implemented by nonswitcher devices. DVE include, for example, spins, warps, picture-inpicture, and many other forms. Today, these specialized effects and many general effects originate in digital computers. 54 Edit menu E mode (EDL) An edit decision list (EDL) in E mode is similar to a C mode list in that it sorts the independent edits by source reel (primary key) and source In point timecodes (secondary key) for material from each reel. The difference is that all transition effects (dissolves, wipes, etc.) are sorted at the end of the list. Its intent is to minimize shuttling of source reels in on-line editing applications. It does, however, dramatically increase shuttling of the record tape deck. A See also: A mode (page 1), B mode (page 11), C mode (page 18), D mode (page 47), and edit decision list (EDL) (below). EBU An abbreviation for the European Broadcasting Union, located in Brussels. This organization develops television and radio broadcasting standards for member countries. Edit Clip mode–Edit Suite The Edit Suite window in Edit Clip mode allows you to edit audio level and pan for individual clips, apply MotionFX™ to clips, roughtrim video or audio clips, and export clips as QuickTime movies or export keyframes as PICTs for use with external applications. E edit decision list (EDL) An edit decision list, or EDL, is a list that describes how a program was assembled. An EDL represents the creative thoughts of an editor on what a production will look like before final editing begins — all subject to change when online editing commences. In its simplest form, it shows the timecodes of the source material and lists the transitions between images. See also: A mode (page 1), B mode (page 11), C mode (page 18), D mode (page 47), E mode (above) and EDL Option™ (page 56). Edit menu The Edit menu provides commands for editing bins and programs and for selecting settings and preferences. Refer to individual command names for information about their operation. 55 Edit Suite window Edit Suite window Media 100’s Edit Suite window allows you to access a complete range of editing functions. You can select the following operating modes using the Edit Suite mode pop-up menu: Digitize, Edit Clip, Graphics, Program, Transition, and Trim. The Edit Suite window also contains a video subsampler that allows you to view your editing results in real time. See also: Digitize mode (page 49), Edit Clip mode (page 55), Graphics mode (page 67), Program mode (page 113), Transition mode (page 159), and Trim mode (page 159). Edition Manager The CG Option uses the Macintosh System 7 Edition Manager to bring in picture objects as an alternative to the Clipboard. The advantage of subscribing to editions, rather than pasting pictures from the Clipboard, is the automated updating capability of the Edition Manager system. For more detailed information regarding the Edition Manager, see your Macintosh documentation. See also: Edition Option (below), Show Borders (page 135), and Subscribe To (page 147). Edition Option The Edition Option command in the CG Option’s File menu allows you to update the edition whenever only one subscriber is selected. For more information on the Edition function, refer to your Macintosh documentation. EDL Abbreviation for edit decision list. See page 55. EDL Option™ Media 100’s EDL Option generates an EDL record of a video program in any of four industry-prevalent EDL formats: CMX 3400, CMX 3600, Grass Valley Group, and Sony BVE. You can print an EDL, keep an electronic copy for archival purposes, or export it in one of the 56 encoder above formats. The EDL Option includes a translation utility for file and disk compatibility with CMX, Grass Valley, and Sony editing systems. A Effect Class Selectors The Effect Class Selector buttons at the top of the Edit Suite window in Transition mode allow you to choose from three types of transition effects: Dissolves Wipes Digital Video Effects Enable Track The Enable Track command in the Track menu enables output from a disabled track (video, audio, or graphics). You can also enable a track by clicking in the track or in the label area to the left of the track. The track area turns light gray to flag its enabled state. While the video track is enabled, both the external video monitor and the Edit Suite submonitor display a program’s frames when you play the program. While an audio track is enabled, it produces sound from that track when you play the program. Enabling the graphics track allows the display of any titles or graphical overlays present. E Mouse shortcut: Click a track’s identifier (G, V, A1, A2, A3, A4, etc.) to toggle its state between enabled and disabled. See also: Disable Track (page 50). encoder The Media 100 encoder converts the 4:2:2 YUV format back to analog signals for output. 57 equalization (EQ) equalization (EQ) The adjustment of a signal across a given band. Audio equalization is a filtering procedure that minimizes the effect of undesired sounds or frequencies in a production’s audio. It is typically employed during the audio sweetening process. See also: sweetening (page 148). Expand Track The Expand Track command in the Track menu displays the expanded information for the currently selected audio or video track. • For an audio track, this command shows both the audio level and pan subtracks in the active Program window. The audio track remains available for editing operations involving audio clips. • For a video track, this command opens the a, fx, and b video subtracks in the active Program window. The video track continues to summarize the playable contents of these tracks as you add clips to tracks a and b, or build transition effects in the fx subtrack. While the expanded tracks are visible, the command appears in the menu as Collapse Track. Mouse shortcut: Click on the small triangle button next to the V and A1–A4 buttons to toggle between the expanded and collapsed states. See also: Collapse Track (page 33). expansion slots Connectors inside the Macintosh provided for the installation of printed circuit cards. Export from Edit Suite The Export from Edit Suite command in the File menu produces files for use by external applications. An exported file may contain a clip keyframe as a PICT image, a video clip, an audio clip, a range selected from a program, or an entire program. Graphics and transi- 58 extreme close-up (ECU) tions may be exported after they are rendered. The exported material becomes new visual or aural material in a new file on a disk of your choice. A Extensions folder A folder within the Macintosh System Folder. Extensions add features that are not included in the basic System Folder. Your Media 100 Extension is placed in this folder during installation. external video monitor An external video monitor connected to the Media 100 Junction Box displays the continuous video stream when you play through clips, transitional effects, motion effects, and programs. When play is stopped, the monitor displays the current frame in field-doubled mode to eliminate flicker due to field interlace. Refer to the Media 100 Installation Guide for information on how to connect an appropriate external monitor to the Junction Box composite, Y/C, or component outputs. extreme close-up (ECU) E An extreme close-up calls for the camera to be tight on its subject, for example, an actor’s face. 59 fade fade A gradual transition from one visual or aural state to another. Examples include: fade in from black to a visual image (fade up); fade out from a visual image to black (fade to black, or fade down); and fade audio up or down. Faster Gradient Display An item in the CG Preferences dialog box (accessible from the CG Option’s File menu). When this item is selected, gradients in objects display an “approximate” banded version of the actual gradient chosen. When this item is not selected, gradients display more realistically, but require more time to draw on the screen. FastFX™ FastFX is Media 100’s proprietary hardware-assisted process for rendering transitional effects in near real time. The Media 100 base product provides the Dissolve–FastFX transition effect, and the POWER Option adds additional FastFX effects. field A field is one half of an interlaced video frame. It includes either odd or even scanning lines and has a duration of 1/50 of a second for PAL, approximately 1/59.94 of a second for NTSC drop frame, and 1/60 of a second for NTSC non-drop frame. There are 312.5 lines in a PAL field and 262.5 lines in an NTSC field. See also: frame (page 64), NTSC (page 100), and PAL (page 105). field dominance Field dominance refers to the order in which individual fields of a video frame are processed — even scan lines followed by odd, or odd followed by even. Some applications and systems allow you to compensate for this order. Media 100, however, fixes the order — each video frame has a first field of odd-numbered scan lines followed by a second field of even-numbered scan lines. This field order is often called “upper-field dominant,” or “odd-field dominant.” The converse is “lower-field dominant,” or “even-field dominant.” 60 film playback rate It’s important to know the field-dominance characteristic of applications or systems that you intend to work with for the input or output of video. Video with incompatible field dominance will appear to stutter when played back. A See also: frame (page 64). field doubling A process in which one field of every video frame (the odd or even field) is compressed, and the other field is discarded. At playback, the compressed field is replicated (doubled) to fill the scan lines of the frame. This compression scheme reduces the data rate for disk transfers and the storage requirements for digitized video. The resulting video, however, is far from broadcast quality. Media 100 uses field doubling during Draft mode. See also: Draft mode (page 52). field rendering Field rendering compensates for motion in frames to make moving objects appear more natural. The rendering process introduces motion-enabling artifacts in individual fields that manufacture a perception of smooth motion across the fields. F See also: field dominance (page 60) and frame rendering (page 64). File menu The File menu contains commands that perform standard file management functions (open, close, save, print, quit) as well as commands that allow you to import and export files and master a program to tape. Refer to individual command names for information about their operation. film playback rate The playback rate for film is 24 frames per second. I 61 Find Media Find Media The Find Media command in the Tools menu locates media files that match specified criteria and groups their clips in a new bin. This bin is automatically included in the current project. An empty bin signifies that no media satisfied the search criteria. You can copy these clips to other bins, or you can save this bin to the current project and use the bin’s clips in associated programs. You can also delete any or all of these clips and their media files using the Delete Clip and Media command (Edit menu). All clips are automatically selected when the bin appears upon completion of the search.You can click or shift-click to pick specific clips. See also: Delete Clip and Media (page 48), Delete Media (page 48), and Media Settings (page 93). Find Text The Find Text command in the CG Option’s Objects menu displays a dialog box that allows you to enter search criteria. When this command is activated, the CG Option searches for a matching text string in the CG Canvas. first generation A tape containing the original recording of a video signal. first frame (media file) The initial frame digitized for a media file. Media 100 either assigns the timecode read from the reel or assigns all zeros for non-timecoded material. The current videotape standard set in Hardware Settings (NTSC or PAL) applies. See also: Hardware Settings (page 69) and media file (page 91). Fit Program The Fit Program command (in the Time Scale command’s hierarchical menu) scales the active Program window’s timeline ruler so that the entire program can be displayed within the window’s current width. 62 Fold Up When Fit Program is selected, the indicator in the Program window’s time scale control becomes yellow to indicate that a special scale is in use. The Fit Program, Zoom In, and Zoom Out commands remain dimmed while the timeline ruler remains in the “Program” state. Clicking the yellow time scale control or anywhere in its surrounding blue area restores the time scale to normal. Keyboard shortcut: A -= See also: Program window (page 114) and timeline ruler (page 157). Fit To Video The Fit To Video command in the CG Option’s Objects menu enlarges the selected object until it fills the entire CG Canvas. The scale of the object is maintained. flash frame A black video frame inserted by error between video sequences. A viewer perceives the black frame as a momentary visual flash when viewing playback at the normal rate. Flash frames are typically introduced in linear tape editing by inaccurate matching of insert edits. Nonlinear editing through the elimination of gaps between clips usually prevents flash frames. A series of animation sequences, however, can produce a flash frame if the successive sequences are not appropriately matched. F Fold Up A Media 100 transition effect where In frames fold up in half sections to reveal Out frames. I Fold Up is available with the FX Option. 63 frame frame A video frame contains two fields of scanned lines that, when interlaced, make up the entire image. A frame has a duration of 1/25 of a second for PAL, approximately 1/29.97 of a second for NTSC drop frame, or 1/30 of a second for NTSC non-drop frame. A PAL frame has 625 scanned lines; an NTSC frame has 525 scanned lines. See also: field (page 60), NTSC (page 100), and PAL (page 105). frame rendering Frame rendering, unlike field rendering, renders fields independently without recognition of or compensation for motion across the fields. A frame-rendered video sequence may, because of the lack of motion compensation, give the visual appearance of jerky motion. See also: field rendering (page 61). freeze frame An option in the Edit Suite window’s MotionFX subpanel. Selecting freeze frame plays the current frame (the CTI position) for the specified duration (the default is 2 seconds). See also: MotionFX™ (page 95). Funnel A Media 100 transition effect where In frames are pulled through a funnel to reveal Out frames. Funnel is available with the FX Option. F/X F/X is Hollywood shorthand for special effects. 64 fx track FX Option™ Media 100’s FX Option installs a repertoire of transitional effects for programs. Refer to the Media 100 User Manual for complete information about using the transitions supplied with the FX Option. A fx track The fx track is one of three virtual video tracks that you display or hide by expanding or collapsing the V video track. This track allows the positioning of transition arrows that define cuts between clips in the a virtual video track and the b virtual video track. It’s also where you initiate and define transitional effects at cuts, such as the Dissolve–FastFX and the effects available with the FX Option and POWER Option. See also: transition effects (page 159). F I 65 gain gain 1. As used in the Media 100 Input Setup window, gain refers to the amount of white in the picture. Increasing the gain causes the picture to become brighter; decreasing the gain makes the picture darker. Gain is typically monitored using a waveform monitor. 2. As used in the Media 100 Audio window, gain refers to an increase or decrease in the audio volume level. generation Generation in the video industry refers to a copy of a videotape. Typically, each generation results in some measurable degradation in the signals transferred to the new tape. Certain tape formats (D1, for example) are designed to minimize generation loss. genlock Genlock is an industry term derived from the condition where equipment is locked (synchronized) to the output of a sync (synchronizing) generator. Genlocking provides common synchronization between multiple devices. Typically, the external sync generator delivers a stable “black burst” signal to video source equipment (cameras, tape decks, media computers, character generators, etc.). This signal synchronizes all units to the identical timing for horizontal lines, vertical blanking, and color bursts to ensure that switched or layered combinations of video (such as keying a wipe from one source to another) produce output without aberration. Genlock Setup window The Genlock Setup window allows you to place Media 100 in the genlock timing mode required to output synchronized composite video and S-video signals to other video devices and systems. The Genlock Setup window also allows you to adjust the phase of Media 100’s subcarrier (SC) burst and horizontal sync output signals. See also: horizontal phase (page 70), Internal Timing (page 76), and subcarrier phase (page 147). 66 Graphics mode–Edit Suite Get Info A Macintosh command that provides information about the currently selected file. It shows the file type, size, location, and creation date. A The Get Info command can be used to change the amount of memory an application uses. The Media 100 base product does not require that you allocate additional memory to the application. However, if you have the HDR Option, you will need to increase the memory allocation to 40,000 K. gigabyte One billion bytes (actually 1,073,741,823 bytes). It’s used in the computer industry to indicate extremely large sizes, for example, the storage size of a SCSI device (hard disk). Disk manufacturers, however, use 1,000,000,000 as the size factor for large disks. See also: byte (page 17), kilobyte (page 81), and megabyte (page 94). GraphicsFX™ GraphicsFX™ identifies the Media 100 hardware-assisted rendering process for clips placed in the G (graphics) track. You initiate its function when you click Render with the Edit Suite window in Graphics mode and have one or more clips positioned in the G track. Rendering time is approximately four times the duration of the overlay clip. (For example, a 1-second clip requires 4 seconds to render.) See also: graphics track (page 68) and Render All (page 124). G Graphics mode–Edit Suite The Edit Suite window in Graphics mode allows you to add imported textual or graphical overlays with alpha-channel masks in the G (graphics) track for rendering with underlying video frames. If the CG Option is installed, Graphics mode also gives you access to its capabilities for creating titling and graphical overlays. Media 100 renders overlays present in the graphics track, through either the Graphics mode panel’s Render function or the Render All command in the Tools menu. I See also: Track Setup (page 158). 67 graphics track graphics track You can place imported PICTs or QuickTime movies with alphachannel information in the G (graphics) track and then render them over any underlying video. Both the PICTs and the QuickTime movies should be full-frame size. See also: alpha channel (page 5), CG Option (page 22), and Graphics mode–Edit Suite (page 67). Grid Spacing An item in the CG Preferences dialog box (accessible from the CG Option’s File menu). This field allows you to enter a pixel value to increase or decrease the spacing of the grid. You can enter values from 4 to 64 pixels. The higher the value, the wider the spacing. Grid Visible The Grid Visible command in the CG Option’s Objects menu displays a grid over the CG Canvas. The grid is used to align text, picture, and rule objects. You can adjust the spacing of the grid using the CG Preferences dialog box. See also: Align To Grid (page 4). GUI Abbreviation for graphical user interface. GVG format The abbreviation for Grass Valley Group, a leading supplier of equipment to the video industry. The GVG format is a standard for formatting EDL files produced by GVG editing systems. 68 Hi8 hard record The traditional term for manually recording to a selected location on a tape, without regard to the existing control track. A Hardware Settings The Hardware Settings command in the Edit menu dictates how Media 100 interacts with various external equipment connected to the Media 100 Junction Box. These settings generally need to be changed only when you alter the equipment connected to the Junction Box or the equipment’s operating characteristics. HDR Option™ The HDR Option (for high data rates) supports superior picture quality with compression ratios of up to 4:1 and corresponding video frame sizes of up to 150 KB for NTSC (180 KB for PAL). The option includes proprietary Q tables and algorithms for Media 100 operations, plus separate HDR QuickTime CODECs for NTSC and PAL that provide hardware-assisted compression and decompression of QuickTime material at high-quality settings. In addition, the HDR Option supports component video equipment to give you the greater image quality that component signals provide. head frames Frames that are virtually trimmed back from the first frame of a digitized media file by adjustment of the In point for the related clip or clips. Typically, these frames contain extraneous material not needed in a program. See also: clips (page 29) and media file (page 91). hertz A unit of frequency equal to one cycle per second. Typical uses: kilohertz (kHz), megahertz (MHz). Hi8 H I Hi8 (trademark of Sony Corporation) is a video system format with enhanced image capturing and presentation. Characteristics include 400-line horizontal resolution, composite or S-video (Y/C) signal 69 Hide Audio Waveform operation, single video track, dual audio tracks, and tape that is 8 mm in width. This format has had increasing acceptance in applications such as ENG (electronic news gathering) and documentaries. Hide Audio Waveform The Hide Audio Waveform command in the Track menu removes the waveform representation of the audio signal from inside the active Program window’s selected audio track. The Hide Audio Waveform command becomes Show Audio Waveform when you select an audio clip that does not display a waveform. See also: Show Audio Waveform (page 135). Home key A dedicated function key on the Macintosh keyboard. In Media 100, press the Home key to move the Current Time Indicator (CTI) and the Program window to the program’s first frame (00:00:00:00). horizontal blanking A blanking signal produced from the end of the picture information on one horizontal scan line to the start of the picture information on the next horizontal scan line. horizontal phase A setting in the Genlock Setup dialog box that shifts the overall horizontal sync on the waveform monitor. The horizontal phase can be set between 0 (the default setting) and 255. house video reference The house video reference is the synchronizing signal frequently used to “genlock” various video source components (cameras, tape decks, etc.), ensuring synchronized occurrence of horizontal lines, vertical blanking, and color bursts for clean output of switched video from these sources. See also: genlock (page 66). 70 Hz HSB Abbreviation for Hue-Saturation-Brightness, a color model frequently used in graphical applications as an alternative to the RGB color specification process. A HSL Abbreviation for Hue-Saturation-Lightness, a color model frequently used in graphical applications as an alternative to the RGB color specification process. HSV Abbreviation for Hue-Saturation-Value, a color model frequently used in graphical applications as an alternative to the RGB color specification process. hue Also known as tint, the hue is the shade of a color. It is the attribute that differentiates among colors on the basis of which primary colors are present. Red, green, and blue can be combined to create any hue. Black, white, and gray are not considered hues. Hue is typically monitored using a vectorscope. See also: brightness (page 16), Color Picker (page 34), saturation (page 129), and vectorscope (page 163). Hz Abbreviation for hertz. See page 69. H I 71 illegal colors–NTSC, PAL illegal colors–NTSC, PAL Illegal colors for PAL video refers to the regulations in PAL-broadcasting countries against the use of overly saturated colors, such as pure white, in broadcast transmissions. Both the FCC (Federal Communications Commission) and NTSC-broadcasting countries have similar restrictions. Colors exceeding these guidelines may interfere with television reception. Many video-smart graphics applications flag color choices that exceed the guidelines. For example, RGB values in a graphics application can range from 0 through 255; however, Media 100 considers only the values 16 through 235 to be within the acceptable range of colors for video. Import The Import command in the File menu allows you to import a variety of visual and aural material prepared by other applications for use in Media 100 programs. You can also import media files created by Media 100 to recreate clips where the clips or bins were inadvertently deleted or are missing. All still images must exist in the Macintosh standard PICT graphical file format. Video material must exist as exported, compressed movies in the QuickTime format. Audio material can be imported directly from an audio CD in an Apple CD300 CD player. Audio files can also be imported from QuickTime movie format and Sound Designer II format. You can import one PICT or one exported QuickTime movie at a time with the Import command. To import multiple PICTs or exported QuickTime movies or any combination of PICTs and exported QuickTime movies in one step, use Media 100’s drag-and-drop function. Keyboard shortcut: -I Import PICT The Import PICT command in the CG Option’s File menu allows you to copy a PICT image file into a picture object. The picture object must first be created or selected to enable this command. Selecting this command displays a dialog box from which you can select the desired PICT file. If the picture object contains an image, the new PICT image overrides it. Because the PICT image is copied into the 72 in-fill cursor object, subsequent changes to the original PICT file are not reflected, nor do any changes to the image in the picture object affect the source PICT file. A In and Out Frames The In and Out Frames command in the View menu displays each clip in the active bin with In and Out frames. The In and Out frames are each 64 by 50 pixels. The frames displayed depend on the clip’s trimmed state — they can be the clip’s first and last frames or the In and Out frames. A black frame represents the last frame digitized for the media file. See also: clips (page 29). in-fill cursor The cursor that displays when you drag a clip into the Program window over a gap in a track. The in-fill cursor indicates that the clip will be dropped into the gap with its head frame at the start of the gap. Any frames that extend beyond the end of the gap will be trimmed. See also: can-drop cursor (page 18), cannot-drop cursor (page 19), and out-fill cursor (page 101). I 73 In point In point In Media 100, an In point refers to the first playable frame of a trimmed clip and to a beginning edit point. For tape editing, it traditionally represents the first frame of an edit point on the source (playback) tape or on the record (master) tape. clip In point first frame head frames Out point media file tail frames last frame Trimmed Clip See also: clips (page 29) and Out point (page 102). Input Setup window Media 100’s Input Setup window allows you to perform video setup operations using a vectorscope and waveform monitor. You can use these instruments to adjust the luminance and chrominance levels of your video signals. See also: vectorscope (page 163) and waveform monitor (page 166). insert edit 1. When editing in the Program window, an insert edit involves dragging a clip from a bin, from another program, or from elsewhere in the active program to a marked edit position on the program timeline. A clip placed by an insert edit displaces all material under it to the right for the duration of the clip; that is, it “ripples” the underlying material to the right. See also: overlay edit (page 102) and user marks (page 162). 74 interlace 2. When mastering a program to tape, the Insert Edit mode can be selected from the Master to Tape dialog box. An insert edit outputs selected program tracks to a master tape without producing timecode or control pulses. Insert editing allows you to make minor modifications to a black-striped master without regenerating the entire tape. It also allows you to construct a tape in parts. Because of the nature of insert editing, there must be timecode and black on the tape before an insert edit occurs. A See also: assemble edit (page 7), black-striped tape (page 15), and Master to Tape (page 89). Inset A Media 100 transition where rectangular Out frames grow and wipe diagonally across In frames. Inset is available with the FX Option. Inset-FastFX is a hardwareassisted, accelerated version available with the POWER Option. intensity A measurement of the energy present in a luminance representation. Also called gain. interlace Interlace refers to the combination of alternately scanned lines from field 1 (odd numbered lines) and field 2 (even numbered lines) that form a video frame. See also: field (page 60) and frame (page 64). I 75 Internal Timing Internal Timing The Internal Timing selection in the Genlock Setup window chooses the Media 100 internal clock, a stable timing signal, as the video timing source for the output of video to a VTR. See also: Genlock Setup window (page 66). IRE A unit of measurement for NTSC video signals established by the Institute of Radio Engineers: one IRE equals 1/140 of the peak-topeak amplitude of the signal, which is typically 1V. (1 IRE = .007 Volt, 140 IRE = 1 Volt). See also: peak white (page 107), reference black (page 122), and waveform monitor (page 166). Iris Cross A Media 100 transition where In frames split in four-part, crossshaped sections to reveal Out frames. Iris Cross is available with the FX Option. Iris Cross-FastFX is a hardware-assisted, accelerated version available with the POWER Option. Iris Diamond A Media 100 transition where In frames open diamond-shaped sections to reveal Out frames. 76 Iris Square Iris Diamond is available with the FX Option. Iris Diamond-FastFX is a hardware-assisted, accelerated version available with the POWER Option. A Iris Points A Media 100 transition where Out frames close in a diagonal crosspattern wipe over In frames. Iris Points is available with the FX Option. Iris Round A Media 100 transition where In frames open in a circular shape to reveal Out frames. Iris Round is available with the FX Option. Iris Round-FastFX is a hardware-assisted, accelerated version available with the POWER Option. Iris Square A Media 100 transition where In frames open in a rectangular shape to reveal Out frames. I 77 Iris Star Iris Square is available with the FX Option. Iris Square-FastFX is a hardware-assisted, accelerated version available with the POWER Option. Iris Star A Media 100 transition where In frames open in a star shape to reveal Out frames. Iris Star is available with the FX Option. 78 Junction Box jog/shuttle control A jog/shuttle control advances control either forward or backward across a sequence. A jog control moves forward or backward one frame at a time. A shuttle control moves the sequence forward or backward at a rate proportional to the amount the control is advanced. J JPEG JPEG is the abbreviation for the Joint Photographic Experts Group. This group was formed to author an international standard (with ISO approval) for compressing still images. Media 100 implements this standard in its hardware-assisted process for real-time compressing and decompressing of 60-field, 30-frame per second NTSC video (50field, 25-frame per second for PAL). See also: MPEG (page 96). Junction Box The Media 100 Junction Box is the interface for all video and audio signals passing between the Media 100 system and external equipment. It simplifies cable routing by offering one convenient place for you to connect and disconnect equipment cable. The Junction Box can be used as a stand-alone unit. It can also be optionally mounted in an equipment rack through use of the supplied end-mounting flanges. I 79 Junction Box Media 100 Junction Box (shown with rack-mounting flange) Signal types accommodated include: • Composite video input and output • S-video (Y/C) input and output • Component video (Y, R–Y, B–Y) input and output (requires the Media 100 HDR Option) • Balanced audio (via XLR connectors) input and output channels • Unbalanced audio (via RCA connectors) input and output channels For complete information about use of the Junction Box and detailed audio and video connection instructions, refer to your Media 100 Installation Guide. 80 kilobyte Keep backups of saved bins A field in the Media 100 Preferences dialog box that allows you to keep backups of saved bins. Click the checkbox to automatically back up all saved bins. The default setting is no backup. Keep backups of saved programs A field in the Media 100 Preferences dialog box that allows you to keep backups of saved programs. Click the checkbox to automatically back up all saved programs. The text box accepts a value in the range of 1 to 99 to set the number of most recent versions retained. The default setting is no backup. A K kerning A typographical process that condenses or expands the spacing between selected characters, usually character pairs, to enhance the visual spacing. keyframe A bin clip that is displayed using Small Keyframe, Medium Keyframe, Large Keyframe, or In and Out Frames (View menu) displays a keyframe as a reminder of its content. Media 100 automatically chooses the first frame of any visual clip (digitized video, imported PICT, or imported QuickTime movie) as the keyframe. You can change this choice at any time by interactive selection in Edit Clip mode. An audio clip displays a “speaker” icon as its keyframe. F See also: In and Out Frames (page 72), Large Keyframe (page 82), Medium Keyframe (page 94), and Small Keyframe (page 139). keyframe selector The keyframe selector (the red arrow in the timeline in Edit Clip mode) allows you to select the keyframe for a bin clip. kilobyte A computer term for 1,000 bytes, actually 1,024 (decimal). Kilobyte (KB) is used traditionally for specifying increments of disk storage. I 81 L-cut L-cut An alternative industry expression for a split edit (see page 144). Large Keyframe The Large Keyframe command in the View menu displays each clip in the active bin with large keyframes. A large keyframe is 160 by 120 pixels. The keyframe chosen to represent the clip is either the In frame (the default) or the frame chosen with the keyframe selector in Edit Clip mode. launching Media 100 You can launch Media 100 from the Finder by double-clicking on the Media 100 application icon (or on an alias of it) or on any Media 100 project icon. The windows that open depend on your last choices made in Preferences (Edit menu), on what documents were open in a project when you last quit Media 100, or on which project icon you double-click. layback The transfer of enhanced audio to a videotape’s audio tracks after you complete the audio post-production process. The transfer must be accomplished in step with the videotape timecode to maintain synchronization between the video and audio presentations. See also: chase (chasing) (page 25). leader A leader usually precedes a program mastered to videotape. It typically includes an interval of video black, a minute of color bars and tone, and a countdown sequence from 10 seconds to 3 seconds with the final 2 seconds playing black. Media 100’s Master to Tape dialog box allows you to select a leader and specify its duration. You can choose from any documents included in the Leaders and Trailers folder in your Media 100 folder. 82 lip synch level control line The line in an expanded audio track in the Program window that allows you to adjust the volume for the selected track. The volume level is adjusted by placing and dragging nodes in the track. A level slider The slider in the Audio window that allows you to adjust the volume for the selected track. The volume level is adjusted by dragging the slider up and down. license key L A hardware device that enables you to use a software application. Media 100 and its options are enabled only if it recognizes the presence of the appropriate connected license key in the ADB (Apple Desktop Bus). License Key A key must remain installed while you use its application. You can install these keys serially anywhere in the ADB chain leading from your keyboard to a Macintosh ADB port. Install or remove license keys only while the computer system is in a power-off state. Refer to your Macintosh documentation for information about ADB connections. linear editing The term linear editing is derived from tape-oriented editing, where edits are copied from source videotapes to a record videotape in a linear fashion. lip synch The synchronizing of audio to an actor’s visual lip movements. I 83 List List The List command in the View menu presents a list of information for clips in the active bin, with clip attributes posted in separate columns. You can drag, option-drag (duplicate), or copy clips from this view to the Edit Suite or to a Program window. You can sort clips by the following attributes: name, keyword, comments, color, selection order, in time, out time, length, source in time, source out time, source length, reel name, date, media file name, tracks, input setup, quality, standard, ColorFX, or MotionFX. Lock Track The Lock Track command in the Track menu locks the selected track (video, audio, or graphics). You can select a track by clicking in it, or clicking in the track label area to the left of the track. A green stripe to the left of the track label indicates that the track is selected. When you select Lock Track, a red box displays around the track’s label area to indicate the locked state. While a track is locked, you cannot add clips to it, delete clips from it, or move clips within it. In addition, you cannot move or delete clips in other tracks if they are synchronized with clips in the locked track. You can play (view) the contents of a locked track. You can also disable or enable a locked track for playing purposes. When the chosen track is locked, the menu command changes to Unlock Track. Keyboard shortcut: -L See also: Unlock Track (page 161). log An organized list of the available clips on each film reel, along with the starting and ending timecodes for each clip. Most video programs use a master log to track the scenes in the video program. With the POWER Option installed, Media 100 allows you to log clips using the Power Digitize panel or import log files created by other applications using the Import-PowerLog command. 84 luminance key longitudinal time code See LTC, page 85. A lossless compression A compression process that codes all of the original material such that it can be reconstructed without loss at a later time. Lossless compression cannot currently achieve the levels of image-size reduction necessary for full-frame, full playback of video images. lossy compression A coding compression process that discards some data from the original material to achieve compression. The original material cannot be completely reconstructed at a later time. A lossy compression can, when reversed, result in an excellent to fair reproduction of the original, subject to the process used. L LTC LTC is the abbreviation for longitudinal timecode. LTC can be recorded to an audio track or an address track, depending on the tape format. The disadvantage of using LTC timecode is that it does not accurately reflect the current frame when the tape is slowed down. (LTC can only be read from tape while the tape is moving.) Refer to your VTR user documentation for information on using LTC. See also: VITC (page 165). luminance Luminance is the brightness information present in a video signal. Typically abbreviated as “Y.” See also: chrominance (page 26), hue (page 71), saturation (page 129), and YUV (page 168). luminance key An electronic masking process that keys the specified shade of gray to form a mask in the video stream. The masked areas can then be filled with other video for interesting effects. I See also: chroma key (page 26). 85 Luminance Map Luminance Map A Media 100 transition where the luminance values of the In frames are applied to the Out frames. Luminance Map is available with the FX Option. 86 Mark In, Mark Out MACE The abbreviation for Macintosh Audio Compression and Expansion, a compression algorithm supplied by Apple Computer, Inc. with QuickTime. When you import a QuickTime audio file, Media 100 automatically decompresses any MACE compression before storing the audio as a media file. This audio, which is always 8-bit monaural, may exhibit lower quality because of this compression. A See also: QuickTime (page 116) and QuickTime CODECs (page 116). Machine Control The Machine Control feature (in the Hardware Settings dialog box) implements remote control of a VTR for digitizing video and synchronized audio material from videotape. With the Machine Control cable installed and the VTR in remote mode, you can control the VTR from the Edit Suite in Digitize mode. Media 100 also uses the remote capability non-interactively to direct the VTR in master-to-tape operations. M The VTR must be equipped with a 9-pin, RS-422 connector with the capability for remote activation of operations. VTRs of this class are usually classified as professional equipment. VTRs of the consumer class typically employ the protocols of VISCA, Control L, or Control S for remote control. Media 100 does not support these protocols. See also: Hardware Settings (page 69). Mark In, Mark Out Indicators that you can place on the timeline in the Program window. In and Out marks expand the flexibility of timeline editing. You can use these marks for rapid, accurate insert or overlay edits. Pressing F1 places a Mark In; pressing F2 places a Mark Out. Yellow triangles facing left and right on the timeline ruler indicate the mark positions (see below). Pressing F1 or F2 with marks already present on the timeline ruler removes the previous positions and sets marks in the new positions. I 87 mask Pressing F3 moves the Current Time Indicator (CTI) to the Mark In position; pressing F4 moves the CTI to the Mark Out point. timeline ruler Mark In Mark Out Keyboard shortcuts: F1, F2, F3, or F4 See also: insert edit (page 74) and overlay edit (page 102). mask A mask is an electronic representation of an image area used by graphical or video applications to blend multiple images together. The mask can be black (or white) where it is to block areas of one image from passing to the other, and the inverse (white or black) where it is to pass the image. A mask may also have shades of gray to pass degrees of the masked image. See also: alpha channel (page 5) and matte (page 89). master level slider The master level slider in the Audio window displays the dynamic range of audio level and pan output directed from the active audio tracks to Media 100’s left and right output channels. Dragging the master level slider up or down as the audio plays amplifies or reduces the gain factor applied to the mix of audio output from all active audio tracks. 88 Media 100 icons mastering Mastering in tape editing systems refers to the recording of edits on a master tape, typically as insert edits. For Media 100, the mastering element of All-On-One™ Mastering refers to the printing to tape of a program. A Master to Tape The Master to Tape command in the File menu initiates the mastering of the program (or the selected portion of the program) to videotape. matte An alternative term for mask. It was adapted by Hollywood from its traditional use as a graphic arts term. Media 100 icons M The following icons represent various Media 100 information items: Media 100 application project program bin movie (media file) I 89 Media 100 Junction Box Media 100 Junction Box The Media 100 Junction Box is the interface for all video and audio signals to and from the Media 100 system. See also: Junction Box (page 79). Media 100 QuickTime CODECs Media 100 in its base configuration includes two QuickTime CODECs for processing the real-time compression and decompression of NTSC and PAL high-quality video at full-frame, full playback rates. The HDR Option adds two additional CODECs for processing NTSC and PAL video at higher quality compression levels. • Media 100® NTSC — offers rapid JPEG hardware-assisted compression and decompression of a variety of video material. You get superb playback of base-system quality NTSC video images. • Media 100® PAL — offers rapid JPEG hardware-assisted compression and decompression of a variety of video material. You get superb playback of base-system quality PAL video images. • Media 100® NTSC HDR — available only with the HDR Option. Offers rapid JPEG hardware-assisted compression and decompression to higher settings for higher quality video material. You get superb playback of highest quality NTSC video images. • Media 100® PAL HDR — available only with the HDR Option. Offers rapid JPEG hardware-assisted compression and decompression to higher settings for higher quality video material. You get superb playback of highest quality PAL video images. media destinations You can select where to store your media files using the media destinations control located within the Media Settings dialog box. The media destinations control manages how volumes (hard disks) are 90 media file names allocated to the storage of specific classes of media files. These settings are independently set for and saved by each project. Media files can be distributed among any combination of volumes. A A volume must be recognized for it to appear; that is, the disk must be mounted (it must be powered up and known to Media 100 via the Macintosh SCSI manager). See also: Media Settings (page 93). media file Media files store digitized, compressed video material and digitized aural material for use with Media 100. All media files are QuickTime compatible. Media 100 accepts video and audio into its media files from a variety of external sources. The compression factor applied to new video media is determined by the quality level set in Media Settings. A larger frame size, which has less compression, produces higher picture quality. A smaller frame size requires increased compression, and thus results in a lower picture quality. M media file names Media 100 assigns names automatically to video and audio media files as they are digitized. Media file names contain the following elements: Reel name Up to 12 characters Timecode The media’s starting timecode, or NT for no timecode followed by an incrementing number Vn or A1, 2, n V for video followed by the current compression setting in KB; A for audio # A number appended to make the name unique I 91 media folders For example: • Dogs-00.00.03.02-V80 Video from reel “Dogs” digitized at 80 KB from timecode 3:02. • Dogs-00.00.03.02-A1 Audio file for above video. • Cats-NT1-V40 Video from reel “Cats” digitized at 40 KB without timecode. Imported media file names are derived from the existing file names by appending suffixes of P for PICT and QV for QuickTime movie. Numbers are added to make the respective names unique. media folders Media folders store all media files on the disks you selected in the media locations portion of the Media Settings dialog box (Edit menu). These folders are identified by names that contain the project name plus the suffix “media.” Each disk chosen in Media Settings receives one folder per project to store the media files, digitized or imported, directed to that disk. Media Locations You can select the location of your media files by clicking the Media Locations button located in the Media Settings dialog box. Each project manages its media folders and thus its media files by recording a directory of disks and folder locations. You should not disrupt the project’s knowledge of the location of these folders and files by moving them outside of Media 100 at the Finder level. If you must move a folder (for example, to a removable cartridge for archiving purposes), do so only through the control functions made available through Media Locations. See also: media destinations (page 90) and Media Settings (page 93). 92 Media Settings media management Media management assumes total responsibility for storing and retrieving everything in Media 100 — digitized video and audio media files, clips, transition effects, titles, imported PICTs and QuickTime movies, bins, and programs. Media management begins with the creation of a new Project window. A project is the master control document for a collection of bins and programs. It maintains a status accounting for these elements. It also records such information as the current state of the choices made in Media Settings, Hardware Settings, and Preferences. Each time you open a project, it restores these settings and opens any windows that were open when you last closed the project, provided you requested that action under the Preferences settings. Only one project can be active at a time. Bins and programs can, however, be freely copied from other closed projects. Media files from other sources can also be added to the project set when necessary. A M For your convenience and ease of access and backup, we recommend that you create a folder on your internal hard disk for each project, and that you store the project and all its bins and programs in that folder. These files require relatively little disk space and are the only files needed for redigitization or backup purposes. Media Settings The Media Settings command in the Edit menu reports available disk space on your system’s disk drives, how this free disk space is allocated to the storage of media files, and the compression parameters last set, if any, for controlling the quality of digitized or imported visual material. Each project retains these settings in its records. For a new project, you must allocate media file types to specific disks and change compression parameters as necessary. Keyboard shortcut: -M See also: media destinations (page 90) and media file (page 91). I 93 Medium Keyframe Medium Keyframe The Medium Keyframe command in the View menu displays each clip in the active bin with medium keyframes. A medium keyframe is 82 by 62 pixels. The keyframe chosen to represent the clip is either the In frame (the default) or the frame chosen with the keyframe selector in Edit Clip mode. Keyboard shortcut: -; medium shot (MS) A medium shot is one where the camera typically frames (concentrates on) an actor or actors, but includes scenery or background. The medium shot usually captures action and the interaction of actors. megabyte A megabyte represents 1 million bytes, actually 1,048,576. It’s used in the computer industry to indicate large sizes, for example, the amount of RAM (random access memory) present in a computer, or the storage size of a SCSI device (hard drive). See also: byte (page 17). millions of colors You will obtain best performance from Media 100’s subsampler if your color monitor is set to millions of colors. Refer to the Media 100 Installation Guide for more information on monitor configuration. Multi-frame trim button A field in the Media 100 Preferences dialog box that sets the frame duration that you move the trim joint right or left when you click the trim multiple button in Trim mode. The text box accepts a value in the range of 2 to 30. The default setting is 5. mixer A device through which audio from multiple sources can be combined with independently adjusted levels to form an audio signal. A mixer is an effective way to control the level of the audio input signals to Media 100 when digitizing to prevent them from being overmodulated or clipped. 94 Move Forward monaural Single-channel audio, unlike stereo, which typically employs two channels of audio panned to the center. A MotionFX™ MotionFX alters the normal playback characteristics of an unsynchronized video clip to produce new media. The corresponding clip displays field-interpolated, special motion effects, such as extremely smooth slow motion, forward and reverse, freeze frame, and fit to fill. Strobe effects are also included. The Smooth Motion option, when selected, ensures that motion from frame to frame displays a smooth appearance with lessened sharpness. See also: freeze frame (page 64), Smooth Motion (page 139), and strobe (page 146). M Motion Path The Motion Path command in the CG Option’s Render menu allows you to specify movement for objects. Options include roll, crawl, and custom motion paths. Move Backward The Move Backward command in the CG Option’s Objects menu moves the selected object one layer back. Move deleted media files to Trash A field in the Media 100 Preferences dialog box that allows you to select whether files deleted by the Delete Clip and Media command will be immediately and permanently removed, or if they will be moved to the Trash where you can later retrieve them if necessary. See also: Delete Clip and Media (page 48). Move Forward The Move Forward command in the CG Option’s Objects menu moves the selected object one layer forward. I 95 Move To Back Move To Back The Move To Back command in the CG Option’s Objects menu moves the selected object to the back layer, behind all other objects. Move To Front The Move To Front command in the CG Option’s Objects menu moves the selected object to the front layer, ahead of all other objects. MPEG MPEG is the abbreviation for the Moving Pictures Experts Group. This group, an international (ISO-sponsored) organization, developed a standard for combining digital video, digital audio, and timing data into a sequential stream. The MPEG standard addresses the issues associated with the digital compression of image sequences, as in film and video. One major difference between MPEG and JPEG is that MPEG does not compress and store every image frame in a sequence. Instead, it stores selected reference frames and only the differences between each subsequent frame and its reference frame. See also: JPEG (page 79). Multi-Spin A frame-rendered Media 100 transition where multiple spinning Out frames grow and wipe over In frames. (Rendering does not compensate for object motion artifacts between individual fields.) Multi-Spin is available with the FX Option. 96 mute button mute button The mute buttons in the Audio window disable audio output for the selected track. A mute button M I 97 New Bin New Bin The New Bin command in the File menu creates a new bin document and opens a new bin, which becomes the active window. A bin is given a working name of “Untitled Bin N,” where N starts at 1 and increments for each additional new bin opened during an editing session. After bins have been saved, bin names appear in the open Project window with the date of last modification. Media 100 allows you to have multiple bins open during an editing session. Keyboard shortcut: Option- -N New Program The New Program command in the File menu creates a new program document and opens a new program, which becomes the active window. A program is given a working name of “Untitled Program N,” where N starts at 1 and increments for each additional new program opened during an editing session. After programs have been saved, program names appear in the open Project window with the date of last modification. Media 100 allows you to have multiple programs open during an editing session. Keyboard shortcut: -N New Project The New Project command in the File menu initiates a dialog box. You assign a name for the new project and specify the disk and folder where the new project document is to be stored. Clicking Save opens the new Project window, which becomes the active window. The New Project command is dimmed if a project is open. Only one project can be open during an editing session. 98 non-linear editing Non-Additive Dissolve A Media 100 transition effect where Out frames are keyed into In frames as determined by the frame-by-frame luminance values of the Out frames. A Non-Additive Dissolve is available with the FX Option. non-drop frame timecode A type of NTSC timecode. NTSC timecode assumes a play rate of 30 frames per second; however, the actual play rate of color video is 29.97 frames per second. Non-drop frame timecode is not time-accurate, as it allows the difference between the timecode display and the actual play time. One hour of non-drop frame timecode requires one hour and 3.6 seconds of play time. Because of this time discrepancy (error of 0.03 frame per second), non-drop frame timecode is typically used only in short programs of a few minutes duration, where the time difference is negligible, or in programs where the exact length is not important. N You can place more than one form of timecode within a program; however, the entire program will used the timecode type set by the Show in Drop Frame or Show in Non-Drop Frame command in the Program menu. See also: drop frame timecode (page 53) and timecode (page 155). non-linear editing An editing method that allows you to assemble a program in any order (unlike linear editing, which must be sequential). You can make edits and rearrange shots at any point in the program. I 99 Normal Normal The Normal command (in the Time Scale command’s hierarchical menu) restores the timeline ruler to the scale specified by the time scale control: Frames, Seconds, or Minutes. This choice is checked and dimmed while the time scale is currently set to normal. Keyboard shortcut: -] See also: Program window (page 114). NTSC NTSC is the abbreviation for National Television Standards Committee. In 1953, the National Television Standards Committee, composed of industry representatives, formulated a standard for television broadcasting of color signals that could also be processed by existing monochrome receivers. Characteristics include 525 scanned lines with timing synchronized to 60 Hz AC power (29.97 frames per second) and FM audio. This standard remains prevalent in North America, Japan, and many South American countries that have 60 Hz AC power. The term NTSC is used for television and video equipment and productions that comply with this standard. See also: PAL (page 105). NTSC illegal colors Illegal colors for NTSC video refers to the FCC’s regulations against the use of overly saturated colors, such as pure white, in broadcast transmissions. Colors exceeding these guidelines may interfere with television reception. Many video-smart graphical applications flag color choices that exceed the guidelines. NuBus An expansion bus architecture used in many Macintosh models. 100 out-take Online mode Online mode refers to the base system range of quality settings for JPEG compression, which strives to average the frame sizes at the target setting. A large frame size represents less compression and a higher quality image. Conversely, a small frame size represents greater compression and an image with less quality. The online base range extends from 51 KB to 90 KB for PAL (50 KB to 80 KB for NTSC). The HDR Option expands this range upward to 180 KB for PAL (150 KB for NTSC). A See also: Draft mode (page 52) and Media Settings (page 93). Open The Open command in the File menu initiates a Macintosh file dialog box, through which you can open a previously saved project. You can also open previously saved bins and programs for automatic addition to the current project. Keyboard shortcut: -O out-fill cursor The cursor that displays when you drag a clip into the Program window over a gap in a track. The out-fill cursor indicates that the clip will be dropped into the gap with its tail frame at the end of the gap. Any frames that extend beyond the beginning of the gap will be trimmed. O See also: can-drop cursor (page 18), cannot-drop cursor (page 19), and in-fill cursor (page 73). out-take An out-take refers to portions of film or video footage that were omitted from the final released version of a production. I 101 Out point Out point An Out point traditionally represents the last frame of an edit point on the source (or playback) tape or on the record (or master) tape. In Media 100, an Out point refers to edit points and to the last playable frame of a trimmed clip. See also: clips (page 29) and In point (page 74). overlay edit A clip placed by an overlay edit conceals all material under it for the duration of the clip. An overlay edit involves dragging a clip from a bin, from another program, or from elsewhere in the active program to a marked edit position on the program timeline. See also: insert edit (page 74) and user marks (page 162). overscan The line span of a video or television signal that exceeds (overscans) a display monitor’s physical display space by design. Some picture area may not be viewable on smaller monitors. Compare this condition with the traditional underscan of computer RGB monitors where the image area is surrounded by a black band, the underscan. 102 Page Setup Page Peel A Media 100 transition where In frames curl inward from the selected corner to reveal Out frames. Rendering compensates for object motion. A Page Peel is available with the FX Option. Page Peel (square) A frame-rendered Media 100 transition where In frames curl inward from the selected corner to reveal Out frames. Rendering does not compensate for object motion artifacts between individual fields. Page Peel (square) is available with the FX Option. Page Setup The Page Setup command in the File menu displays the Macintosh Page Setup dialog box for the printer previously selected through the Apple menu’s Chooser function. Page Setup options typically include landscape (broadside) or portrait (vertical) printing, and various printer-specific functions. See also: Apple menu (page 6) and Chooser (Macintosh) (page 25). P I 103 Page Turn Page Turn A Media 100 transition where In frames turn up from the selected corner, showing In frames on the back, and sweep across to reveal Out frames. Rendering compensates for object motion. Page Turn is available with the FX Option. Page Turn (square) A frame-rendered Media 100 transition where In frames turn up from the selected corner, showing In frames on the back, and sweep across to reveal Out frames. Rendering does not compensate for object motion artifacts between individual fields. Page Turn (square) is available with the FX Option. Paint Splatter A Media 100 transition where Out frames as random splatters wipe In frames. Paint Splatter is available with the FX Option. 104 Pan Track PAL PAL is the acronym for Phase Alternate Line, the color television standard for countries where 50-Hz AC power is used — throughout Europe, the United Kingdom, Ireland, the Middle East, Africa, and the Far East. Its characteristics are 625 lines, 50 fields per second. A PAL illegal colors Illegal colors for PAL video refers to the regulations in PAL-broadcasting countries against the use of overly saturated colors, such as pure white, in broadcast transmissions. Colors exceeding these guidelines may interfere with television reception. Many video-smart graphical applications flag color choices that exceed the guidelines. pan control line The line in an expanded audio track in the Program window that allows you to adjust the audio output between the left and right channels for the selected track. Panning is adjusted by placing and dragging nodes in the track. pan slider The slider in the Audio window that allows you to adjust the audio output between the left and right channels for the selected track. Panning is adjusted by dragging the slider right and left. Pan Track The Pan Track command in the Tracks menu allows you to set the selected audio track’s pan setting to left, right, center, or mono. P I 105 panel expansion button panel expansion button A button within a Media 100 window that allows you to expand the window to see additional information. panel expansion button panning The adjustment of an audio signal between the left and right channels. Paste The Paste command in the Edit menu appears with various suffixes to indicate different modes for pasting the contents of the Clipboard at an appropriate position. See also: Copy (page 39). Paste – Insert The Paste command changes to Paste – Insert when you choose a clip in a program or bin, copy it, and, while holding down the Option key, open the Edit menu. All clips to the right of the insertion point are displaced to the right by the full length (In point to Out point) of the inserted clip. Keyboard shortcut: Option- 106 -V peaking level indicators Paste – Overlay The Paste command changes to Paste – Overlay when you choose a clip in a program or bin and copy it with the Copy command. Clips to the right of the overlay point within the length (In point to Out point) of the overlay clip are replaced by the overlay. A Keyboard cut: -V Paste – Text The Paste command changes to Paste – Text when you choose any text (clip name, comments, etc.) and copy it to the clipboard with the Copy command. Keyboard shortcut: -V Paste – Timecode The Paste command changes to Paste – Timecode when you choose any field in a timecode box and copy the entire current timecode value to the clipboard with the Copy command. Keyboard shortcut: -V PCI bus PCI is the abbreviation for Peripheral Component Interconnect bus, an industry-standard expansion bus architecture. P peak white The white portion of a standard color bar signal. Peak white is defined as 100 IRE for NTSC and 700 mV for PAL. See also: IRE (page 76) and reference black (page 122). peaking level indicators Media 100 includes peaking level indicators for monitoring the levels of audio as it is digitized. They also indicate the levels at which audio plays back from audio clips. These indicators have a reference level of 0 dB. Levels below the reference display as light green over a dark I 107 Pedestal green background. Audio levels above the reference appear as red to indicate the condition of clipping. Many of the newer VTRs now use peaking level indicators in place of the traditional volume unit (VU) meters. See also: volume unit meters (page 165). Pedestal The Pedestal field in the Hardware Settings dialog box allows you to specify the reference black level for a color bar signal. Reference black is defined as 7.5 IRE for NTSC, 0 IRE for Japanese NTSC, and 0 V for PAL. Another term for pedestal is setup. See also: IRE (page 76). Peel Back A frame-rendered Media 100 transition where In frames curl back from the center to reveal Out frames in four quarter sections. Rendering does not compensate for object motion artifacts between individual fields. Peel Back is available with the FX Option. Photoshop Adobe Photoshop (trademarked name) is a versatile photo imaging and graphics application from Adobe Systems, Inc. PICT PICT is a Macintosh QuickDraw graphical file format for individual images. It has become the standard format for the interchange of graphical data between Macintosh-based applications. 108 Pinwheel PICT2 Macintosh’s graphical file format, extended for individual color images. A picture object An object containing a picture that can be used as an overlay with the CG Option. Picture objects can be imported video frames, PICT files, or graphics. Picture Object Spec The Picture Object Spec command in the CG Option’s Object menu allows you to set all attributes for a picture object. Picture Zoom A Media 100 transition where Out frames zoom up from a selected spot on the In frames. (For a picture-in-picture display, set both the From and To fields in the Edit Suite window to the same percentage value.) Picture Zoom is available with the FX Option. P Pinwheel A Media 100 transition where Out frames wipe In frames with a set number of sectional clock sweeps. I Pinwheel is available with the FX Option. 109 Play Play The Play command in the Tools menu plays the enabled tracks (or the clips, if in Edit Clip mode) on the video monitor in the Edit Suite window (if open) and on the connected video and audio monitors. The Current Time Indicator (CTI) moves as the program or clip plays and, at the end of play, returns to the point where it was when you chose the Play command. If you issue a Stop Play command, the CTI remains at the point where you issued the command. The Play command’s hierarchical menu lists the following play options: All, Continuous, From Current, Selected Time, and Stop Play. Play > All When the Edit Suite window is in Program mode, the Play > All command in the Tools menu plays the enabled tracks from the beginning to the end of the program. In Edit Clip mode, the clip plays from the In point to the end of the source media. Mouse shortcut: Press the Home key, then click the Edit Suite window’s play control: Keyboard shortcut: -’ Play > Continuous The Play > Continuous command in the Tools menu adds the repeatplay override to all the play commands. With this function selected, any active play command cycles until you either initiate a stop or deactivate this function. If you deactivate it while play is in progress, play continues to the end of the selection, and the CTI returns to the timecode where play commenced. Mouse shortcut: Click the Edit Suite window’s continuous play control: Play > From Current When the Edit Suite window is in Program mode, the Play > From Current command plays the enabled tracks from the position of the CTI to the end of the program. 110 PostScript When the Edit Suite window is in Edit Clip mode, this command plays the clip from the clip’s current timecode to the Out point. Mouse shortcut: Click the Edit Suite window’s play control: Keyboard shortcut: A -P, or F5 Play > Selected Time When the Edit Suite window is in Program mode, the Play > Selected Time command plays the enabled tracks only within the indicated time range. This option is dimmed if you have not indicated a time range. When the Edit Suite window is in Edit Clip mode, the clip plays from the In point to the Out point. Mouse shortcut: Click the Edit Suite window’s play-selected control: Keyboard shortcut: -\ Play > Stop Play The Stop Play command stops program or clip play immediately. The CTI remains at the point where it was when the command was selected. This command is dimmed unless play is in progress. Keyboard shortcut: (esc) key -. (period) or press the Space bar or Escape P posterize A setting in the Edit Suite window’s ColorFX panel that determines the number of luminance (brightness) levels. PostScript PostScript is the trademarked name for the versatile page-description language developed by Adobe Systems Incorporated. It was originally intended for formulating device-independent output for printers, specifically, laser printers. As such, it sparked the desktop publishing revolution. Today, it specifies fonts, clip art, and screen displays. I 111 post-striping tape post-striping tape When you post-stripe a tape, you add timecode to the tape without disturbing the current video and audio recorded tracks. Not all tape formats allow post-striping. POWER Option™ The POWER Option extends Media 100’s capabilities to allow the importing and creating of shot logs and the automatic digitizing and redigitizing of video and audio material. The POWER Option also provides a variety of FastFX transition effects, enables the use of Media 100’s Input Setup window, and provides Insert and Assemble Edit capabilities for masterting to tape. PowerLog™ Media 100’s format for importing shot logs (available with the POWER Option). After importing logs in PowerLog format, you can select the Auto Digitize command and automatically digitize all the logged clips. Preferences The Preferences command in the Edit menu initiates the Media 100 Preferences dialog box. Here you establish a variety of parameters that customize how Media 100 performs certain functions. The parameters remain in effect until changed. preroll The amount of time that a tape rewinds before recording begins. Writing from one tape to another at an accurate timecode point requires that the decks be moving at optimum speed. A tape deck accomplishes this synchronization by first reversing its tape for several seconds before the anticipated preview/writing point and then moving it forward so that it’s at optimum speed when it reaches the edit point. The industry calls this process a preroll. Typically, the editing system accomplishes a preroll based on the default setting or an interval chosen by the editor. Manual prerolling is not recommended. Media 100 prerolls tapes according to the deck’s preroll setting when you digitize material or when you master a program to tape. 112 Program mode–Edit Suite Preview duration A field in the Media 100 Preferences dialog box that sets the duration (in seconds) of the preview playback about the trim joint when you click the Play button in Trim mode. The text box accepts a value in the range of 1 to 10. The default setting is 5. A Print Bin The Print Bin command in the File menu displays the standard Macintosh Print dialog box for the selected printer. Clicking the Print button prints the current clip view for the active bin. Print to EDL The Print to EDL command in the File menu is available only when the EDL Option is installed on your system and an EDL has been chosen from the EDL Type menu (Hardware Settings from Edit menu). It is dimmed otherwise. This command initiates a dialog box where you specify a number of parameters for the EDL. See also: Hardware Settings (page 69). program A program in Media 100 terminology assembles and integrates visual and aural media from a variety of sources to create a complete presentation. It can be mastered to videotape, played under control of Media 100 as an input to a video system, or included in a variety of media systems. Program menu P The Program menu provides commands for manipulating clips in the Program window and changing the view of the window. Refer to individual command names for information about their operation. Program mode–Edit Suite The Edit Suite window in Program mode provides controls for playing programs and editing program information. I 113 Program window Program window Media 100’s Program window allows you to assemble video and audio clips from bins to create a program. In this window, you can trim cut points with Trim mode; you can also specify where transitional effects are to occur and where titles or graphical overlays are to be positioned. You can have any number of Program windows concurrently open. One excellent practice is to use one or more Program windows as scratch pads to try editing scenarios before you commit them to the main Program window. You can freely copy and paste between all the Program windows. project A project is the master control document for a collection of bins and programs. It maintains a status accounting for these elements and records such information as the current state of the choices made in Media Settings, Hardware Settings, and Preferences. Each time you open a project, it restores these settings and opens any windows that were open when you last closed the project, provided you requested that action under the Preferences settings. Only one project can be active at a time. Bins and programs can, however, be freely copied from other closed projects. Media files from other sources can also be added to the project set when necessary. Project window Media 100’s Project window is the primary interface to a project. The Project window lists the associated bins and programs by icon type, assigned name, and date when last modified. Keyboard shortcut: 114 -0 (brings the Project window to the front) Push Push A Media 100 transition where Out frames displace (push) In frames linearly to the selected side. A Push is available with the FX Option. Push-FastFX is a hardwareassisted, accelerated version available with the POWER Option. P I 115 Q tables Q tables Q tables furnish the quantization factors employed by the JPEG process in compressing and decompressing individual frame images. Media 100 applies different sets of factors to images based on the quality choices made in the Media Settings dialog box. See also: JPEG (page 79) and Media Settings (page 93). QuickTime QuickTime is a standard from Apple Computer, Inc. that accommodates the storage, retrieval, manipulation, and playback of timebased data such as video and audio. All media within Media 100 are QuickTime compatible, fully in compliance with the QuickTime protocol. QuickTime CODECs QuickTime has largely functioned with software CODECs (compressors-decompressors) to compress or decompress video images. The demand placed on these CODECs has traditionally required frame sizes of less than full size because of the data transfer limitations on playback speed and appearance. Media 100 includes hardware CODECs that support full-frame playback of NTSC or PAL video in QuickTime format. The CODECs available to you appear alphabetically in the Compressor pop-up menu when you initiate the Export dialog box from the File menu and choose QuickTime. The appearances of Media 100 NTSC and Media 100 PAL identify the pair of Media 100 hardwareassisted QuickTime CODECs supplied with your system. (Two additional Media 100 QuickTime CODECs, NTSC and PAL, are supplied with the HDR Option.) Generally speaking, unless you intend to move Media 100 media permanently to another application, the only QuickTime CODECs you need ever use are the Media 100 CODECs. 116 QuickTime CODECs Apple supplies a number of software CODECs to support the compressing and decompressing of QuickTime video and audio for use with QuickTime-based applications external to Media 100. You may also require their use from time to time when you import QuickTime material to Media 100. • Animation — Suitable for animation and computer-generated and resident content. Not useful for material read from videotape. Includes lossless or lossy compression modes. • Cinepak — Excellent for mastering to CD-ROM. Offers fast playback speed, better image quality at playback, and larger range of compression choices. Compression can be much slower than with other CODECs. • Component Video — Does not compress video, but does combine video and audio files. • Graphics — Best suited for 8-bit still images and sequences of images where compression is more important than the rate of decompression. • None — Does not compress; consumes hard disk space. Suitable for capturing or storing brief video sequences where quality must be maintained without introduction of compression artifacts. • Photo-JPEG — JPEG (for Joint Photographic Experts Group) works best for images that lack sharp detail, have few edges, and have smooth transitions. Produces good picture quality. • Video — Permits fast decompression of good picture quality video images. See also: Media 100 QuickTime CODECs (page 90) and QuickTime (page 116). A Q I 117 Quit Quit The Quit command in the File menu closes all open Media 100 windows and quits Media 100. If you altered the contents of any open bin, or program, or the project since the last save, an alert box is displayed for each open window. Keyboard shortcut: 118 -Q Random Blocks R–Y The R–Y (red minus luminance) symbol represents the “red difference” component of an NTSC or PAL video (television) signal. It is derived by subtracting the value of luminance from the red chrominance signal. Also represented as Cr. On component video, it is carried on a separate line. A See also: NTSC (page 100) and PAL (page 105). Radial Wipe A Media 100 transition where Out frames wipe In frames from the selected corner. Radial Wipe is available with the FX Option. Radial Wipe-FastFX is a hardware-assisted, accelerated version available with the POWER Option. Random Blocks A Media 100 transition available where Out frames wipe In frames with random boxes. Random Blocks is available with the FX Option. R 119 Random Wipe Random Wipe A Media 100 transition where Out frames wipe In frames with a rough edge. Random Wipe is available with the FX Option. real time A term used to describe operations that take place immediately without requiring additional processing time. rebuild the desktop See desktop rebuild (page 49). record mode A mode in the Master to Tape dialog box that allows you to manually record to a selected location on a tape, without regard to the existing control track. Red-Green-Blue (RGB) RGB is the additive, primary-color, three-channel color space model used in televisions, monitors, etc. to represent color signals and viewable colors. In the Apple Color Picker, a component of the Macintosh’s color management system, red, green, and blue have values that can represent 16.7 million colors. Some graphical applications use RGB individual representations to specify color ranges. RGB color is additive — as the value of a channel increases, the contribution of that channel to the resulting color increases. Additional color models employed by various applications include: HSB (hue-saturation-brightness); HSV (hue-saturation-value); HSL (hue-saturation-lightness); and CMYK (cyan-magenta-yellow-black). See also: Color Picker (page 34). 120 reel Redigitize The Redigitize command in the Tools menu initiates the replacement of existing media files for all clips in an active bin, program, or project with media of higher quality and in durations equal to the clip’s trimmed durations. The intent of redigitization is to enhance image quality after editing is complete and before you master your program to tape. A The command is dimmed unless the POWER Option is installed. Redigitize Selected The Redigitize Selected command in the Tools menu initiates the replacement of existing media files for selected clips in an active bin, program, or project with media of higher quality and in durations equal to the clip’s trimmed durations. The intent is to enhance image quality after editing is complete and before you master your program to tape. The command is dimmed unless the POWER Option is installed. Redo The Undo command in the Edit menu reverses the effect of the previous action, and changes the command to Redo . If the previous action cannot be reversed, the Undo command becomes Can’t Undo and is dimmed. Actions that cannot be reversed include the Save and Revert commands (File menu) and any actions that change the selection. Keyboard shortcut: -Z reel Reel is a holdover term from the days of open-reel videotape recording and playback equipment. Today, it usually means video cassette. The term still appears in Edit Decision Lists (EDL), in shot logs, and in digitizing operations for nonlinear editing systems. In Media 100, reel names are required to identify individual cassettes when you digitize (or redigitize) source material. R 121 reference black reference black The black portion of a standard color bar signal (Also known as pedestal or setup). Reference black is defined as 7.5 IRE for NTSC, 0 IRE for Japanese NTSC, and 0 V for PAL. See also: IRE (page 76), peak white (page 107). Relink Media The Relink Media command in the Tools menu locates media files that have been moved in the Finder or that have been imported from another bin or program. It displays a progress dialog box that indicates the status of the search. You can cancel the search at any time. The “Auto Relink Media” checkbox in the Media 100 Preferences dialog box allows you to enable or disable automatic searching for unavailable media files. Remember last project opened A field in the Media 100 Preferences dialog box that forces Media 100, when launched, to automatically open the project, bins, and programs that were present when you last quit Media 100. By default, Media 100 remembers your settings. Remember window positions A field in the Media 100 Preferences dialog box that forces Media 100, when launched, to automatically display and position the Edit Suite and Audio windows if they were open when you last quit Media 100. By default, Media 100 remembers your settings. Remove All Gaps The Remove All Gaps command in the Program menu removes all gaps in the chosen track (which is indicated by a green strip at the left end) by shifting the affected clips to the left. Synchronized clips shift as a group unless any clip in the group is not free to shift. Keyboard shortcut: -K See also: synchronized clips (page 150). 122 Remove Gaps To End Remove Frames The Remove Frames command in the Program menu removes the frames specified by the current timeline range within a selected unsynchronized video clip and also removes the resulting gap. It splits the clip at the start of the unwanted frames, removes them, and shifts the new second clip to the left to close the gap. This command is dimmed if there is no timeline range selected or if the timeline range does not fall within the timecode duration of an unsynchronized video clip. A See also: timeline range (page 156). Remove Frames [leaving gap] With the Option key pressed, the Remove Frames command in the Program menu removes the frames specified by the current timeline range from a chosen unsynchronized video clip and leaves the resulting gap in place. This command is dimmed if there is no timeline range selected or if the timeline range does not fall within the timecode duration of an unsynchronized video clip. See also: timeline range (page 156). Remove Gaps In Range The Remove Gaps In Range command in the Program menu removes only those gaps in the chosen track that are within the current timeline range. This command is dimmed if there is no timeline range selected. Keyboard shortcut: -R See also: timeline range (page 156). Remove Gaps To End The Remove Gaps To End command in the Program menu removes all gaps in the chosen track (indicated by a green strip at the left end) from the Current Time Indicator (CTI) to the right end of the track. Keyboard shortcut: R -J See also: Current Time Indicator (CTI) (page 43). 123 Remove Synced Audio Remove Synced Audio The Remove Synced Audio command in the Edit menu removes synchronized audio from the selected clip in the bin. Render All The Render All command in the Tools menu initiates batch rendering of all unrendered items in the active Program window, as well as those items that were previously rendered at less than the current quality setting in Media Settings for Fx (transitional effects and MotionFX) and graphics. The items may include transition effects, MotionFX effects, and PICT and QuickTime overlays in the graphics track. See also: rendering (below). Render Palette The Render Palette command in the CG Option’s Windows menu allows you to adjust the quality of the rendered preview of an image, the quality of an actual rendered PICT image, and the quality of an object’s edges. In addition to the quality settings, the Render command allows you to select the type of fill. rendering In digital video, rendering reduces two source images to one object image on a pixel-by-pixel basis, where the pixels have 24-bit color representation and may include 8-bit alpha-channel data. Rendering is a compute-intensive process. Reverse Effect An option available for some transition effects when the Edit Suite window is in Transition mode. With the FX Option, selecting the Reverse Effect checkbox reverses the direction in which some transitional effects occur. For example, a horizontal wipe transition, which is set by default to wipe from left to right, wipes from right to left when reversed. 124 Roll Away Revert Bin to Saved The Revert Bin to Saved command in the File menu allows you to revert back to the most recently saved version of the active bin. The current version of the bin is discarded from memory, and the previous version of the bin is opened. Cancel aborts the revert selection. The command remains dimmed until a bin is active and its contents change. A Revert Program to Saved The Revert Program to Saved command in the File menu allows you to revert back to the most recently saved version of the active program. The current version of the program is discarded from memory, and the previous version of the program is opened. Cancel aborts the revert selection. The command remains dimmed until a program is active and its contents change. RGB An abbreviation for the Red-Green-Blue color model. RGB is the color model used in television sets, video monitors, cameras, and computer display monitors. See also: Red-Green-Blue (RGB) (page 120). ripple edit A program edit that displaces all the clips that follow it. Roll Away A Media 100 transition where In frames roll up from the selected edge to reveal Out frames. R Roll Away is available with the FX Option. 125 rough trim rough trim To reset the In and/or Out point of a clip to work with a smaller portion of the source material. rule object Bars and rules created within the CG Option. Rule objects can be used as background from text or to provide a border for an overlay. The CG Option provides several standard rule designs that can be manipulated in a variety of ways. Rule Object Spec The Rule Object Spec command in the CG Option’s Objects menu allows you to set all attributes for rule objects. 126 S-video output S-VHS Abbreviation for the Super-VHS tape format. S-VHS employs the S-video separation of luminance (Y) and chrominance (C) signals. It offers better image capturing and presentation than VHS format. Characteristics include more than 400 lines of horizontal resolution, single video track, dual audio tracks, and 1/2-inch tape. Timing is by control track. EBU/SMPTE timecode can be added to tapes by industrial S-VHS VTRs. S S-video (Y/C) S-video processes and maintains the video signal in two parts: luminance (Y) and chrominance (C). This signal separation establishes a higher video quality than that available from composite equipment. S-video equipment is frequently employed by those seeking to create and distribute video information in a format superior to VHS or other composite formats. S-video input The S-video mode can be selected from the Video In pop-up menu in the Hardware Settings dialog box. This selection activates the single S-video Input Component connection (Y/C) on the Media 100 Junction Box for digitizing source material from an S-video tape deck or camera. See also: Hardware Settings (page 69) and Media 100 Junction Box (page 90). S-video output The S-video output signal is always available at the Junction Box Video Output connection (Y/C) for video display on an S-video capable monitor or for mastering programs in the S-video format. Media 100 also permits the display or mastering to tape of S-video format material as component or composite video. See also: Media 100 Junction Box (page 90). I 127 Safe Action, Safe Title Areas Safe Action, Safe Title Areas The Society of Motion Picture and Television Engineers (SMPTE), in its Recommended Practice Document RP 27.3-1989, defines “safe action” and “safe title” areas of the television screen to ensure visibility of video content on the majority of television receivers. The Safe Action Area equals 81% of the overall image-frame area. All significant video action in a program should take place within its boundaries. Actions outside of this area may not be properly displayed when the program is played from tape or broadcast. The Safe Title Area equals 64% of the overall image-frame area. All textual information should appear within this inner area for maximum visibility without distortion at play or broadcast time. Frame Safe Action Area (81% of Frame) Safe Title Area (64% of Frame) . Safe Action and Safe Title Areas Reference Dimension 128 PAL (pixels) NTSC (pixels) Representative frame 768 wide 576 high 640 wide 480 high Safe Action Area 691 wide 581 high 576 wide 432 high Safe Title Area 611 wide 461 high 509 wide 384 high Save Bin sans-serif font Characters in a sans-serif font typically are more geometric in shape than those in serif fonts; they are without (sans) the short strokes (thin lines) and radius fill-ins associated with serif fonts. Sans-serif fonts, particularly at smaller point sizes, often are superior for use in video since interlacing is less likely to cause flickering. S See also: serif font (page 134). saturation Saturation represents the degree to which a color deviates from a neutral gray at a given level of brightness. It’s how pure, how vivid, or how pastel the color appears. Bright red is highly saturated; pink is not. Saturation is typically monitored using a vectorscope. When saturation is low, colors appear dull; when saturation is very high, colors become too intense and start to “smear.” In broadcast video, highly saturated colors are considered “illegal” colors by the FCC because they are capable of causing undesirable effects in audio and video reception. See also: brightness (page 16) and hue (page 71). Save All Pressing the Option key converts the Save Bin command in the File menu to Save All. This command saves all the current project and all open bins and programs. This command is dimmed when you have made no changes since the last save. Keyboard shortcut: Option- -S Save Bin The Save Bin command in the File menu is available only when a bin is active. It saves changes to the active bin. If this is the first time the bin has been saved, the Save As dialog box displays. This command is dimmed when you have made no changes since the last save. Keyboard shortcut: I -S (with bin active) See also: bin (page 14) and Save Bin As (page 130). 129 Save Bin As Save Bin As The Save Bin As command in the File menu is available only when a bin is active. This command opens a standard Macintosh file dialog box that permits you to save an existing bin under a different name and/or to a different volume/folder location. Save Program The Save Program command in the File menu saves changes to the active program. If this is the first time the program has been saved, the Save As dialog box displays. This command is dimmed when you have made no changes since the last save. Keyboard shortcut: -S (with program active) See also: program (page 113) and Save Program As (below). Save Program As The Save Program As command in the File menu opens a standard Macintosh file dialog box that permits you to save an existing program under a different name and/or to a different volume/folder location. SC phase See subcarrier phase (page 147). Scan Audio The Scan Audio command in the Tools menu allows you to monitor playback from your program’s audio tracks at a fixed pitch rate to locate specific edit-decision points in audio clips. The audio that plays at any time is always a function of the Current Time Indicator (CTI) position. The Scan Audio function toggles on and off. A checkmark next to the command item indicates the function is active. Keyboard shortcut: -` See also: audio track (page 10). 130 SCSI bus screen definition For computer monitors, screen definition expresses the number of pixels per inch; for example, 72 dots per inch (also 72 dpi). S Screen Render Simulation An item in the CG Preferences dialog box. When it is selected, mapped areas in text objects display so that you can judge what the impact of mapping will be on their appearance. When this item is not selected, mapped text objects display in black. These objects still preview and render fully mapped. Because more time is required to find and map textures than is required to draw a flat color, deselecting this item saves time and memory when creating a graphic overlay. Scroll program window while playing This setting in the Media 100 Preferences dialog box allows you to enable or disable scrolling of the Program window. When enabled, the window will scroll while playing if the CTI advances beyond the end of the currently displayed section of the timeline. Scroll to Current Time The Scroll to Current Time command in the Program menu moves the active Program window left or right sufficiently to display the Current Time Indicator (CTI). Keyboard shortcut: Enter key. SCSI This is the abbreviation for Small Computer System Interface, usually pronounced “scuzzy.” Collectively, SCSI represents the port, manager, bus, and devices (disks, CD-ROM drives, etc.) interfaced to the Macintosh. SCSI bus The SCSI bus routes data and control signals between devices connected to the SCSI bus and the Macintosh. Technically speaking, the bus begins internally, but many view the SCSI cables that run between devices as being the physical bus. For best performance, SCSI cable lengths should be as short as possible. I 131 SCSI device SCSI device A computer or peripheral that can communicate on the SCSI bus. A SCSI device can be internal (such as an internal hard drive) or external (such as an external hard drive, printer, CD-ROM drive, or scanner). SCSI ID numbers Every device connected to the SCSI bus must be assigned a unique identification number in the range of 0 to 7. The Macintosh SCSI manager automatically assigns ID 7 to the Macintosh computer. The internal disk is typically ID 0. SCSIProbe SCSIProbe, a control panel, identifies and mounts upon request devices connected to the SCSI bus. Its primary function is to mount removable cartridges. It’s also useful for determining the status of SCSI devices when you experience difficulties such as disks not appearing on the Macintosh desktop when expected. SCSIProbe is available from many on-line services and local user groups. SCSI terminator Unless the last device in the SCSI chain is self-terminating (check your device’s documentation), a SCSI terminator, which is a special resistor plug, must be placed in the open cable connection to terminate the chain. SECAM SECAM is the abbreviation for Séquential Couleur àvec Mémoire (Sequential Color and Memory system), the color television standard used in France and in the countries previously federated as the USSR. Its principal characteristics are 625 lines, 50 fields, wideband with AM sound broadcasting. See also: NTSC (page 100) and PAL (page 105). 132 Select From Here in Track Select All When a Program window is active, the Select All command in the Edit menu selects all the clips in the program. When a Bin window is active, Select All selects all the clips in the bin. Keyboard shortcut: S -A See also: select track (page 134). Select All in Track The Select All in Track command in the Edit menu displays when a Program window is active and the Option key is pressed. It selects all the clips in the chosen track. This command is dimmed if no clips are present in a track. Keyboard shortcut: Option- -A Select From Here With the Option key pressed, the Select From Here in Track command in the Program menu becomes Select From Here. This command chooses all clips that completely follow the Current Time Indicator (CTI) in the chosen track. Select From Here is dimmed if a Program window is not active or if there are no complete clips after the CTI in the active Program window. Keyboard shortcut: Option- -H Select From Here in Track The Select From Here in Track command in the Program menu chooses all clips that completely follow the Current Time Indicator (CTI) in the chosen track. This command is dimmed if a Program window is not active or if there are no complete clips after the CTI in the active Program window. Keyboard shortcut: -H I 133 Select In Range Select In Range With the Option key pressed, the Select In Range in Track command in the Program menu becomes Select In Range. This command chooses all clips in the active Program window that are entirely within the timeline range. Select In Range is dimmed if a Program window is not active or the active Program window does not have a current timeline range. See also: timeline range (page 156). Select In Range in Track The Select In Range in Track command in the Program menu chooses clips in the active Program window that are entirely within the timeline range in the chosen track. This command is dimmed if a Program window is not active or the active Program window does not have a current timeline range. See also: timeline range (page 156). select track You select (choose) a program track by any of the following actions: clicking it or clicking a clip in it. An LED strip at the left end of the track becomes green to signal track selection. Only one track can be selected at a time. To deselect a track, click the green strip or in the track designator area next to it. Keyboard shortcuts: Option-Up Arrow key chooses next higher track. Option-Down Arrow key chooses next lower track. serif font Characters in a serif font typically have short strokes (thin lines) and radius fill-ins projecting from the main body. Serif fonts, particularly at smaller point sizes, are not usually good choices for video because the interlacing may cause flickering in the presentation. See also: sans-serif font (page 129). servo Circuitry within a VTR that controls the speed of its tape. 134 Show Borders Set Keyframe The Set Keyframe command in the Tools menu is active only when the Edit Suite window is in Edit Clip mode. This command assigns the frame currently displayed at the Current Time Indicator (CTI) as the iconic picture associated with the current clip. The frame is viewable when you drag or copy the clip to a bin with the bin in one of the icon view modes. The actual keyframe assignment takes place when you click the Apply button in the Edit Suite window. Set Keyframe is dimmed unless Edit Clip mode is active. S Set Timeline Start The Set Timeline Start command in the Program menu allows you to specify a starting timecode value for the active Program window. setup In the Input Setup window, setup refers to the amount of black in the picture. A high setup level increases the contrast of light and dark areas, while also making black areas appear more gray. A low setup level produces deeper, darker blacks. Setup is monitored using a waveform monitor. Show Audio Waveform The Show Audio Waveform command in the Track menu displays a waveform representation of the audio signal within the active Program window’s audio clip bars for a chosen audio track. The waveform approximates the audio level changes through which the signal proceeds as the clip plays. The Show Audio Waveform command becomes Hide Audio Waveform when you select an audio track that displays waveforms. See also: audio track (page 8) and Hide Audio Waveform (page 70). Show Borders The Show Borders command in the CG Option’s Edit menu toggles the display of borders around all subscribed items in the CG Option. The Show Borders command is active when borders are not currently I 135 Show Clipboard displayed for subscribed items. The command toggles to Hide Borders when borders are displayed. The command is dimmed if there are no subscribers in the frame. The CG Option uses the Macintosh System 7 Edition Manager to bring in picture objects as an alternative to the Clipboard. For detailed information on the Subscribe function, refer to your Macintosh documentation. See also: Edition Manager (page 56) and Subscribe To (page 147). Show Clipboard The Show Clipboard command in the Edit menu displays the contents of the Clipboard in the standard Macintosh Clipboard window. Show in Drop Frame The Show in Drop Frame command in the Program menu switches the active Program window’s NTSC timecode to drop-frame mode. The timecode field separator characters become semicolons for all timecode shown in the Program window and in the Edit Suite window in Program mode. The Edit Suite window displays Drop Frame on its panel. See also: drop frame timecode (page 53) and non-drop frame timecode (page 99). Show in Non-Drop Frame The Show in Non-Drop Frame command in the Program menu switches the active Program window’s NTSC timecode to non-drop frame mode. The timecode field separator characters become colons for all timecode shown in the Program window and in the Edit Suite window in Program mode. The Edit Suite window displays NonDrop Frame on its panel. See also: drop frame timecode (page 53) and non-drop frame timecode (page 99). 136 slate Show Ordering The Show Ordering command in the CG Option’s Objects menu displays a small numerical indicator in the lower right corner of each object in the CG Canvas. A “1” indicates the last layer, “2” is the nextto-last-layer, and so on. S Show Outline The Show Outline command in the CG Option’s Objects menu displays a dotted line around each object in the CG Canvas. Show Safe Action Area An item in the CG Preferences dialog box (from the CG Option’s File menu). When this item is selected, an outer Safe Action frame is displayed in the CG Canvas. See also: Safe Action, Safe Title Areas (page 128). Show Safe Title Area An item in the CG Preferences dialog box. When this item is selected, an inner Safe Title frame is displayed in the CG Canvas. See also: Safe Action, Safe Title Areas (page 128). shuttle A shuttle control advances control across a sequence span left or right and at a rate proportional to the amount of shuttle introduced. The shuttle control is frequently integrated with the jog control. See also: jog/shuttle (page 79). slate A slate presents critical production information, such as date, production, scene, take, location, and timecode, that is captured on videotape or film. A “clapper” produces a sound that editors use to synchronize video and separately recorded audio. I 137 Slash Slide Slash Slide A Media 100 transition where first In frames and then Out frames slide in from the selected edge or corner in sections. Slash Slide is available with the FX Option. Slide A Media 100 transition where Out frames slide over In frames. Slide is available with the FX Option. Slide-FastFX is a hardwareassisted, accelerated version available with the POWER Option. Sliding Bands A Media 100 transition where Out frames wipe In frames as sliding bands. Sliding Bands is available with the FX Option. 138 Smooth Motion Sliding Boxes A Media 100 transition where Out frames slide across In frames as bands of equal width and then close the gap between the bands. S Sliding Boxes is available with the FX Option. Small Keyframe The Small Keyframe command in the View menu displays each clip in the active bin with small keyframes. A small keyframe is 64 by 48 pixels. The keyframe chosen to represent the clip is either the In frame (the default) or the frame chosen with the keyframe selector in Edit Clip mode. A small “speaker” icon at the upper right corner indicates that synchronized audio is attached to the video clip. Keyboard shortcut: -, See also: bin (page 14). Smooth Motion An option in the MotionFX panel. The Smooth Motion option, when selected, ensures that motion from frame to frame displays a smooth appearance with lessened sharpness. When Smooth Motion is not selected, frames appear sharper than when smoothed, but may display a jumpy or jerky motion at slow speeds. Although smooth motion can be used for any speed setting (or a fit-to-fill situation), it’s most effective for speed settings of 50% or less. See also: MotionFX™ (page 95). I 139 SMPTE SMPTE SMPTE is the abbreviation for the Society of Motion Picture and Television Engineers. SMPTE is the technical standards recommending association for the motion picture, television, and video industries in the United States. Located at 595 West Hartsdale Avenue, White Plains, New York 10607. Phone: (914) 761-1100. Fax: (914) 761-3115. Solarize A filter that blends a positive image and negative image to create a “halo” effect. solo buttons The solo buttons in the Audio window enable output for the corresponding audio track while disabling output for all other audio tracks. solo button Sort by Color The Sort by Color command in the View menu arranges the active bin’s clips in the order in which the colors appear in the color tag pop-up menu, left to right: green, blue, red, orange, yellow, magenta, cyan, and gray. You can assign any of these color tags to any bin-resident clip for the purpose of grouping it with related clips. The default color is green. Sort by Comments The Sort by Comments command in the View menu arranges the active bin’s clips alphabetically by the comment field. 140 Sort by Selection Order Sort by Keyword The Sort by Keyword command in the View menu arranges the active bin’s clips alphabetically by their assigned keywords. S Sort by Media Attribute The Sort by Media Attribute command in the View menu displays a pop-up menu with the following sorting options for the active bin’s clips: Reel Name Sorts alphabetically by original reel names Date Sorts chronologically by original digitized dates Media File Name Sorts alphabetically by media file names Tracks Sorts by the tracks associated with the clips Input Setup Sorts alphabetically by the input setup names associated with the clips Quality Sorts from the lowest to the highest image quality levels associated with the clips Standard Sorts by the standard (NTSC or PAL) associated with the clips ColorFX Sorts alphabetically by ColorFX settings MotionFX Sorts numerically by the MotionFX percentage applied to the clips Sort by Name The Sort by Name command in the View menu arranges the active bin’s clips alphabetically by clip name. Sort by Selection Order The Sort by Selection Order command in the View menu arranges the active bin’s clips by the order in which you clicked and shift-clicked them. I 141 Sort by Timecode Sort by Timecode The Sort by Timecode command in the View menu displays a pop-up menu with the following sorting options for the active bin’s clips: In Time Sorts by timecode for the clips’ In frames. The earliest timecode (nearest to all-zero values) is placed first and the latest timecode is placed last. Out Time Sorts by timecode for the clips’ Out frames. The earliest timecode (nearest to all-zero values) is placed first and the latest timecode is placed last. Length Sorts by the length of the trimmed clips. The longest clip is placed first and the shortest clip is placed last. Source In Time Sorts by timecode for the starting point of the source media files. The earliest timecode (nearest to all-zero values) is placed first and the latest timecode is placed last. Source Out Time Sorts by timecode for the ending point of the source media files. The earliest timecode (nearest to all-zero values) is placed first and the latest timecode is placed last. Source Length Sorts by the length of the source media files. The shortest file is placed first and the longest file is placed last. Spin A Media 100 transition where Out frames as a non-perspective plane rotate over In frames from an edge view to a full-frame view. Spin is available with the FX Option. 142 Split Spin Away A Media 100 transition where Out frames as a perspective plane rotate over In frames from an edge view to a full-frame view. S Spin Away is available with the FX Option. Spiral Boxes A Media 100 transition where Out frames wipe In frames with a progressively smaller rectangular spiral. Spiral Boxes is available with the FX Option. Split A Media 100 transition where In frames split in the middle and slide to the edge, revealing Out frames. I Split is available with the FX Option. 143 Split Clip Split Clip The Split Clip command in the Program menu divides a clip in the currently selected track in the Program window. The clip is split where the Current Time Indicator (CTI) crosses it. If the clip is synchronized to other clips, the other clips are also divided at the CTI. The Out frame of the first clip is set to the frame before the CTI. The In frame of the second clip is set to the frame at the CTI. The Split Clip command is dimmed if no track is selected in the Program window or if the CTI does not cross a clip in the selected track. Keyboard shortcut: -/ See also: clips (page 29) and Current Time Indicator (CTI) (page 43). Split Clips With the Option key pressed, the Split Clip command becomes Split Clips. It divides every clip crossed by the Current Time Indicator (CTI) in all tracks into two clips. The Out frame of the first clip is set to the frame before the CTI. The In frame of the second clip is set to the frame at the CTI. Keyboard shortcut: Option- -/ split edit A split edit, or L-cut, is an edit where audio leads video or vice-versa. Static Title A Media 100 transition that allows the keying of a PICT file (prepared outside of Media 100) non-dynamically over video frames. The PICT file can include an alpha-channel mask or can be color keyed to one of five colors (black, white, red, green, or blue). Static Title is available with the FX Option. 144 stop-action animation static titles Non-dynamic titles that typically fade in for an interval of several seconds and then fade out. Static titles can be created directly with the CG Option. You can also create them through an overlay from an external QuickTime application or an external graphical application for placement in the Graphics track. You can also use the FX Option to create static titles for placement in the fx track (see above). The GraphicsFX™ function, a hardware-assisted rendering capability, renders static titles placed in the Graphics track in four times real time. S See also: Animated Title (page 5) and GraphicsFX™ (page 67). stock footage Film or video footage licensed from a brokerage house typically for use in a specific production. Stop Play The Stop Play command in the Tools menu immediately halts play of a program or clip. The Current Time Indicator (CTI) remains where it was when you chose this command. Stop Play is dimmed unless play is in progress. Keyboard shortcut: key - . (period) or press the Space bar or the Escape stop-action animation Stop-action animation produces the illusion of action through a visual sequence of frames in which objects undergo slight increments of motion. The adjustments must be slight and require much attention to detail if the animation is to be a smooth progression. One technique is to work backwards from the final scene, the known goal, to the first. Claymation and cut-outs are examples of the process. I 145 storyboards storyboards Traditionally, a storyboard is a sequence of sketches that give an overview of a production’s storyline. In nonlinear editing, a storyboard can be constructed from an arrangement of clip keyframes. For example, a storyboard could be created by arranging clips in a bin and printing the bin. Stretch A Media 100 transition where Out frames stretch from selected edges across In frames. Stretch is available with the FX Option. stretching a tape Stretching a tape is the process of fast-forwarding a new videotape to its end and then rewinding it back to the beginning. This process evens the tension on the supply hubs of a new videotape. striping a tape Striping a tape is the process of recording a black signal with timecode and control track information onto a blank videotape. Also called a blackening, packing, or black-striping a tape. strobe An option in the MotionFX panel. The strobe effect is accomplished in real time and applies a “flicker” or “staccato” effect to the selected clip. Strobe plays “n” frames, then either freezes or plays back the last frame of the sequence just played for “n” frames, and repeats this cycle for the duration of the clip. See also: MotionFX™ (page 95). 146 Swap Style Palette The Style Palette command in the CG Option’s Windows menu allows you to apply pre-defined styles to text objects. S subcarrier phase A sync signal generated at 3.58 MHz NTSC (4.43 MHz PAL). All other synchronizing signals are divided down from the subcarrier. Subscribe To The Subscribe To command in the CG Option’s Edit menu subscribes to picture editions and places them into an active object. The CG Option uses the Macintosh System 7 Edition Manager to bring in picture objects as an alternative to the Clipboard. For detailed information on the Subscribe function, refer to your Macintosh documentation. See also: Edition Manager (page 56). Subtract from Mark In A field in the Media 100 Preferences dialog box that sets the duration (in seconds) that Media 100 subtracts from the timecode it senses when you click the Mark In button on the Power Digitize panel (only available with the POWER Option). The text box accepts a value in the range of 1 to 5. The default setting is 2. Swap A Media 100 transition where In frames slide toward the selected edge to reveal Out frames sliding toward the opposite edge. At the screen’s midpoint, In frames drop behind Out frames, which now slide toward the original selected edge. I Swap is available with the FX Option. 147 Swap A/B Swap A/B The Swap A/B command in the Track menu switches the a and b video track assignments of selected video clips. Transitions between the clips are preserved. Video track swapping can also be accomplished by manually dragging a selected video clip to the other track, which forces all other selected clips to swap tracks. The Swap A/B command is dimmed if no video clips are selected. Swing In A Media 100 transition where Out frames swing in from the selected edge over In frames. Swing In is available with the FX Option. Swing Out A Media 100 transition where Out frames swing out from the selected edge over In frames. Swing Out is available with the FX Option. 148 Sync Clips Swirl A frame-rendered Media 100 transition where Out frames wipe In frames as a spin-in of swirling rectangles from the center. Rendering does not compensate for object motion artifacts between fields. S Swirl is available with the FX Option. switcher An electrical device for selecting and merging video signals from multiple sources and passing them to an object destination (such as a tape deck, a computer, or a broadcast facility). Symmetrical Map An item in the CG Preferences dialog box (from the CG Option’s File menu). Use this item when you are mapping a picture to a text object that is larger than the picture. When this item is selected, the CG Option flips the picture to create a seamless map to cover the entire object. When this item is not selected, the CG Option simply tiles the picture to cover the object. Sync Clips The Sync Clips command in the Program menu groups a single selected video clip with one or more selected audio clips to form a synchronized set in the active Program window. Once synchronized, the members of the set maintain their relationship in time. If the timecode position of one member moves, all are moved by the same amount. If one member is trimmed, all are trimmed by the same amount. I The Sync Clips command is dimmed if no clips are chosen or if multiple clips are chosen in the same track. Keyboard shortcut: -Y 149 Synclock Timing Synclock Timing The Synclock Timing choice in the Genlock Setup window is dimmed and is no longer enabled. It is provided for compatibility with earlier versions of the Media 100 hardware. synchronized clips Video and audio clips that were digitized simultaneously with appropriate timecode, or that were aligned at a later time to have audio (such as dialog) synchronized with the video. system crash An inadvertent stoppage of a computer system, typically due to a malfunction in the system or application software, or in an item of hardware. Requires a Macintosh system restart (see below). system restart (Macintosh) The preferred way of restarting the Macintosh system is to choose Restart from the Special menu (at the Finder level) or in a dialog box that offers you that choice. An alternative method (to be used only if the Special menu option does not restart the Macintosh system) is to restart the system from the keyboard. To do this, press both the Control key and the Command key ( ), and press the on switch (button with embossed triangle in the extreme upper right-hand corner of the keyboard). system shutdown (Macintosh) Always shut down the Macintosh system by choosing Shutdown from the Special menu. Doing so preserves desktop information the Macintosh requires when you start up the system. system start-up (Macintosh) The application of power to the Macintosh computer system. You should always power up all SCSI devices (disks) 20–30 seconds before you apply power to the Macintosh. This interval allows the disks to reach their optimum spin speed before they have to respond to computer signals. 150 tail frames tail frames Frames that are trimmed back from the last frame of a digitized media file by adjusting the Out point for the related clip. Typically, these frames contain extraneous material not deemed necessary for inclusion in a program. See also: clips (page 29) and media file (page 91). take In production, “take” designates successive attempts to capture a scene on videotape (or film), as in take 2. Takes are usually identified on slates. tape deck An alternate term for videotape recorder (VTR) or audio tape recorder or player. target frame size The target frame size, specified in Media 100’s Media Settings dialog box, allows you to control the quality level at which your source material will be digitized. The target frame size specifies approximately how much disk space each frame of your source material will occupy. Small target frame sizes allow you to fit more material on the storage disk; however, they also require more compression and therefore will produce a lesser picture quality. Large target frame sizes use minimal compression and produce higher quality images, but will require more storage space. Note that the target frame size is an average frame size — complex video images may require more compression and result in a slightly smaller actual digitized frame size; while simple video images may require less compression and result in a larger actual frame size than the specified target. TBC (time base corrector) A TBC is a device that establishes correct timing for an input video signal and outputs the corrected signal into the video system. TBCs are traditionally used to correct the timing irregularities that take place during VCR playback. 152 Time Scale telecine A process for transferring film images to videotape. See also: 3:2 pulldown (telecine) (page 1). terminator A device that reduces electrical noise and preserves high transmission speeds along the SCSI bus. A T text object An object containing text that can be used as an overlay. Text objects can be created in the CG Option or imported from other applications. Text Object Spec The Text Object Spec command in the CG Option’s Objects menu allows you to set all attributes for a text object. Text can be aligned, outlined, or shadowed. This command is only available if a text object is selected. thumbnails Thumbnails are usually miniature sketches used in storyboards. See also: storyboards (page 146). Time Scale The Time Scale command in the Program menu allows you to adjust the display of the timeline ruler in the active Program window. This command opens a hierarchical menu that lists the following options: Fit Program, Normal, Zoom Current Time, Zoom In, Zoom Out, and Zoom Selection. See also: Program window (page 114), timeline ruler (page 157), and timeline range (page 156). I 153 Time Scale > Fit Program Time Scale > Fit Program The Time Scale > Fit Program command scales the active Program window’s timeline ruler so that the entire program is displayed by reduced clip bars within the window’s current width. The indicator in the time scale control becomes yellow to indicate that a special scale is in use. Keyboard shortcut: -= Time Scale > Normal The Time Scale > Normal command displays the timeline ruler at the scale specified by the time scale control (rather than the special scales provided by the other Time Scale commands). Keyboard shortcut: -] Time Scale > Zoom Current Time The Time Scale > Zoom Current Time command zooms the timeline ruler so that 3 seconds are displayed on both sides of the Current Time Indicator (CTI) using the current width setting of the Program window. The indicator in the time scale control changes to yellow to indicate that a non-standard time scale is in effect. You can click the yellow time scale control or anywhere in its surrounding blue area to restore the time scale to normal. Keyboard shortcut: -[ Time Scale > Zoom In The Time Scale > Zoom In command changes the scale of the timeline ruler to the next smaller unit of time per subdivision. This command is dimmed if the timeline ruler is already at the minimum scale (4 frames per subdivision). Keyboard shortcuts: 154 - + or Shift - > timecode Time Scale > Zoom Out The Time Scale > Zoom Out command changes the scale of the timeline ruler to the next larger unit of time per subdivision. This command is dimmed if the timeline ruler is already at the maximum scale (2 frames per subdivision). Keyboard shortcuts: - – or Shift - < A T Time Scale > Zoom Selection With a timeline range active, the Time Scale > Zoom Current Time command changes to Zoom Selection. This command scales the timeline ruler so that the timeline range fits within the current width of the Program window. The indicator in the time scale control changes to yellow to indicate that a special scale is in use. Keyboard shortcut: -[ timecode Each visual and aural frame in Media 100 has a unique identifier, or address, called a timecode. Timecode format is HH:MM:SS:FF, where HH represents hours (00–23); MM, minutes (00–59); SS, seconds (00– 59); and FF, frames (00–24 for PAL; 00–29 for NTSC). HH:MM:SS:FF Hour Minute Second Frame 00-23 00-59 00-59 00-24 (PAL) 00-29 (NTSC) Media 100 employs non-standard “punctuation” in its timecode displays to indicate which format is prevalent: periods for PAL; colons for NTSC non-drop frame; and semicolons for NTSC drop frame. This punctuation separates the four timecode fields as follows: • PAL 01.07.18.23 • NTSC drop frame 07;26;32;12 • NTSC non-drop frame 06:11:41:29 I 155 timeline timeline The timeline represents the temporal span of a Media 100 Program window. It displays the assembled video, audio, and graphical clips, plus applied transitional effects, if any, in their timecode positions at the currently chosen scale for the window. You can zoom in or out, alter the timeline scale, or move quickly forward or backward in time through the timeline to make editing adjustments. Timeline ruler units Timescale control Current time Current Time Indicator Timeline ruler Timeline timeline range A timeline range is a marked subset of frames chosen from the timeline. Certain functions are range-oriented. (For example, playing a particular section of a program requires you to choose a timeline range from the program.) The current timeline range is indicated by the light blue bar in the dark blue time ruler bar. To select a timeline range, use one of the following methods: 156 • Click in the dark blue area under the timeline ruler to specify one end of the range and shift-click in the blue area to specify the other end. The range is represented by the light blue area. • Shift-click in the dark blue area to indicate the first frame of the range. Drag and then release the mouse button to define the last frame of the range. tone • Select two clips that define the desired time range and then choose Create Range From Selection in the Program menu. This selects the range of time from the first frame of the first selected clip to the last frame of the last shift-selected clip. timeline ruler This ruler has division markings that correspond to the currently selected time scale. A program timecode is displayed above each division marking. (To reduce screen clutter, the hour field is not displayed if its value is 00.) A T timescale control A control in the Program window that allows you to change the scale of the timeline ruler. For example, in order to fine-tune a transition, you may want to enlarge the scale to show individual frame times. Or, to locate a particular clip, you may want to reduce the scale to show more of your program. The Program window provides 11 “normal” time scale options. frames: 4, 8, 15 seconds: 1, 2, 4, 8, 15, 30 minutes: 1, 2 Zoom In Zoom Out Several custom scaling options are also available, such as scaling to exactly fit the program in the window. Whether you select a normal scale or a custom scale, the timeline ruler labels and the timeline ruler units field always reflect the time scale currently in use. tone Tone is an audio signal of constant amplitude recorded at the beginning of a videotape, usually for a 1-minute interval, to assist others in calibrating their receiving audio channels prior to playback. Typically, tone occurs in the same interval as color bars. You adjust the audio playback level while monitoring the volume unit (VU) meters or peaking indicators on the VTR while the tone plays. I See also: color bars (page 34) and volume unit meters (page 165). 157 Tools menu Tools menu The Tools menu provides commands for selecting Edit Suite window modes, playing a clip or program, auto digitizing and redigitizing, and media locating and relinking operations. Refer to individual command names for information about their operation. track A track is the area in the Program window where you arrange clips in sequences. You place video clips in the video track, graphics clips in the graphics track, and audio clips in audio tracks. Track menu The Track menu provides commands for swapping A/B tracks; locking, collapsing, and disabling tracks; showing audio waveforms; and setting up tracks. Refer to individual command names for information about their operation. Track Setup The Track Setup command in the Track menu allows you to add a graphics track and multiple audio tracks to your program (four audio tracks with Media 100, up to eight audio tracks with the HDR Option). You can also choose to play “hidden” tracks (those which are not displayed in the Program window). trailer A trailer is an interval of black video recorded after a program when you print it to tape. Media 100 automatically records a black trailer (and a black leader). You choose individual intervals for both in the Master to Tape dialog box. The default setting is 1 minute. See also: leader (page 82). transition (cut) A transition, more commonly referred to as a cut, represents a change in the visual sequence presented to a viewer: a scene change, a camera switch from one character to another, or a fade to black. In Media 100 editing, a cut ends one clip and begins the next. 158 Trim mode–Edit Suite transition effects With the advent of computer-generated special effects, a transition becomes more than a change in direction or emphasis. Video productions become more visually stimulating through intelligent application of these capabilities. In the hands of a knowledgeable editor, director, or independent producer, transition effects can control mood, pace, viewer focus, and timing. A T Media 100 includes a single transition effect in the base system release: Dissolve–FastFX. Additional effects are included with the FX Option and the POWER Option. Transition mode–Edit Suite The Edit Suite window in Transition mode provides controls for setting up and rendering transition effects. Keyboard shortcuts: Option- -T to initiate Transition mode Trim mode–Edit Suite The Edit Suite window in Trim mode provides productive, precise cut trimming between two clips in the Program window. It incorporates dual trim-point monitors and versatile editing functions for precise adjustment of In points and Out points. Keyboard shortcuts: -T or F7 to initiate Trim mode I 159 unavailable clip media unavailable clip media Occasionally, when you open a bin, one or more clips may appear with the Unavailable label rather than a normal keyframe. The Unavailable clip label means the project cannot locate the media file for that clip. The volume containing the media file may be off-line (not mounted), or you may have inadvertently deleted the media file or moved it to another location. To correct the situation where many clips are unavailable, you can mount the appropriate off-line volume. Where you may have moved the media for a few clips, you can search with the Macintosh’s Find command (or third-party software) to determine if the media file name exists on a mounted volume in the system. A located media file can be re-imported to the active bin to make the clip available again. underscan Refers to how computer monitors center their display area surrounded by a black border, the underscan. An underscanned image requires conversion to fill the expanded display area, or overscan, of a video monitor. See also: overscan (page 102). Undo The Undo command in the Edit menu reverses the effect of the previous action and changes the command to Redo . If the previous action cannot be reversed, the Undo command becomes Can’t Undo and is dimmed. Actions that cannot be reversed include the Save and Revert commands and any actions that change the selection. Keyboard shortcut: 160 -Z upper-field dominant Unlock Track The Unlock Track command in the Track menu unlocks a single, selected locked track (video, audio, or graphics). When the track is unlocked, the red box around the track’s label area switches from red to gray. While a track is unlocked, you can add clips to it, delete clips from it, or move clips within it. In addition, you can move or delete clips in other tracks if they are synchronized with clips in the locked track. You can play (view) the contents of an unlocked track. You can also disable or enable an unlocked track for playing purposes. Keyboard shortcut: -L A U See also: Lock Track (page 84). Unlock All Tracks The Unlock All Tracks command in the Track menu unlocks all locked tracks (video, audio, and graphics). Keyboard shortcut: Option- -L See also: Lock Track (page 84) and Unlock Track (above). Unsync Clips The Unsync Clips command in the Program menu breaks the synchronized relationship among the members of the chosen set(s) of synchronized clips. Each clip can then be selected and edited individually without affecting the others. This command is dimmed until you choose a synchronized clip set. Keyboard shortcut: -U See also: Sync Clips (page 149). upper-field dominant For both NTSC and PAL, Media 100 uses a field dominance, or field rendering order, of odd-numbered lines in the first field (Field 0) followed by even-numbered lines in the second field (Field 1). Some graphical applications refer to this order as upper-field dominant. I 161 user bits user bits Some professional/industrial videotape recorders (VTRs) include a feature known as “user bits,” usually identified as U-Bit or UB, for the encoding of alphanumeric data within a videotape’s timecode. Of the 80 bits each frame allocates for timecode, 32 bits are earmarked for user bits information. The user bits concept is included in the EBU/SMPTE timecode standard. User bits allow up to eight characters to be entered in each timecode. The character set includes the numerical characters 0–9 and the alphabetic characters, A–F. In user-bits mode, an operator can dial in and thus record characters to represent time-of day, operator identification, etc. For more information, refer to your VTR user documentation. user marks User marks are indicators that can be placed in the timeline to mark points of interest. Pressing F6 places a user mark (a small green triangle) on the timeline. Any number of marks may be present. Clicking on a mark deletes it. User marks are useful for indicating visual or sound cue points and other points of interest in the program timeline. Pressing the Tab key with the Option key pressed advances the Current Time Indicator (CTI) to the next user mark or clip cut, whichever comes first. With both the Control key and the Option key pressed, pressing the Tab key reverses direction across marks and clip cuts. A user mark can also be used as a cue mark for an overlay edit. Keyboard shortcut: F6 See also: insert edit (page 74) and overlay edit (page 102). 162 video clip VCR VCR is an abbreviation for video cassette recorder. This term usually designates consumer-level video recorders. A See also: VTR (page 165). vectorscope An instrument used to adjust the color settings in a video signal. Media 100’s Input Setup window provides a vectorscope that allows you to adjust hue and saturation settings for specified lines of your video input signal. Venetian Blinds A Media 100 transition where Out frames wipe In frames as eight wide bars. V Venetian Blinds is available with the FX Option. Venetian BlindsFastFX is a hardware-assisted, accelerated version available with the POWER Option. VHS This abbreviation is used for Video Home System, which represents the 1/2-inch videotape format pioneered by RCA and the Panasonic Communications and Systems Company. video clip Video clips are iconic representations of digitized video material stored in media files. You can drag them from bins to other bins or programs, copy them, trim them, and synchronize them to audio clips. I 163 video track The material you view when a clip is played is always limited by the current positions of its In point and Out point. The head and tail frames give you trimming space when you’re adjusting a cut point at either end. The first and last frames represent the extremes of the digitized material. You cannot trim beyond these points. video clip Out point In point first frame head frames video media file tail frames last frame video track Media 100 has one video track with virtual track extensions. If the program you are creating requires only cut transitions, you can position your video clips in the video (v) track. If you want to take advantage of the additional features made available with the virtual video (a, fx, b) tracks, you should assemble your program in the expanded tracks. The video track displays a summary representation of clips in the virtual tracks at all times. View menu The View menu allows you to select how clips in the active bin are displayed and sorted. Refer to individual command names for information about their operation. View Preferences The View Preferences command in the View menu allows you to customize how clips are viewed in the Bin window. The settings remain in effect until you change them. 164 VTR remote control Virtual Memory A setting in the Macintosh Memory control panel. Virtual memory must always be turned off before using Media 100. A VITC An abbreviation for Vertical Interval Timecode. VITC is recorded in the vertical interval of the video picture. Its major advantage is that the EBU/SMPTE timecode accurately reflects the current frame whether the tape is moving or not, except when shuttling. Refer to your VTR user documentation for information on using VITC. voiceover (VO) Voiceover, commonly noted as VO on a script, refers to narration by an unseen speaker. V volume Volume is computer language for a disk, removable cartridge, or tape — in short, a SCSI device for storing digital data. volume unit meters Tape decks typically include volume unit (VU) meters to display audio levels during playback or recording. The zero level represents the target level. Playing audio above this level may result in distortion. VU meters display the dynamic fluctuations of an audio signal as decibel levels at the input or output. VU meters, when used with Media 100’s peaking level indicators, allow you to adjust the level of incoming audio to eliminate over-modulation and clipping. VTR This abbreviation refers to a professional/industrial class videotape recorder. VTR remote control VTR remote control is traditionally called machine control. It allows you to activate various controls from Media 100 that start, stop, or rewind the VTR. I See also: Machine Control (page 87). 165 W notation (EDL) W notation (EDL) The W notation in an EDL (Edit Decision List) file indicates that a wipe transition occurred in that edit. Additionally, the notation may reference a wipe code that identifies the type of switcher wipe to apply in the A/B editing session. See also: edit decision list (EDL) (page 55). warm start Restarting the computer system because a software application has locked up (for example, frozen the screen). Compare with a cold start, which means to start the computer system from a power-off state. waveform monitor An instrument used to monitor the level of the video input signal. Media 100’s Input Setup window provides a waveform monitor that allows you to adjust gain and setup settings for specified lines of video. Wedge Wipe A Media 100 transition where Out frames wipe In frames with a center-to-edge, bidirectional sweep. Wedge Wipe is available with the FX Option. Wedge Wipe-FastFX is a hardware-assisted, accelerated version available with the POWER Option. window dubbing The practice of producing a tape copy (dub) of footage with the running timecode “burned in,” that is, visible in a window over frames. Window dubbing is typically employed by reviewers of rough footage for logging shots in preparation for off-line editing. It’s also used 166 Wipe for work prints (copies of daily off-line and on-line edits) and to preclude unauthorized use of material being previewed, for example, stock footage. A Windows menu The Windows menu allows you to bring the following Media 100 windows to the front. (You can also select a window using the associated keyboard shortcut.) • Edit Suite -1 • Audio -2 • Input Setup -3 • Genlock Setup -4 The Windows menu also lists the current Project window ( all associated Bin and Program windows. -0) and Wipe W A Media 100 transition where Out frames wipe In frames with a sweep extending from the selected edge or corner. Wipe is available with the FX Option. Wipe-FastFX is a hardwareassisted, accelerated version available with the POWER Option. I 167 Y Y Abbreviation for luminance. Also, the symbolic representation for the luminance component of an NTSC or PAL video (television) signal. See also: luminance (page 85), NTSC (page 100), and PAL (page 104). Y, R–Y, B–Y These symbolic representations refer to the three picture components of the television (or video) signal. Also, represents the three independent signal components employed in component video. Y represents the luminance signal, and R–Y and B–Y are called the difference signals, or the Red Difference and the Blue Difference, respectively. See also: component video (page 36). Y, Cr, Cb Alternative symbolic representation for the three picture components of the television (or video) signal. Also, represents the three independent signal components employed in component video. Cr equals R–Y; Cb equals B–Y. See also: Y, R–Y, and B–Y (above). YIQ This abbreviation is the symbolic representation frequently used by NTSC television broadcast engineers, where Y is luminance and I and Q are chrominance signals. YUV This abbreviation is the symbolic representation for components of the video signal, where Y is luminance, U is the blue color difference, and V is the red color difference. YUV 4:2:2 This symbolic representation refers to a digital video format, where Y is luminance, U is the blue color difference signal, and V is the red color difference signal. 4:2:2 represents the ratio of samples per Y:U:V, where Y is sampled at twice the frequency of U and V. 168 Zoom In Zig-Zag Blocks A Media 100 transition where Out frames wipe In frames from the top with rectangular shapes. A Zig-Zag Blocks is available with the FX Option. zoom box Clicking the zoom box (upper right-hand corner of a window’s title bar) toggles the window between the size you set through use of the window resize box (lower right-hand corner of the window) and the expanded window size required to fill the screen display. Zoom Current Time The Zoom Current Time command (in the Time Scale command’s hierarchical menu) scales the timeline ruler so that 3 seconds are displayed on both sides of the Current Time Indicator (CTI) using the current width setting of the Program window. The indicator in the time scale control changes to yellow to indicate that a non-standard time scale is in effect. You can click the yellow time scale control or anywhere in its surrounding blue area to restore the time scale to normal. Keyboard shortcut: Z -[ See also: Program window (page 113) and timeline ruler (page 157). Zoom In The Zoom In command (in the Time Scale command’s hierarchical menu) changes the scale of the timeline ruler to the next smaller unit of time per subdivision. I 169 Zoom Out This command is dimmed if the timeline ruler is already at the minimum scale setting of 4 frames per subdivision. It is also dimmed if the Time Scale choice of Normal is not checked and dimmed, which indicates that you last selected either the Fit Program choice or the Zoom Current Time (or Zoom Selection) choice. Keyboard shortcuts: -+ or Shift - > See also: timeline ruler (page 157). Zoom Out The Zoom Out command (in the Time Scale command’s hierarchical menu) changes the scale of the timeline ruler to the next larger unit of time per subdivision. This command is dimmed if the timeline ruler is already at the maximum scale of 2 minutes per subdivision. It is also dimmed if the Time Scale choice of Normal is not checked and dimmed, which indicates that you last selected either the Fit Program choice or the Zoom Current Time (or Zoom Selection) choice. Keyboard shortcuts: - – or Shift - < See also: timeline ruler (page 157). Zoom Selection With a timeline range marked, the Zoom Current Time command (in the Time Scale command’s hierarchical menu) changes to Zoom Selection. It scales the timeline ruler so that the timeline range fits within the current width of the Program window. The indicator in the time scale control changes to yellow to indicate that a special scale is in use. The timeline ruler unit display changes to “Time Range.” Click the yellow time scale control or anywhere in its surrounding blue area to restore the normal time scale. Keyboard shortcut: -[ See also: timeline range (page 156) and timeline ruler (page 157). 170 DATA TRANSLATION, INC. LICENSE AGREEMENT a. Data Translation, Inc. (“DTI”) is pleased you have purchased its Media 100® system. This document (the “License”) sets forth all of your rights and corresponding obligations concerning the use of the software included in Media 100®. The term “Program” as used in this License means all computer programs and documentation created by DTI and delivered to you, and any corrections, modifications, enhancements or upgrades of any of those computer programs or documentation. b. This License is designed to maximize your use of the Program while protecting DTI’s rights in the Program, thus ensuring our ability to continue to provide this and other products to you and other customers. 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