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Editing In The Timeline

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October 2018
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Computers & electronics Software Multimedia software Audio editing software

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Avid NewsCutter Products ® ® Editing Guide m a k e m a n a g e m ove | m e d i a ™ Avid ® Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Avid products or portions thereof are protected by one or more of the following United States patents: 4,746,994; 4,970,663; 5,045,940; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,584,006; 5,640,601; 5,644,364; 5,654,737; 5,715,018; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,851; 5,781,188; 5,799,150; 5,812,216; 5,852,435; 5,905,841; 5,929,836; 5,929,942; 5,930,445; 5,930,797; 5,946,445; 5,987,501; 5,999,190; 6,016,152; 6,018,337; 6,023,531; 6,023,703; 6,031,529; 6,058,236; 6,061,758; 6,091,778; 6,105,083; 6,118,444; 6,128,001; 6,134,607; 6,137,919; 6,141,691; 6,157,929; 6,160,548; 6,167,404; 6,198,477; 6,201,531; 6,223,211; 6,249,280; 6,269,195; 6,317,158; 6,317,515; 6,330,369; 6,351,557; 6,353,862; 6,357,047; 6,392,710; 6,404,435; 6,407,775; 6,417,891; 6,426,778; 6,449,019; 6,473,094; 6,477,271; 6,489,969; 6,512,522; 6,532,043; 6,539,163; D396,853; D398,912. Additional U.S. and foreign patents pending. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, for any purpose without the express written permission of Avid Technology, Inc. Copyright © 2003 Avid Technology, Inc. and its licensors. All rights reserved. The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of their TIFF library: Copyright © 1988–1997 Sam Leffler Copyright © 1991–1997 Silicon Graphics, Inc. Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its documentation for any purpose is hereby granted without fee, provided that (i) the above copyright notices and this permission notice appear in all copies of the software and related documentation, and (ii) the names of Sam Leffler and Silicon Graphics may not be used in any advertising or publicity relating to the software without the specific, prior written permission of Sam Leffler and Silicon Graphics. THE SOFTWARE IS PROVIDED “AS-IS” AND WITHOUT WARRANTY OF ANY KIND, EXPRESS, IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND, OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS, WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE. The following disclaimer is required by the Independent JPEG Group: Portions of this software are based on work of the Independent JPEG Group. The following disclaimer is required by Paradigm Matrix: Portions of this software licensed from Paradigm Matrix. The following disclaimer is required by Ray Sauers Associates, Inc.: “Install-It” is licensed from Ray Sauers Associates, Inc. End-User is prohibited from taking any action to derive a source code equivalent of “Install-It,” including by reverse assembly or reverse compilation, Ray Sauers Associates, Inc. shall in no event be liable for any damages resulting from reseller’s failure to perform reseller’s obligation; or any damages arising from use or operation of reseller’s products or the software; or any other damages, including but not limited to, incidental, direct, indirect, special or consequential Damages including lost profits, or damages resulting from loss of use or inability to use reseller’s products or the software for any reason including copyright or patent infringement, or lost data, 2 even if Ray Sauers Associates has been advised, knew or should have known of the possibility of such damages. The following disclaimer is required by Videomedia, Inc.: “Videomedia, 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.” “This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc. Use of this software will allow “frame accurate” editing control of applicable videotape recorder decks, videodisc recorders/players and the like.” The following disclaimer is required by Altura Software, Inc. for the use of its Mac2Win software and Sample Source Code: ©1993–1998 Altura Software, Inc. The following disclaimer is required by Ultimatte Corporation: Certain real-time compositing capabilities are provided under a license of such technology from Ultimatte Corporation and are subject to copyright protection. The following disclaimer is required by 3Prong.com Inc.: Certain waveform and vector monitoring capabilities are provided under a license from 3Prong.com Inc. Attn. Government User(s). Restricted Rights Legend U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial computer software” or “commercial computer software documentation.” In the event that such Software or documentation is acquired by or on behalf of a unit or agency of the U.S. Government, all rights with respect to this Software and documentation are subject to the terms of the License Agreement, pursuant to FAR §12.212(a) and/or DFARS §227.7202-1(a), as applicable. Trademarks 888 I/O, AirPlay, AirSPACE, AirSPACE HD, AniMatte, AudioSuite, AudioVision, AutoSync, Avid, AVIDdrive, AVIDdrive Towers, AvidNet, AvidNetwork, AVIDstripe, Avid Unity, Avid Xpress, AVoption, AVX, CamCutter, ChromaCurve, ChromaWheel, DAE, D-Fi, D-fx, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, DigiDrive, DigiTranslator, DINR, D-Verb, Equinox, ExpertRender, FieldPak, Film Composer, FilmScribe, FluidMotion, HIIP, HyperSPACE, HyperSPACE HDCAM, IllusionFX, Image Independence, Intraframe, iS9, iS18, iS23, iS36, Lo-Fi, Magic Mask, make manage move | media, Marquee, Matador, Maxim, MCXpress, Media Composer, MediaDock, MediaDock Shuttle, Media Fusion, Media Illusion, MediaLog, Media Reader, Media Recorder, MEDIArray, MediaShare, Meridien, MetaSync, NaturalMatch, Nearchive, NetReview, NewsCutter, OMF, OMF Interchange, OMM, Open Media Framework, Open Media Management, ProEncode, Pro Tools, QuietDrive, Recti-Fi, RetroLoop, rS9, rS18, Sci-Fi, Softimage, Sound Designer II, SPACE, SPACEShift, Symphony, the Avid|DS logo, Trilligent, UnityRAID, Vari-Fi, Video Slave Driver, VideoSPACE, and Xdeck are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries. iNEWS, iNEWS ControlAir, and Media Browse are trademarks of iNews, LLC. Aaton is a registered trademark of Aaton S.A. Abekas is a registered trademark of Accom, Inc. Acrobat, Acrobat Reader, Adobe, After Effects, and Photoshop are either registered trademarks or trademarks of Adobe Systems, Incorporated in the United States and/or other countries. Alias is a registered trademark and Alias|Wavefront and Wavefront are trademarks of Alias|Wavefront, a division of Silicon Graphics Limited. Amiga is a registered trademark of Amiga, Inc. Apple, Bento, FireWire, Macintosh, and QuickDraw are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Betacam, Betacam SP, Hi8, I-LINK, and Sony are trademarks and/or service marks of Sony Corporation. Chyron is a registered trademark of Chyron Corporation. Cineon, Keykode, and Photo CD are trademarks of Eastman Kodak Company. cleaner and media cleaner are either registered trademarks or trademarks of Discreet Logic Inc./Autodesk, Inc. in the USA and/or other countries. DVDit! is a trademark of Sonic Solutions. Express, V-LAN, and VLXi are registered trademark of Videomedia, Inc. FaderMaster Pro is a trademark of JL Cooper, a division of Sound Technology. Focusrite is a registered trademark of Focusrite Audio Engineering Ltd. GIF is a Service Mark property of CompuServe Incorporated. IBM and OS/2 are registered trademarks of International Business Machines Corporation. IEEE is a registered trademark of the Institute of Electrical and Electronics Engineers, Inc. Ikegami is a registered trademark and Editcam is a trademark of Ikegami Tsushinki Co., LTD. Jaz and Zip are registered trademarks of Iomega Corporation. Microsoft, Windows, and 3 Windows Media, are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. Norton AntiVirus is a registered trademark of Symantec Corporation. Paintbrush is a trademark of Zsoft Corporation. Panasonic is a registered trademark of Matsushita Electric Industrial Company, Limited. Pixar is a registered trademark of Pixar Animation Studios. QuickTime and the QuickTime logo are trademarks used under license from Apple Computer, Inc. RealSystem is either a registered trademark or trademark of Real Networks, Inc. in the United States and/or other countries. Silicon Graphics is a registered trademark of Silicon Graphics, Inc. Sound Forge is a registered trademark of Sonic Foundry, Inc. Sun is a registered trademark and Sun Raster is a trademark of Sun Microsystems, Inc. in the United States or other countries. TARGA is a trademark of Pinnacle Systems, Inc., registered in the U.S. and other countries. Video Toaster is a trademark of NewTek. X Window System is trademark of X Consortium, Inc. Yamaha is a registered trademark of Yamaha Corporation of America. All other trademarks contained herein are the property of their respective owners. Footage Arizona Images — KNX-TV Production — Courtesy of Granite Broadcasting, Inc., Editor/Producer Bryan Foote. Canyonlands — Courtesy of the National Park Service/Department of the Interior. “Tigers: Tracking a Legend” — Courtesy of www.wildlifeworlds.com, Carol Amore, Executive Producer. Tornados + Belle Isle footage — Courtesy of KWTV News 9 WCAU Fire Story — Courtesy of NBC-10, Philadelphia, PA. Women in Sports – Paragliding — Courtesy of Legendary Entertainment, Inc. GOT FOOTAGE? Editors — Filmmakers — Special Effects Artists — Game Developers — Animators — Educators — Broadcasters — Content creators of every genre — Just finished an incredible project and want to share it with the world? Send us your reels and we may use your footage in our show reel or demo!* For a copy of our release and Avid’s mailing address, go to www.avid.com/footage. *Note: Avid cannot guarantee the use of materials submitted. Avid NewsCutter Products Editing Guide • Part 0130-05729-01 • May 2003 4 Contents Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Who Should Use This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 If You Have Documentation Comments . . . . . . . . . . . . . . . . . . . . . . . . . 29 How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Avid Educational Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Chapter 1 Desktop Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Working with the Desktop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Creating an Emergency Repair Disk . . . . . . . . . . . . . . . . . . . . . . . . 32 Using Shortcut Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Using the Windows Taskbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Dragging Windows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Setting Your Screen Resolution. . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Using the Avid Application Folder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Managing the Avid Projects and Avid Users Folders . . . . . . . . . . . . . . . 36 Creating Avid Projects and Avid Users Folders . . . . . . . . . . . . . . . . 36 Changing Project and User Names . . . . . . . . . . . . . . . . . . . . . . . . . 36 Deleting Projects and User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . 37 Starting the Avid Application. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Accepting Your Avid License Electronically . . . . . . . . . . . . . . . . . . . . . . 39 Chapter 2 Starting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Opening and Closing a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Changing Users . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Selecting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Selecting a Private Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Selecting a Shared Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Selecting an External Project . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Browsing for a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Setting Film Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Opening a Project Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Opening a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Using User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Creating a User Profile. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Importing a User Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Changing User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Closing a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Backing Up Your Project Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Restoring from a Backup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Ending an Edit Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Quitting the Application. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Turning Off Your Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Mounting and Ejecting Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Ejecting Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Mounting All Drives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Using Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Chapter 3 Working with the Project Window . . . . . . . . . . . . . . . . . . . . . . 59 Changing, Closing, and Reopening the Project Window . . . . . . . . . . . . 60 Using the Bins Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Viewing a List of Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Displaying Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Creating a Folder in a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Creating a New Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Renaming a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 6 Opening and Closing a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Opening Selected Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Closing a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Deleting a Bin or Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Viewing Contents in the Trash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Emptying the Trash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Managing Folders and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Saving Bins Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Saving Bins Manually. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Retrieving Bin Files from the Avid Attic Folder. . . . . . . . . . . . . . . . . 72 Conserving Screen Real Estate with the SuperBin . . . . . . . . . . . . . . . . 74 Enabling the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Opening Bins in the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Closing the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Deleting the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Moving Bins into and out of the SuperBin . . . . . . . . . . . . . . . . . . . . 77 Moving Clips and Sequences into and out of the SuperBin. . . . . . . 77 Copying Clips and Sequences into and out of the SuperBin . . . . . . 78 Using the Settings Scroll List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Types of Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Defining Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Reviewing Basic Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Bin Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Film Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 General Interface Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Appearance Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . 83 Changing Interface Component Colors . . . . . . . . . . . . . . . . . . . 84 Changing Shading Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Changing Shading Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Changing Button Separation . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Changing Button Style. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Displaying Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Changing the Settings Scroll List Display . . . . . . . . . . . . . . . . . . . . 93 7 The Settings Scroll List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Working with Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Selecting Another User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Modifying Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Working with Multiple Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Duplicating Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Naming Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Selecting Among Multiple Settings. . . . . . . . . . . . . . . . . . . . . . 100 Deleting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Copying Settings Between Settings Files . . . . . . . . . . . . . . . . 101 Moving Settings Between Systems . . . . . . . . . . . . . . . . . . . . . 101 Using Site Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Selecting Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Viewing the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Using the Info Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Viewing System Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 The Memory Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 The Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Customizing Your Workspace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Creating a New Workspace Setting . . . . . . . . . . . . . . . . . . . . . . . . 107 Assigning a Workspace Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Linking User Settings and Workspaces . . . . . . . . . . . . . . . . . . . . . 110 Switching Between Workspaces. . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Deleting a Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Navigating in Dialog Boxes and Menus . . . . . . . . . . . . . . . . . . . . . . . . 112 Sharing Bins and Projects on Avid Unity MediaNetwork. . . . . . . . . . . . 112 Understanding Avid Unity MediaNetwork . . . . . . . . . . . . . . . . . . . . 112 Mapping Workspaces on the Avid Unity Network. . . . . . . . . . . . . . 113 Sharing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Shared Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Shared Bins and Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Opening a Shared Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 8 Working with Locks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Default Locking Mechanism . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Overriding the Default Locking Mechanism. . . . . . . . . . . . . . . 117 Restrictions and Limitations for Locked Bins. . . . . . . . . . . . . . 118 Chapter 4 Using Basic Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Using Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Opening Toolsets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 NRCS Toolset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Capture Toolset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Edit Toolset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Effects Editing Toolset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Audio Editing Toolset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Color Correction Toolset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Customizing Toolsets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Linking Toolsets to Other Settings . . . . . . . . . . . . . . . . . . . . . . . . . 128 Using the Tools Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Using the Deck Controller. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 Using the Command Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Button Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Mapping User-Selectable Buttons . . . . . . . . . . . . . . . . . . . . . . . . . 133 Using the Blank Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 Mapping the Modifier Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 Mapping Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Activating Commands from the Command Palette . . . . . . . . . . . . 136 Using the Avid Calculator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 Using the Console Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 Displaying System Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 Reviewing a Log of Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 Getting Information with the Console Window . . . . . . . . . . . . . . . . 139 Using the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Checking the Hardware Configuration . . . . . . . . . . . . . . . . . . . . . . 140 Using the Communication (Serial) Ports Tool . . . . . . . . . . . . . . . . . . . 141 9 Chapter 5 Organizing with Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Setting the Bin Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Basic Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Using Bin Display Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Changing the Bin Display View Size. . . . . . . . . . . . . . . . . . . . . . . . 146 Custom Bin Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Customizing Bin Views in Text View . . . . . . . . . . . . . . . . . . . . 146 Saving a Custom Bin View. . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 The Bin Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Setting the Font and Point Size . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Setting the Text Font . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 Setting the Point Size. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 Selecting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 Duplicating Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . 150 Moving Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 Copying Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 Deleting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 Assigning Colors to Bin Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Adding a Color Column to a Bin. . . . . . . . . . . . . . . . . . . . . . . . 152 Assigning a Source Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 Assigning a Custom Source Color . . . . . . . . . . . . . . . . . . . . . . 153 Limiting Color Choices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 Sorting by Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 Sifting Clips and Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 Locking and Unlocking Items in the Bin . . . . . . . . . . . . . . . . . . . . . 156 Selecting Offline Items in a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 Selecting Media Relatives for an Object. . . . . . . . . . . . . . . . . . . . . 158 Selecting Unreferenced Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 Using Brief View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 Using Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 Organizing Bin Information in Text View. . . . . . . . . . . . . . . . . . . . . 161 Arranging Bin Columns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Moving and Rearranging Columns. . . . . . . . . . . . . . . . . . . . . . 162 Aligning Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Showing and Hiding Columns . . . . . . . . . . . . . . . . . . . . . . . . . 163 10 Deleting Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Duplicating Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 Adding Customized Columns to a Bin . . . . . . . . . . . . . . . . . . . 164 Changing a Custom Column Heading . . . . . . . . . . . . . . . . . . . 165 Managing Clip Information in Text View . . . . . . . . . . . . . . . . . . . . 166 Moving Within Column Cells . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Modifying Clip Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Modifying Data Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167 Modifying Data by Using the Modify Command . . . . . . . . . . . 169 Copying Information Between Columns . . . . . . . . . . . . . . . . . 171 Sorting Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 Sorting Clips in Ascending Order . . . . . . . . . . . . . . . . . . . . . . 172 Sorting Clips in Descending Order . . . . . . . . . . . . . . . . . . . . . 173 Performing Multilevel Sorting with Columns . . . . . . . . . . . . . . 173 Sorting Clips by Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Displaying Timecodes in a 24p or 25p Project. . . . . . . . . . . . . . . . 174 Frame Counting for Timecodes . . . . . . . . . . . . . . . . . . . . . . . . 175 Adding Timecode Columns to a Bin or the Media Tool . . . . . . 175 Adding Timecode Values to the Timecode Columns. . . . . . . . 175 Bin Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176 Using Frame View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Changing the Bin Background Color . . . . . . . . . . . . . . . . . . . . . . . 181 Enlarging or Reducing Frame Size . . . . . . . . . . . . . . . . . . . . . . . . 182 Rearranging Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Changing the Frame Identifying the Clip . . . . . . . . . . . . . . . . . . . . 183 Arranging Frames in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 Using Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Entering Script View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Adding Text in Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Enlarging or Reducing Frame Size . . . . . . . . . . . . . . . . . . . . . . . . 185 Rearranging Clips in Script View . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Printing Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 11 Gathering Format Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 Preparing Digital Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . 187 Importing Color Bars and Other Test Patterns . . . . . . . . . . . . . . . . 187 Creating Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 Creating Video Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 Creating Audio Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Chapter 6 Managing Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Working with Media Files in an Avid Unity Environment . . . . . . . . . . . . 194 Configuring Avid Editing Systems to Work with MediaManager and TransferManager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 Support for Avid Unity LANshare . . . . . . . . . . . . . . . . . . . . . . . . . . 196 Setting up the LANshare Client . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 PortServer Pro Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 ProEncode Support on the PortServer Pro . . . . . . . . . . . . . . . . . . 198 Using the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 Basic Media Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 Opening the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200 Deleting Media Files with the Media Tool . . . . . . . . . . . . . . . . . . . . 201 Consolidating Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 The Consolidate/Transcode Feature . . . . . . . . . . . . . . . . . . . . . . . 203 Using the Consolidate/Transcode Command . . . . . . . . . . . . . . . . . 206 Using the Transcode Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 Loading the Media Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 Refreshing Media Databases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 Backing Up Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211 Finding a Related Media File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211 Relinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 Relinking to Selected Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Relinking Consolidated Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 Unlinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 Using Videotapes for Archiving and Restoring Media Files . . . . . . . . . 216 Archiving Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 Archive to Videotape Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Restoring an Archive from Videotape . . . . . . . . . . . . . . . . . . . . . . . 220 12 Chapter 7 Viewing and Marking Footage . . . . . . . . . . . . . . . . . . . . . . . . 223 Customizing the Source/Record Monitor . . . . . . . . . . . . . . . . . . . . . . . 224 Expanding the Source/Record Monitor . . . . . . . . . . . . . . . . . . . . . 224 Changing the Pop-up Monitor Size . . . . . . . . . . . . . . . . . . . . . . . . 225 Using the 16:9 Display Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 Using 16:9 for 24p and 25p Editing . . . . . . . . . . . . . . . . . . . . . . . . 226 Displaying Tracking Information. . . . . . . . . . . . . . . . . . . . . . . . . . . 226 Tracking Format Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 Displaying Clip Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 Copying Text from the Info Window. . . . . . . . . . . . . . . . . . . . . . . . 231 Displaying the Timecode Window . . . . . . . . . . . . . . . . . . . . . . . . . 231 Displaying Multiple Timecodes . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 Setting the Font and Point Size for Monitor Displays. . . . . . . . . . . 233 Pop-up Monitors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 Displaying a Second Row of Buttons. . . . . . . . . . . . . . . . . . . . . . . 233 Viewing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 Loading and Clearing Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 Loading Clips or Sequences into the Source/Record Monitor . . . . 234 Loading Clips or Sequences into a Pop-up Monitor. . . . . . . . . . . . 235 Using the Clip Name Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 Switching Between Loaded Clips or Sequences . . . . . . . . . . . 235 Clearing Clips or Sequences from Monitors . . . . . . . . . . . . . . 236 Resizing Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 Hiding the Video in the Source/Record Monitor . . . . . . . . . . . . . . . 237 Resizing the Source/Record Monitor . . . . . . . . . . . . . . . . . . . . . . . 237 Controlling Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 Using Position Bars and Position Indicators . . . . . . . . . . . . . . . . . 238 Using Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 Stepping Forward and Backward by Field . . . . . . . . . . . . . . . . . . . 240 Using the Avid Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Shuttling with the J-K-L Keys. . . . . . . . . . . . . . . . . . . . . . . . . . 242 Navigating with Home, End, and Arrow Keys . . . . . . . . . . . . . 243 Playing in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 13 Playing Video to the Client Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 Selecting the Client Monitor Setting . . . . . . . . . . . . . . . . . . . . . . . . 244 Supporting a Camera Without Video Input . . . . . . . . . . . . . . . . . . . 246 Play Length “In Use” Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 Adjusting the Play Delay Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 Marking and Subcataloging Footage . . . . . . . . . . . . . . . . . . . . . . . . . . 247 Marking IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 Clearing a Mark and Setting a New One . . . . . . . . . . . . . . . . . 250 Dragging IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . 250 Marking an Entire Clip or Segment. . . . . . . . . . . . . . . . . . . . . . . . . 251 Marking Audio Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 Using the Tool Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 Opening the Tool Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 Using the Tool Palette Options . . . . . . . . . . . . . . . . . . . . . . . . 253 Using the Tool Palette from the Record Monitor . . . . . . . . . . . 254 Using the Timeline Top Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 Creating Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 Subclips and Audio Sync for 24p and 25p Projects . . . . . . . . . . . . 256 Using Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Ways to Use Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Adding Locators While Editing . . . . . . . . . . . . . . . . . . . . . . . . . 259 Moving to the Previous or Next Locator . . . . . . . . . . . . . . . . . . 260 Using Locators to Mark an Area. . . . . . . . . . . . . . . . . . . . . . . . 260 Deleting Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260 Using the Locators Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 Viewing and Navigating in the Locators Window . . . . . . . . . . . 262 Sorting Information in the Locators Window . . . . . . . . . . . . . . 262 Displaying Frames in the Locators Window . . . . . . . . . . . . . . . 263 Changing the Color of the Locator Icon . . . . . . . . . . . . . . . . . . 263 Accessing a Locator in a Sequence or Clip . . . . . . . . . . . . . . . 263 Printing the Contents of the Locators Window . . . . . . . . . . . . . 264 Deleting Locators by Using the Locators Window . . . . . . . . . . 264 Displaying Information in the Locators Window . . . . . . . . . . . . 265 14 Finding Frames and Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 Using Frame Offset Timecode to Cue a Frame . . . . . . . . . . . . . . . 266 Using Timecode to Find a Frame. . . . . . . . . . . . . . . . . . . . . . . . . . 266 Searching for a Clip or Sequence . . . . . . . . . . . . . . . . . . . . . . . . . 267 Using Match Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 Performing a Reverse Match Frame . . . . . . . . . . . . . . . . . . . . . . . 269 Selecting Tracks for Matching Frames . . . . . . . . . . . . . . . . . . . . . 270 Using Match Frame to Locate the Source Clips of Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 Finding a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 Locating a Master Clip from a Subclip in a Sequence . . . . . . . . . . 272 Chapter 8 First Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 Starting a New Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 Changing the Sequence Info . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 Changing the Start Timecode for Sequences . . . . . . . . . . . . . . . . 276 Setting Up Tracks for the New Sequence . . . . . . . . . . . . . . . . . . . 276 Deleting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 Adding Filler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 MetaSync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 Making the First Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 Beginning to Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 Creating an Instant Rough Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 Undoing or Redoing Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 Monitoring Audio While Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 Editing Additional Clips into the Sequence. . . . . . . . . . . . . . . . . . . . . . 284 Performing a Splice-in Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 Performing an Overwrite Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285 Performing a Replace Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286 Lifting, Extracting, and Copying Material . . . . . . . . . . . . . . . . . . . . . . . 286 Lifting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 Extracting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 Copying Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288 15 Using the Clipboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 Placing a Sequence into the Clipboard . . . . . . . . . . . . . . . . . . 289 Recovering Material from the Clipboard. . . . . . . . . . . . . . . . . . 289 Playing the New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290 Playing a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290 Starting a Playback Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290 Improving Playback Performance. . . . . . . . . . . . . . . . . . . . . . . . . . 291 Proceeding with Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292 Chapter 9 Using the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 Customizing Timeline Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 Accessing the Timeline Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . 294 Using the Timeline Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 Additional Procedures for Customizing the Timeline . . . . . . . . . . . 296 Enlarging and Reducing Tracks . . . . . . . . . . . . . . . . . . . . . . . . 297 Changing the Timeline Track Color . . . . . . . . . . . . . . . . . . . . . 297 Assigning Local Colors to Clips in the Timeline . . . . . . . . . . . . . . . 298 Displaying Local and Source Colors in the Timeline . . . . . . . . . . . 298 Displaying Source Colors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 Displaying Local Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Saving a Custom Timeline View . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Replacing a Timeline View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Restoring the Default Timeline View. . . . . . . . . . . . . . . . . . . . . . . . 300 Navigating in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 Using the Position Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 Using the Timeline Scroll Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 Displaying Detail in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . 301 Zooming In and Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 Focusing the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 Displaying Source Material in the Timeline. . . . . . . . . . . . . . . . . . . 303 Controlling Movement in the Timeline . . . . . . . . . . . . . . . . . . . . . . 304 Viewing Video Quality. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 16 Selecting and Deselecting Segments . . . . . . . . . . . . . . . . . . . . . . 305 Selecting Segments with the Segment Mode Pointer . . . . . . . 305 Selecting One or More Segments by Lassoing . . . . . . . . . . . . 306 Deselecting Segments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 Finding Black Holes and Flash Frames . . . . . . . . . . . . . . . . . . . . . 307 Editing in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 Segment Mode Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310 Maintaining Sync in Segment Mode . . . . . . . . . . . . . . . . . . . . 310 Extracting/Splicing-in Segments . . . . . . . . . . . . . . . . . . . . . . . 311 Lifting/Overwriting Segments. . . . . . . . . . . . . . . . . . . . . . . . . . 312 Deleting Segments with Segment Mode . . . . . . . . . . . . . . . . . 313 Bin Editing into the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314 Bin Editing Directly into a Sequence . . . . . . . . . . . . . . . . . . . . . . . 315 Using the Top and Tail Commands . . . . . . . . . . . . . . . . . . . . . . . . 315 Setting the Duration for Filler at the Start of a Sequence . . . . . . . 316 Cutting, Copying, and Pasting in the Timeline . . . . . . . . . . . . . . . . 317 Effects Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 Nesting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 Using the Track Selector Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 Selecting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319 Monitoring Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319 Monitoring Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320 Monitoring Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320 Monitoring a Solo Track. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322 Cycling Through a Selection of Tracks . . . . . . . . . . . . . . . . . . . . . 322 Performing an Alternate Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323 Locking Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 Patching Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 Sync Locking Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 Deleting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 Adding an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 Removing Match-Frame Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329 Backtiming Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330 Printing the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 17 Chapter 10 Working in Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 Customizing Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 Using Basic Trim Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 Entering Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 Exiting Trim Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 Selecting Trim Sides. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336 Selecting Additional Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . 336 Performing a Basic Trim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337 Trimming with the J-K-L Keys. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338 Trimming On-the-Fly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339 Trimming During a Playback Loop . . . . . . . . . . . . . . . . . . . . . . . . . 339 Trimming Video Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340 Slipping or Sliding Clips or Segments. . . . . . . . . . . . . . . . . . . . . . . 341 Selecting Segments for Slip or Slide Trimming . . . . . . . . . . . . 341 Slipping or Sliding Segments in a Four-Frame Display . . . . . . 342 Performing the Slip or Slide Trim . . . . . . . . . . . . . . . . . . . . . . . 343 Reviewing the Trim Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344 Reviewing an Edit with the Edit Review Button . . . . . . . . . . . . 344 Reviewing an Edit with the Play Loop Button. . . . . . . . . . . . . . 344 Creating Overlap Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345 Extending an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346 Maintaining Sync While Trimming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346 Adding Black While Trimming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347 Trimming with Sync-Locked Tracks . . . . . . . . . . . . . . . . . . . . . . . . 348 Chapter 11 Working with Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 Audio Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352 Accessing Audio Effect Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353 Audio Editing Aids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 Soloing Audio Tracks in the Timeline . . . . . . . . . . . . . . . . . . . . . . . 354 Using Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 Smooth Scrub Versus Digital Scrub. . . . . . . . . . . . . . . . . . . . . 355 Selecting Tracks for Scrubbing . . . . . . . . . . . . . . . . . . . . . . . . 355 Performing Smooth Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . 356 18 Using Digital Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357 Adjusting Digital Scrub Parameters. . . . . . . . . . . . . . . . . . . . . 357 Performing the Digital Scrub Procedure . . . . . . . . . . . . . . . . . 358 Adjusting Default Pan Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 359 Dealing with Low Latency Audio in Your Sequence . . . . . . . . . . . 360 Adjusting for Audio Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . 360 Displaying Waveform Plots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362 Adjusting Volume Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364 Using the Audio Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 Resizing the Audio Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366 Adjusting One Audio Track at a Time . . . . . . . . . . . . . . . . . . . . . . 367 Changing an Audio Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369 Adjusting Pan Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369 Applying Pan Value Adjustments . . . . . . . . . . . . . . . . . . . . . . 370 Ganging and Adjusting Multiple Tracks . . . . . . . . . . . . . . . . . . . . . 371 Rendering an Audio Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 Modifying Pan Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372 Creating or Modifying an Audio Pan/Vol Effect . . . . . . . . . . . . 372 Modifying How the System Interprets Pan . . . . . . . . . . . . . . . 372 Bypassing Existing Volume Settings . . . . . . . . . . . . . . . . . . . . . . . 373 Adjusting Volume While Playing an Audio Mix Effect . . . . . . . . . . 373 Limitations on Adjusting Volume . . . . . . . . . . . . . . . . . . . . . . . 374 Improving Response Time. . . . . . . . . . . . . . . . . . . . . . . . . . . . 375 Using Audio Gain Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375 Automation Gain Values and System Clip Gain Values . . . . . . . . 376 Adjusting Volume in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . 377 Deleting Audio Gain Keyframes in the Timeline . . . . . . . . . . . 379 Moving Audio Gain Keyframes in the Timeline . . . . . . . . . . . . 379 Using an External Fader or Mixer to Adjust Volume . . . . . . . . . . . 380 Adjusting the Volume of Individual Keyframes. . . . . . . . . . . . . . . . 381 The Automation Gain Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382 Track Solo Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384 Position Indicator Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385 Selecting Tracks in the Automation Gain Tool . . . . . . . . . . . . 386 Automation Gain Tool Fast Menu . . . . . . . . . . . . . . . . . . . . . . 387 19 Recording Automation Gain Information. . . . . . . . . . . . . . . . . . . . . 388 Using the Automation Gain Tool Sliders . . . . . . . . . . . . . . . . . 389 Using a Keyboard Shortcut . . . . . . . . . . . . . . . . . . . . . . . . . . . 390 Using an External Fader Controller or Mixer . . . . . . . . . . . . . . 391 Using the Audio EQ Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392 Audio EQ Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394 Basic EQ Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394 EQ-Specific Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395 Applying Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397 Saving Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400 Removing Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401 Audio EQ Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401 Low Shelf Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401 Small Octave Range Example . . . . . . . . . . . . . . . . . . . . . . . . . 402 Using Audio EQ Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403 Applying an EQ Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403 Creating Your Own Templates. . . . . . . . . . . . . . . . . . . . . . . . . 404 Adding an EQ Template to the Fast Menu. . . . . . . . . . . . . . . . 405 Adjusting EQ While Playing an Audio Effect. . . . . . . . . . . . . . . . . . 406 Digidesign AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407 Installing AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407 Using Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . 408 Applying an AudioSuite Plug-in to a Clip in the Timeline . . . . . . . . 409 Using a Plug-in Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410 AudioSuite Plug-in Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . 411 Rendering Plug-in Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411 Creating New Master Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412 AudioSuite Controls for Creating New Master Clips . . . . . . . . 412 Mono, Stereo, and Multichannel Processing . . . . . . . . . . . . . . 415 Creating New Master Clips by Using Plug-Ins . . . . . . . . . . . . . 416 Using AudioSuite Effect Templates . . . . . . . . . . . . . . . . . . . . . 417 Plug-in Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419 Troubleshooting AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . 419 Canceling a Render Operation. . . . . . . . . . . . . . . . . . . . . . . . . 419 Addressing Errors When Rendering a Plug-in Effect . . . . . . . . 419 20 Recording Voice-Over Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420 Creating the Voice-Over with the Capture Tool . . . . . . . . . . . . . . . 421 Creating the Voice-Over with the Audio Punch-In Tool . . . . . . . . . 423 Scenarios for Using the Audio Punch-In Tool . . . . . . . . . . . . . 426 Using the MCS3 with the Audio Punch-In Tool . . . . . . . . . . . . . . . 426 Using a GPI Device with the Audio Punch-In Tool. . . . . . . . . . . . . 427 Understanding GPI Trigger Signals . . . . . . . . . . . . . . . . . . . . . . . . 428 GPI Signal Sequence When Using the Audio Punch-In Tool Without Preroll or Postroll. . . . . . . . . . . . . . . . . . . . . . . 429 GPI Signal Sequence When Using the Audio Punch-In Tool with Preroll and Postroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429 Example of Linking GPI Actions to Trigger Signals . . . . . . . . . 429 Voice-Over Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430 Monitoring the Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430 Monitoring Previously Recorded Tracks While Recording a Voice-Over Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431 Using Automatic Voice-Over . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431 Fine-Tuning Audio Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433 Fading and Dipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434 Fading Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434 Dipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437 Mixing Down Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438 Changing the Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439 Identifying the Sample Rate by Color . . . . . . . . . . . . . . . . . . . . . . . . . . 440 Chapter 12 Syncing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443 Autosyncing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443 Managing Sync Breaks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 Editing to Avoid Sync Breaks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446 Fixing Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446 Fixing Sync in Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447 Fixing Sync in Segment Mode. . . . . . . . . . . . . . . . . . . . . . . . . 447 21 Managing Sync with Multiple Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . 448 Using Sync Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448 Syncing with Tail Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449 Syncing with Locators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450 Using Add Edit When Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . 452 Chapter 13 MultiCamera Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453 Understanding Grouping and Multigrouping Clips . . . . . . . . . . . . . . . . 453 Creating Group Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454 Creating Multigroup Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456 MultiCamera Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457 Full-Monitor Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 Quad Split Source View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459 Nine Split Source View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460 MultiCamera Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461 MultiCamera Editing Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . 463 Switching Clips with the Arrow Keys. . . . . . . . . . . . . . . . . . . . . . . . 464 Using the Add Edit Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464 Using the Group Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465 Using the Multi-angle View Menus . . . . . . . . . . . . . . . . . . . . . . . . . 466 Using Match Frame in MultiCamera Editing . . . . . . . . . . . . . . . . . . 467 MultiCamera Workflow and Selective Camera Cutting . . . . . . . . . . . . . 468 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469 22 Tables Table 1 Project Types for Avid Systems. . . . . . . . . . . . . . . . . . . . .48 Table 2 Customizable Interface Components. . . . . . . . . . . . . . . . .84 Table 3 Settings Menu Options . . . . . . . . . . . . . . . . . . . . . . . . . . .92 Table 4 Settings Scroll List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94 Table 5 Navigation Keys. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112 Table 6 Object Icon Descriptions . . . . . . . . . . . . . . . . . . . . . . . . .144 Table 7 Font and Point Size Options . . . . . . . . . . . . . . . . . . . . . .148 Table 8 Direct Modification Headings . . . . . . . . . . . . . . . . . . . . . .168 Table 9 Modify Command Options . . . . . . . . . . . . . . . . . . . . . . . .169 Table 10 Timecode Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174 Table 11 Timecode Frame Counts for Record . . . . . . . . . . . . . . . .175 Table 12 Bin Column Selection . . . . . . . . . . . . . . . . . . . . . . . . . . .176 Table 13 Consolidate/Transcode Options . . . . . . . . . . . . . . . . . . .207 Table 14 Consolidate-Only Options . . . . . . . . . . . . . . . . . . . . . . . .207 Table 15 Transcode-Only Options . . . . . . . . . . . . . . . . . . . . . . . . .209 Table 16 Archive to Videotape Options . . . . . . . . . . . . . . . . . . . . .220 Table 17 Tracking Format Options . . . . . . . . . . . . . . . . . . . . . . . . .228 Table 18 Timecode Display Options . . . . . . . . . . . . . . . . . . . . . . . .231 Table 19 Timeline Fast Menu Options . . . . . . . . . . . . . . . . . . . . . .295 Table 20 Key Functions in Slip or Slide Trim . . . . . . . . . . . . . . . . .343 Table 21 Number of Tracks and Scrub Speeds . . . . . . . . . . . . . . .355 23 24 Using This Guide Avid® NewsCutter® systems help editors, journalists, Web authors, and other professionals create broadcast-quality output. Users can incorporate production elements from full-speed, high-resolution footage, to multimedia artwork and animation, to computer-generated effects and titling. n The documentation describes the features and hardware of all NewsCutter models. Therefore, your system might not contain certain features and hardware that are covered in the documentation. Who Should Use This Guide This guide is intended for all NewsCutter products users, from beginning to advanced. You should be familiar with your Microsoft® Windows® XP operating system, and with recording and producing news broadcasts. About This Guide This guide is designed to consolidate all the information you will need to take advantage of the many options that your Avid editing system offers. This guide will lead you through even the most complex procedures with task-oriented instructions. The Contents lists all topics included in the book. They are presented with the following overall structure: • Chapter 1, “Desktop Basics,” describes the basic structure of files and folders used by the Avid editing system. Using This Guide • The main body of this guide follows the natural flow of your work, with clear and comprehensive step-by-step procedures. • Finally, a detailed Index helps you quickly locate specific topics. Symbols and Conventions Unless noted otherwise, the material in this document applies to the Windows XP operating system. Avid documentation uses the following symbols and conventions: Symbol or Convention Meaning or Action 26 n A note provides important related information, reminders, recommendations, and strong suggestions. c A caution means that a specific action you take could cause harm to your computer or cause you to lose data. w A warning describes an action that could cause you physical harm. Follow the guidelines in this document or on the unit itself when handling electrical equipment. > This symbol indicates menu commands (and subcommands) in the order you select them. For example, File > Import means to open the File menu and then select the Import command. t This symbol indicates a single-step procedure. Multiple arrows in a list indicate that you perform one of the actions listed. k This symbol represents the Apple or Command key. Press and hold the Command key and another key to perform a keyboard shortcut. If You Need Help Symbol or Convention Meaning or Action Margin tips In the margin, you will find tips that help you perform tasks more easily and efficiently. Italic font Italic font is used to emphasize certain words and to indicate variables. Courier Bold font Courier Bold font identifies text that you type. Click Quickly click and release the left mouse button (Windows) or the mouse button (Macintosh). Double-click Click the left mouse button (Windows) or the mouse button (Macintosh) twice rapidly. Right-click Quickly click and release the right mouse button (Windows only). Drag Click and hold the left mouse button (Windows) or the mouse button (Macintosh) while you move the mouse. Ctrl+key k+key Press and hold the first key while you press the second key. If You Need Help If you are having trouble using your Avid application, you should: 1. Retry the action, carefully following the instructions given for that task in this guide. It is especially important to check each step of your workflow. 2. Check for the latest information that might have become available after the documentation was published in one of two locations: - If release notes are available, they ship with your application. - If ReadMe files are available, they are supplied in your Avid application folder. ReadMe files are also available from Help. 27 Using This Guide n Release notes and ReadMe files are also available on the Avid Knowledge Center. 3. Check the documentation that came with your Avid application or your hardware for maintenance or hardware-related issues. 4. Visit the online Knowledge Center at www.avid.com/support. Online services are available 24 hours per day, 7 days per week. Search this online Knowledge Center to find answers, to view error messages, to access troubleshooting tips, to download updates, and to read/join online message-board discussions. 5. For Technical Support, please call 800-800-AVID (800-800-2843). For Broadcast On-Air Sites and Call Letter Stations, call 800-NEWSDNG (800-639-7364). Accessing the Online Library The Avid NewsCutter Products Online Library CD-ROM contains all the product documentation in PDF format. You can access the library from the Online Library CD-ROM or from the Help menu. n You will need Adobe® Acrobat® Reader® installed to view the documentation online. The Acrobat folder on your CD-ROM contains an installer for Acrobat Reader. The effects reference guide requires Apple’s QuickTime® application to view the QuickTime movies. You can download the latest version of QuickTime from the Apple® Web site. To access the online library from the Online Library CD-ROM: 1. Insert the Avid NewsCutter Products Online Library CD-ROM into the CD drive. 2. Double-click the Mainmenu file. To access the online library from the Help: 1. Insert the Avid NewsCutter Products Online Library CD-ROM into the CD drive. 2. In your Avid application, select Help > Online Library. 28 If You Have Documentation Comments n For the latest product information, see the Avid Knowledge Center: www.avid.com/support If You Have Documentation Comments We’d appreciate any comments or suggestions you may have about this document or any other piece of documentation. Please restrict your comments to documentation issues. Please e-mail your documentation comments to: [email protected] Include the title of the document, its part number, and the specific section you are commenting on in all correspondence. How to Order Documentation To order additional copies of this documentation from within the United States, call Avid Sales at 800-949-AVID (800-949-2843). If you are placing an order from outside the United States, contact your local Avid representative. Avid Educational Services For information on courses/schedules, training centers, certifications, courseware, and books, please visit www.avid.com/training or call Avid Sales at 800-949-AVID (800-949-2843). 29 Using This Guide 30 Chapter 1 Desktop Basics Although most of your work is performed within the Avid application, you need to use a few basic desktop procedures. The following sections describe basic procedures involving the Windows operating system and the Avid folders: n • Working with the Desktop • Using the Avid Application Folder • Managing the Avid Projects and Avid Users Folders • Starting the Avid Application • Accepting Your Avid License Electronically This chapter refers to the default installation directory path for the various Avid folders. If you choose a different directory path during the installation, you must substitute that path when using this chapter. Chapter 1 Desktop Basics Working with the Desktop For information on the Windows operating system, such as the desktop and icons, see your Microsoft Windows Help. This section describes the following desktop features that you will use when working with your Avid application: • Creating an Emergency Repair Disk • Using Shortcut Menus • Using the Windows Taskbar • Dragging Windows • Setting Your Screen Resolution Creating an Emergency Repair Disk You or your system administrator needs to create a Windows emergency repair disk (ERD) to rebuild your system configuration if it becomes damaged. You need to update the ERD any time you make a system change, like installing new software. For information on creating an ERD for your system, see the Windows documentation (such as Microsoft Windows Help). Using Shortcut Menus Instead of using the standard menus to find the command you need in a window, try using the shortcut menus. To use a shortcut menu, do one of the following: 32 t Right-click in a window to access a shortcut menu that shows the most frequently used commands for that window. For a list of the available shortcuts, see “Shortcuts” in the Help. t Right-click a screen object to access What’s This? Help for the object. Working with the Desktop Using the Windows Taskbar By default, the Microsoft Windows taskbar always appears on the bottom of your screen, on top of your application. You have two other choices: n • Keeping the taskbar hidden behind the application • Setting the taskbar to appear only when you drag the mouse pointer to it If you keep the taskbar hidden while running your Avid application and you minimize an additional application such as Help, you will not see the minimized icon. To see the taskbar and minimized icons, minimize the Avid application. To change the taskbar settings: 1. Right-click an unused part of the taskbar, and select Properties. The Taskbar Properties dialog box opens. 2. Click the Taskbar Options tab. 3. Select the options you want: t To keep the taskbar hidden, deselect Always on top and Auto hide. t To set the taskbar to appear when you want, select Always on top and Auto hide. 4. Click OK. n The taskbar can to be dragged to the top, bottom, or either side of the monitor. For more information, see the Windows Help. Dragging Windows By default, Windows systems show the contents of windows when you drag them. Deselect this option to improve screen display and to avoid problems repainting the screen. 33 Chapter 1 Desktop Basics To deselect the option “Show window contents while dragging”: 1. Click the Start button, point to Settings, and then select Control Panel. 2. Double-click Display. 3. In the Display Properties dialog box, click the Effects tab. 4. Deselect “Show window contents while dragging.” 5. Click OK. n For a shortcut to the Display Properties dialog box, right-click an empty part of the desktop, and select Properties. Setting Your Screen Resolution Avid applications work best with the following screen resolutions: • 1024 x 768 pixels • 1152 x 864 pixels • 1280 x 1024 pixels One Monitor Two Monitors 1024 x 768 pixels 2048 x 768 pixels 1152 x 864 pixels 2304 x 864 pixels 1280 x 1024 pixels 2560 x 1024 pixels A larger resolution displays more pixels and lets you view more objects in the monitors. The objects will appear smaller. To view or change the screen resolution: 1. Click the Start button, point to Settings, and then select Control Panel. 2. Double-click Display. 3. In the Display Properties dialog box, click the Settings tab. 34 Using the Avid Application Folder 4. Under Screen area, drag the slider to the resolution you want. 5. Click OK. n Also in the Settings tab, make sure the Color Palette is set to True Color. n For a shortcut to the Display Properties dialog box, right-click an empty part of the desktop, and select Properties. Using the Avid Application Folder The Avid application folder contains essential operational files and supporting files. You can find it in one of the following locations: drive:\Program Files\Avid\Avid NewsCutter XP drive:\Program Files\Avid\NewsCutter Adrenaline FX You should not touch any of these files, except where noted in the following descriptions: • Help folder: This folder contains the Help files. You can find information about Help in “Using Help” on page 57. • Avid application folder: The application icon resides here. You can start the application by following the procedures described in “Starting the Avid Application” on page 38. • Settings: In addition to Project and User settings, the system maintains two settings files in this folder that apply to all users and all projects on the system. You can copy or move the Site Settings file to other systems on the desktop, using the same procedure described in “Moving Settings Between Systems” on page 101. • SupportingFiles: A series of files located in the SupportingFiles folder that add functionality to the application. The system accesses most of these files from within the application. You can also add thirdparty effects to the AVX_Plug-Ins folder from programs such as Avid Visual Extensions (AVX™) for use in effects editing, as described in the Avid Products Effects Guide. 35 Chapter 1 Desktop Basics Managing the Avid Projects and Avid Users Folders Managing projects, user profiles, and settings involves moving, copying, or deleting files and folders, and changing project or user names. You use the desktop to move projects and user profiles between systems. Creating Avid Projects and Avid Users Folders When you create a new project or user profile, the system creates the following files and folders: • When you create a new user, the system creates three items: a user profile file, a User Settings file, and a user folder containing both. Each item is given the user name you provide. The new folder is stored in the Avid Users folder on the internal hard drive. • When you create a new project, the system creates three items: a project file, a Project Settings file, and a project folder containing both. Each item is given the project name you provide. This new folder is stored in the Avid Projects folder on the internal hard drive. Avid Projects and Avid Users folders allow you to move entire projects or selected Project and User settings between systems by copying and moving files on your desktop. Changing Project and User Names You cannot change project or user names from within the Avid application. You must change the name from your desktop before starting the application. To change a project or user name: 1. Double-click the internal hard drive to open it. 2. Double-click the Avid Users or the Avid Projects folder to open it. 3. Click the name of the folder you want to change. The name is highlighted for text entry, and the arrow changes to an I-beam. 36 Managing the Avid Projects and Avid Users Folders 4. Type the new name of the folder. n When you change a user name or project name, make sure you change the name of the folder and all the files in the folder that have the old name. The system does not automatically change the names of corresponding files in the folder. 5. Close the windows, and restart the application. Deleting Projects and User Profiles You cannot delete projects and user profiles from within the Avid application. You must make the change from your desktop before starting the application. The Avid Users and Avid Projects folders are located in one of the following locations: drive:\Program Files\Avid\Avid NewsCutter XP drive:\Program Files\Avid\NewsCutter Adrenaline FX To delete a project or user profile: c Deleting a project also deletes any bins that are in that project. 1. Double-click the internal hard drive to open it. 2. Double-click the Avid Users or the Avid Projects folder to open it. 3. Drag the project or user folder you want to delete to the Recycle Bin. 4. (Option) Empty the Recycle Bin to remove the files from the system. 5. Close the windows, and restart the application. n Recorded media related to a deleted project is not eliminated with the project folder. For more information on deleting media files, see “Deleting Clips and Sequences” on page 151 and “Deleting Media Files with the Media Tool” on page 201. 37 Chapter 1 Desktop Basics Starting the Avid Application The NewsCutter application is located in one of the following locations: drive:\Program Files\Avid\Avid NewsCutter XP drive:\Program Files\Avid\NewsCutter Adrenaline FX For most users, the desktop is a more convenient location for starting the application. To create a shortcut on the desktop: t See the Windows documentation. To start the NewsCutter application: 1. Click the Start button. 2. Point to Programs. 3. Point to the Avid folder. 4. Select the NewsCutter application. After a few moments, the Select User and Project dialog box opens. n 38 When you first install the application, a license agreement appears before the Select User and Project dialog box. See “Accepting Your Avid License Electronically” on page 39. Accepting Your Avid License Electronically Accepting Your Avid License Electronically The Avid license agreement appears the first few times you start the application. To accept your Avid license electronically: 1. Read the License Agreement, and then click Accept or Decline at the bottom of the screen. After the agreement appears a few times, a new button appears at the bottom of the screen. 2. If you do not want to see the license agreement again, click Accept and Don’t Show Again. A dialog box opens. 3. Type the name of your organization in the dialog box, and click OK. The Select User and Project dialog box opens, and you can begin working. 39 Chapter 1 Desktop Basics 40 Chapter 2 Starting a Project Your work begins when you turn on the system, start the application, and open an existing project or create a new project. This chapter describes these and other procedures for starting a project. You can use several techniques to safeguard and restore your work if necessary. These topics are covered in the following sections: • Opening and Closing a Project • Backing Up Your Project Information • Ending an Edit Session • Mounting and Ejecting Drives • Using Help For information on the Windows operating system and terminology, see the Windows Help. n This chapter refers to the default installation directory path for the various Avid folders. If you chose a different directory path during the installation, you must substitute that path when using this chapter. Chapter 2 Starting a Project Opening and Closing a Project When you start your Avid application, the Select Project dialog box opens. The name you used to log in is selected as the user. Login name You can change users. You can select projects from the Select Project dialog box, or you can choose to have your last project open automatically. You can also establish user profiles. Changing Users To change users: 1. Quit the Avid application. 2. Select Start > Log Off, and then log in as a different user. 3. Start the Avid application. Your current login name appears as the User in the Select Project dialog box. You can select projects from the Select Project dialog box, or you can choose to have your last project open automatically. 42 Opening and Closing a Project Selecting a Project You can select a project from a private folder accessible only to you, from a public, shared folder, or from a folder external to the Avid Projects folder. You can also create a new project in these areas.The location of the private, shared, or external folder is displayed in the Folder text box in the Select Project dialog box. Selecting a Private Project To select a private project: 1. Start the Avid application. The Select Project dialog box opens. Login name Private folder location Private option selected 2. Select Private in the Select a Project area. Your private projects appear. n You cannot type into the User or Folder text boxes. 43 Chapter 2 Starting a Project 3. Select a project, and then click OK. The Project window, the Source/Record monitor, and the Timeline open with the selected User settings loaded. Selecting a Shared Project To select a shared project: 1. Start the Avid application. The Select Project dialog box opens. Shared folder Location Shared option selected 2. Select Shared in the Select a Project area. n You cannot type into the User or Folder text boxes. 3. Select a project, and then click OK. The Project window, the Source/Record monitor, and the Timeline open with the selected User settings loaded. 44 Opening and Closing a Project Selecting an External Project You can select a project that is external to the Avid Projects folder. To select an external project: 1. Start the Avid application. The Select Project dialog box opens. External option selected 2. In the Select Project dialog box, select External. 3. Click the Browse button. The Browse for Folder dialog box opens. 4. Navigate to the folder that contains the project you want. 5. Click OK. 45 Chapter 2 Starting a Project Browsing for a Project To browse for a project in a location other than the default Shared and Private folders: 1. Start the Avid application. The Select Project dialog box opens. Browse button 2. Click the Browse button. The Browse for Folder opens. 3. Navigate to the folder that contains the project you want. 4. Click OK. 46 Opening and Closing a Project Creating a New Project To create a new project: 1. Start the Avid application. The Select Project dialog box opens. 2. Select the Private, the Shared, or the External option in the Select a Project area. 3. Click New Project. The New Project dialog box opens. 4. Type a project name. 5. Click the Format pop-up menu, and select a project type based on your source footage (NTSC or PAL) and your Avid system model: - If your Avid system does not include support for 24p projects or 25p projects, make a selection based on the source footage: NTSC or PAL. - If your Avid system includes support for 24p projects or 25p projects, make a selection based on the source footage or the type of film-to-tape transfer with which you are working. For more information, see “Film-to-Tape Transfer Guidelines” in the Help. Table 1 lists the format options available with Avid systems that include support for 24p projects and 25p projects. The format options for your system might not include all items listed here. n References to 24p projects include 23.976p projects unless otherwise noted. 47 Chapter 2 Starting a Project Table 1 Project Types for Avid Systems Project Type Source Footage Transfer 23.976p NTSC For film-originated or video-originated footage that has been shot at 23.976 fps or film-originated footage transferred on digital videotape (such as Digital Betacam®) 24p NTSC For film-originated or other 24-fps footage transferred to NTSC videotape 30i NTSC For NTSC video-originated or other 30-fps footage transferred to NTSC videotape 24p PAL For film-originated or other 24-fps footage transferred to PAL videotape at 25 fps 25p PAL For 25-fps film footage transferred to PAL videotape 25i PAL For PAL video-originated footage (25 fps) 6. Select the following types of projects: - For 24p projects and 25p projects, click the Film Type pop-up menu, and select a film gauge tracking format. - For 23.976p projects, if you are creating a project with video sources (such as 1080p/24 HD recorded at 23.976 fps), ignore the Film Type pop-up menu. 7. Click OK. The system creates the new project files and folder, and then returns to the Select Project dialog box. The project name is highlighted in the Projects scroll list. You are now ready to open the project. See “Opening a Project” on page 50. 48 Opening and Closing a Project Setting Film Preferences Set film preferences in the Film Settings dialog box immediately after you create a project to provide the system with important information about the type of film and audio transfer you used for your job. For information about the settings for capturing in a film project, and for information on setting the play rate for Timeline play and setting the format and display of ink numbers, see “Film and 24p Settings” in the Help. Opening a Project Automatically If you have already created a project, when you enter the Avid application, you can bypass the Select Project dialog box and have your last project open automatically. n You can automatically open only projects created in the standard shared or private areas. See “Selecting a Project” on page 43. To open a project automatically: 1. Double-click Interface in the Settings tab in the Project window. The Interface Settings dialog box opens. 2. Click the General tab, and then select Automatically Launch Last Project at Startup, and then click OK. The next time you start the Avid application, it opens your last project. To select another project: 1. Deselect Automatically Launch Last Project at Startup, and then click OK. 2. Quit the application and restart it. The Select Project dialog box opens. 49 Chapter 2 Starting a Project 3. Select a project and click OK. The Project window, the Source/Record monitor, and the Timeline open with the selected User settings loaded. Opening a Project To open a project, do one of the following: t Select a project in the Select Project dialog box, and then click OK. t Double-click a project name in the Projects scroll list. The Project window, the Source/Record monitor, and the Timeline open with the selected User settings loaded. The title bar of the Project window contains the project name and user name you selected in the Select Project dialog box. Project name User name Close button Using User Profiles You can establish different profiles for a single user without having to log out of your system and log back in under a different name (see “Changing Users” on page 42). You might want separate editing functions to have separate settings; for example. User 1 can have separate profiles for “Audio editor, “Assistant 1,” “Assistant 2,” and so on. These profiles have separate folders and settings that kept are in the following folder: drive:\Program Files\Avid\Avid application\Avid Users\UserName You can also import a user or user profile from another location. 50 Opening and Closing a Project Creating a User Profile To create a user profile: 1. Click the Settings tab in the Project window. 2. Click the User Profile Selection pop-up menu, and select Create User Profile. User Profile Selection pop-up menu 3. Type a name in the Profile Name text box, and then click OK. The new user profile appears selected in the pop-up menu, and the user profile name appears in the Project window title bar. Importing a User Profile To import user settings from another user or user profile: 1. Click the Settings tab in the Project window. 2. Click the User Profile Selection pop-up menu, and select Import User or User Profile. 3. Navigate to the user or user profile you want to import. Changing User Profiles To change user profiles: 1. Click the Settings tab in the Project window. 2. Click the User Profile Selection pop-up menu, and select another user profile. 51 Chapter 2 Starting a Project To return to the default user profile: 1. Click the Settings tab in the Project window. 2. Click the User Profile Selection pop-up menu, and select Default User Profile. n n When you select Default User Profile, your login name appears in the Project window title bar. When you select another user profile, the user profile name appears in the Project window title bar. If you are using a user profile other than the default and you change to another project, the default user settings are loaded, even though the Project window still displays your non-default user profile name. You must reselect the user profile you want to have active. Closing a Project When you close the current project, you return to the Select Project dialog box. To close the current project, do one of the following: 52 t With the Project window active, select File > Close. t Click the Close button in the Project window. Backing Up Your Project Information Backing Up Your Project Information For information on using the Auto-save feature, see “Saving Bins Automatically” on page 71. Although the Avid editing application automatically saves your bins, projects, and settings, you should back up these items frequently to avoid losing any of your work in case your hard drive fails. Because the storage requirements are minimal, you can back up your project folders, user folders, and settings files easily to a variety of storage devices, including: • Floppy disk • Network storage device (such as a file server) • Mass-storage device For information on saving your files to other storage devices or media, see the documentation for your operating system. Restoring from a Backup To restore a project, user profile, or settings from a backup storage device: 1. Browse to the storage device or insert a floppy disk that contains the backup copies you want to restore. 2. Double-click the icon for the storage device or floppy disk to open it. 3. Double-click the internal hard drive icon where your application is installed to open it. 4. Drag the backup copies from the storage device or floppy disk to the appropriate folder on the internal hard drive: - Project folders and settings files go in the Avid Projects folder. - User folders and settings files go in the Avid Users folder. - Site settings files go in the Settings folder. When you start the Avid application, the restored project and user profile appear in the Select User and Project dialog box. See “Starting the Avid Application” on page 38. 53 Chapter 2 Starting a Project Ending an Edit Session To end the session, you must first quit the application, and then turn off your equipment in the order described in this section. Quitting the Application There are two ways to quit the Avid editing application, depending upon whether you are between projects or you have a project open. To quit the application if you are between projects: 1. Click Quit in the Select Project dialog box. A message box opens. 2. Do one of the following: t Click Leave to quit the application. t Click Cancel to return to the Select Project dialog box, and select another project. To quit the application from an open project: 1. Click the Close button at the far right of the title bar. The Select Project dialog box opens. 2. Click Quit. 3. Click Leave. n 54 If you want to turn off your system, see “Turning Off Your Equipment” on page 55. Mounting and Ejecting Drives Turning Off Your Equipment To turn off your equipment without damaging your computer or media storage drives: c Quit the application before turning off your equipment. See “Quitting the Application” on page 54. 1. Select Start > Shut Down. The Shut Down Windows dialog box opens. 2. Click the pop-up menu, and select “Shut down the computer.” 3. Click OK. 4. If you have an Avid digital linear accelerator (DNA) attached to your system, turn it off. 5. Turn off your speakers and monitors. 6. Turn off each external drive. c Never remove drives from your Avid system when it is turned on. Move your drives only when the system is completely off. 7. Turn off all other hardware. Mounting and Ejecting Drives The Eject command makes selected media drives inaccessible to the Avid application. If the drive you eject supports the auto-eject feature (for example, Jaz® drives), the command ejects the disk from the drive. By default, all media drives connected to your system are listed. You can remove one or more drives from the list at any time by selecting File > Eject. For example, if you want to use only some of your drives for a particular project, select Eject to prevent other drives from appearing. The Eject command does not remove drives from the Windows system. 55 Chapter 2 Starting a Project c n Before you physically remove or add drives, shut down the Windows system completely. For information on removing and adding drives, see the Avid MediaDrive Utilities User's Guide. On systems with multiple media drives, ejecting unused drives can improve the performance of the Media tool. You need to eject the drives before you can open the Media tool. See “Using the Media Tool” on page 198. Ejecting Drives To eject a disk or make a drive unavailable: 1. With the Avid application active, select File > Eject. The Select a Disk or Drive to Eject dialog box opens. The scroll list displays all drives currently available. 2. Select a drive to eject. Ctrl+click to select additional drives. 3. Click Eject. The drives are no longer available. Mounting All Drives Because the system cannot interface with ejected drives individually, you cannot mount selected drives. However, you can mount all drives connected to the system, including those previously ejected. To mount all drives: t Select File > Mount All. All drives turned on and connected to the system become available. 56 Using Help Using Help You can get help and background information for tasks, windows, dialog boxes, and screen objects through your Avid Help system. Your Help system is HTML-based and operates in the Web browser Microsoft Internet Explorer. Avid recommends using Version 5 or later. To open Help from within Avid application, do one of the following: t Select Help > NewsCutter XP Help. t Select Help > NewsCutter Adrenaline FX Help. Help opens in Microsoft Internet Explorer. To find out how to use Help: t Click the Using Help button in the Help system. 57 Chapter 2 Starting a Project 58 Chapter 3 Working with the Project Window The Project window provides controls for structuring and viewing important information about your current project. You can also modify User, Project, and Site settings from the Project window and display a list of effects. These topics are described in the following sections: n • Changing, Closing, and Reopening the Project Window • Using the Bins Display • Conserving Screen Real Estate with the SuperBin • Using the Settings Scroll List • Viewing the Effect Palette • Using the Info Display • Customizing Your Workspace • Navigating in Dialog Boxes and Menus • Sharing Bins and Projects on Avid Unity MediaNetwork This chapter refers to the default installation directory path for the various Avid folders. If you chose a different directory path during the installation, you must substitute that path when using this chapter. Chapter 3 Working with the Project Window Changing, Closing, and Reopening the Project Window The Project window provides four different displays (Bins, Settings, Effects, and Info) for structuring and viewing information about your current project. The Project window provides access to the Settings scroll list for altering various User, Project, and Site settings, as well as access to the Effect Palette. Settings tab Effects tab Bins tab Info tab Use the Project window to: • Create and open bins. • View and modify settings. • Access effects. • View information about the format of the project, system memory usage, and system hardware configuration. • View information about the work session usage. • Add folders to your projects for organizing the projects. You can also add folders to your projects that allow you to organize the projects. Bins from other projects appear in the Project window in italic print. The Project window opens automatically when you select a project in the Select Project dialog box. 60 Using the Bins Display To change the Project window view: t Click one of the tabs. To close the project, do one of the following: t With the Project window active, select File > Close Project. t Click the Close button in the Project window. The Select Project dialog box opens. To reopen the Project window from within a project, do one of the following: t Select Tools > Project. t Click in the Project window. The Project window becomes active. Using the Bins Display Bins contain the master clips that are created when you capture source material. (The master clips are linked to the media files.) Bins also contain the sequences, subclips, and effect clips that you create during a project. From the Project window, you can view a list of bins associated with the project, and open, close, and create bins. You can also open bins created for another project. Viewing a List of Bins To view a list of bins associated with the project: t Click the Bins tab in the Project window. Bins tab 61 Chapter 3 Working with the Project Window The display views for working with clips in a bin are Brief view, Text view, Frame view, and Script view. For more information about working with different bin display views, see “Using Bin Display Views” on page 146. • In Brief view, clips are displayed in five standard columns. This can help you manage your screen real estate, as it efficiently provides basic information. • In Text view, clips are displayed in a database text format using columns and rows, with icons representing the various objects. You can save various arrangements of columns, text, and objects as customized views. Brief tab Text tab 62 Using the Bins Display • In Frame view, each clip is represented by a single picture frame, with the name of the clip. You can play back the footage in each frame and change the size of frames. You can also rearrange the frames in any order within the bin. Frame tab 63 Chapter 3 Working with the Project Window • Script tab 64 In Script view, the features of Text view are combined with those of Frame view, with an added script box next to each frame. The frames are displayed vertically on the left side of your screen with the script box next to each. Use the script boxes for notes or a script. Using the Bins Display Displaying Bins By default, your bins display all existing media objects except source clips and rendered effects. You can display only those media objects that you need to organize your project. To set the bin display: 1. Click in a bin. 2. Select Bin > Set Bin Display. The Set Bin Display dialog box opens. 3. Select the object types and options that you want to see. For more information about setting the bin display, see “Setting the Bin Display” on page 144. 4. Click OK. The bin displays objects according to your specifications. 65 Chapter 3 Working with the Project Window Creating a Folder in a Project To create a folder in a project: 1. Click the Bins tab in the Project window. Bins tab Fast Menu button 2. Click the Fast Menu button, and select New Folder. A new, untitled folder appears. 3. Type a name in the name text box. Creating a New Bin To create a new bin from the Project window: 1. Do one of the following: t Select File > New Bin. t Click the New Bin button in the Project window. Either one of these procedures opens a new (empty) bin that is given the name of the project as displayed in the title bar of the Project window. The new bin appears in the Bins list of the Project window with a default name highlighted and a number appended to it. A corresponding file is placed in the project folder, and a backup copy is placed in the Avid Attic folder. 2. Type the name of the new bin, and press Enter. n Bin names cannot exceed 27 characters. To place a bin in a folder: t 66 Drag the bin to the folder icon. Using the Bins Display Renaming a Bin Each new bin that you create takes the name of the project that appears in the Project window, numbered incrementally. To change the name of a bin: t n Click the bin name in the Project window, and type a new name. Bin names cannot exceed 27 characters. Opening and Closing a Bin n If you have the SuperBin enabled, see “Opening Bins in the SuperBin” on page 75. To open a bin directly: 1. Click the Bins tab in the Project window. 2. Double-click the icon next to the bin name. n If you open a bin from a previous project that has a bin name more than 27 characters in length, you are prompted to rename the bin. Bin names cannot exceed 27 characters. To open a bin from the File menu: 1. Select File > Open. The Open dialog box opens. c Never open a bin that is stored on a floppy disk; otherwise, the system will not be able to save your work. Always copy the bin to a project folder on the internal hard drive before you open it. 2. Select a bin. Navigate to the correct folder, if necessary. 3. Click Open. 67 Chapter 3 Working with the Project Window Opening Selected Bins To open several bins at once from the Project window: 1. Click the name of one of the bins in the Bins list. 2. Ctrl+click each additional bin you want to open. 3. Select File > Open Selected Bins. Closing a Bin To close a bin, do one of the following: t Select File > Close Bin. t Click the Close button. Deleting a Bin or Folder To delete a bin or folder within a project: 1. Select the bin or the folder you want to delete in the Bins list of the Project window, and do one of the following: t If the SuperBin is not enabled, press the Delete key. t If the SuperBin is enabled, right-click the bin name and select Delete Selected Bins from the shortcut menu. For more information on using the Superbin feature, see “Conserving Screen Real Estate with the SuperBin” on page 74. A Trash icon appears in the Bins list in the Project window. It contains the deleted item. The deleted item is stored in the Trash until you empty it. n c 68 The Trash is not visible in the Project window until you select your first item to delete. Only clips, subclips, and effects that are in a bin enter the Trash after you delete the bin. If you select a clip, subclip, or effect directly and press the Delete key, the item does not appear in the Trash. Using the Bins Display Viewing Contents in the Trash If you need to view the contents in the Trash or decide you do not want to delete those items in the Trash, you must first move the bins and folders out of the Trash. To view items in the Trash: 1. Click the triangular opener next to the Trash icon in the Bins list. 2. Click the bins or folders you want to remove (or view) from the Trash, and drag them from the Trash to the Bins list in the Project window. 3. Double-click the bin or folder to view it. Emptying the Trash To empty the Trash: 1. Click the Fast Menu button, and select Empty Trash. A message box opens. 2. Click Empty Trash to delete the bins or folders from the Trash and from your internal hard drive. Managing Folders and Bins You can use the Project window to create hierarchies of folders and bins that reflect the specific workflow of the current project. This structure should provide both simplicity and backup security. Although the specifics vary depending on your production needs and habits, a few basic principles can help you get started: • Limit the number of sequences you create in each project. For instance, consider creating one new project for each show, episode, spot, or scene. 69 Chapter 3 Working with the Project Window • Limit the number and complexity of clips in each bin by creating and organizing bins in three groups, as follows: - Create a set of bins for the capture stage. For example, you can create one bin for each source tape or each day’s worth of dailies transfers to be captured to avoid slowing the system with large bins and causing confusion between tapes. - Create a second set of bins for organizing your project. For example, you can create a separate bin for each segment of a video project or each scene of a project, depending upon the preferences of the editor. - Create a third set of bins for the editing stage, including: A current cut bin for storing each work in progress (sequence) An archive bin for keeping the original version of each cut (sequence) A selects or storyboard bin for screening selected clips or cuts gathered from the source bins A format cuts bin for storing the final cuts with added format elements such as segment breaks, color bars and tone, slate, or countdown 70 • (Option) Create additional folders at the desktop level for better organization. For example, you can create one folder for each capture bin and show cut bin, or a folder containing all shot logs to be imported. • Save these files as a template for future productions of a similar nature. Using the Bins Display Saving Bins Automatically The application automatically saves changes to your work on a regular basis during each session. Two things happen when an auto-save occurs: • Any open bins are updated with changes made since the last auto-save. Updated bins have an asterisk in the title bar. • Copies of these bins are placed in the following location as backup: drive:\Program Files\Avid\Avid application\Avid Attic folder To adjust the frequency of automatic saves: 1. Double-click Bin in the Settings tab in the Project window. The Bin Settings dialog box opens. 2. Type a number in the minutes text box for the Auto-Save interval. 3. Click OK. 71 Chapter 3 Working with the Project Window Saving Bins Manually For added security, you can save a bin manually. You might want to do this immediately after performing an important edit. There are three ways to save bins manually. To save a specific bin: 1. Click the bin to activate it. 2. Select File > Save Bin. To save selected bins: 1. Activate the Project window by selecting Tools > Project or by clicking anywhere in the window. 2. Click a Bin icon to select it. Ctrl+click any additional bins. 3. Select File > Save All. The system saves all the selected bins. n The Save Bin command appears dimmed if there have been no changes since the last time the active bin was saved. To save all the bins: 1. Click in the Project window to activate it but do not select any individual bins in the Bins list. 2. Select File > Save All. The system saves all the bins for the project. Retrieving Bin Files from the Avid Attic Folder You retrieve files from the Avid Attic folder in the following circumstances: 72 • When you want to replace current changes to a sequence or clip with a previous version • When the current bin file becomes corrupted Using the Bins Display The Avid Attic folder contains a folder for each project. When a bin is saved, a copy of the bin file is stored in the project folder in the Avid Attic folder. The system adds the file name extension .bak plus a version number to the bin name. The bin file with the highest version number represents the latest copy of the bin file. When you view a project folder in Details view, you can also identify the most recent backup file based on the name and timestamp of creation displayed in the Modified column. To retrieve a file from the Avid Attic folder: 1. Minimize the application window. 2. From the desktop, double-click the Avid Attic folder in the following location: drive:\Program Files\Avid\Avid application The Avid Attic folder opens and displays project folders that contain the backup files. 3. Double-click the project folder that contains the files you want to retrieve. 4. If the project folder is not already in the Details view, select View > Details. The project folder displays the file names and their creation dates. 5. Ctrl+click the files you want to retrieve. 6. Drag the selected backup bin files to the desktop. This makes a copy of the files, leaving the original files in the Avid Attic folder. 7. Double-click the application button in the taskbar to activate it. n If the taskbar is hidden, see the Windows documentation. 8. Click the Project window to activate it, and click the Bins tab to display the Bins list. 9. Select File > Open Bin. 73 Chapter 3 Working with the Project Window 10. Select one of the backup bin files you copied to the desktop, and click Open. When you open the backup bin, a link to the backup bin on the desktop is created in the Other Bins folder. n The Avid application does not allow a bin and a copy of a bin to be opened at the same time. You must keep all other bins closed and open the backup bins one at a time. 11. Create a new bin if you do not plan to overwrite existing files. 12. Open the new bin, and open the backup bin in the Other Bins folder. 13. Select the material you want to keep from the backup bin, and drag the files to the new bin. Repeat steps 9 through 12 for any other backup bins you copied to your desktop. 14. Select and delete the backup bins in the Other Bins folder. 15. Drag the backup bin files to the Recycle Bin on the desktop. Conserving Screen Real Estate with the SuperBin You can use the SuperBin to conserve screen real estate. The SuperBin lets you open different bins in a single bin window and switch between the bins, keeping them open with only one visible at a time. You can also switch a bin between being open in its own window and being open in the SuperBin, and you can move or copy clips and sequences into or out of the SuperBin. n 74 When SuperBin is enabled, you open and move between bins by singleclicking the bin names in the Project window, not by double-clicking them. Conserving Screen Real Estate with the SuperBin Enabling the SuperBin To enable the SuperBin: 1. Double-click Bin in the Settings tab in the Project window. The Bin Settings dialog box opens. 2. Select Enable SuperBin, and then click OK. The next time you click a bin in the Project window, it opens in the SuperBin. n When SuperBin is enabled, you open and move between bins by singleclicking the bin names in the Project window, not by double-clicking them. Opening Bins in the SuperBin To open bins in the SuperBin: 1. Enable the SuperBin. See “Enabling the SuperBin” on page 75. 2. Click the Bins tab in the Project window. 3. Click a bin name. The bin opens in the SuperBin. The SuperBin icon appears in the upper left corner, and the title is SuperBin: followed by the name of the bin. n When SuperBin is enabled, single-click the bin name to open it. Doubleclicking the bin name opens the bin in its own window. 75 Chapter 3 Working with the Project Window SuperBin icon To view a bin previously opened in the SuperBin: 1. Click the Bins tab in the Project window. 2. Click the bin name. The bin reappears in the SuperBin. Closing the SuperBin To close the SuperBin: t Click the Close button. All bins opened in the SuperBin close. Deleting the SuperBin To delete the SuperBin: 1. Click the Bins tab in the Project window. 2. Right-click the bin name, and select Delete Selected Bins. 76 Conserving Screen Real Estate with the SuperBin Moving Bins into and out of the SuperBin You can move bins currently displayed in their own windows into the SuperBin. You can also move a bin displayed in the SuperBin into its own window. To move an opened bin into the SuperBin: 1. Click the Bins tab in the Project window. 2. Double-click the open bin’s icon in the Project window. The individual bin window closes and the bin appears in the SuperBin. To move a bin out of the SuperBin and into its own window: 1. Click the Bins tab in the Project window. 2. Double-click the open bin’s icon in the Project window. The bin disappears from the SuperBin and appears in its own window. Moving Clips and Sequences into and out of the SuperBin To move a clip or sequence into the SuperBin: t Drag the clip or sequence from another open bin window into the SuperBin. The clip or sequence moves into the SuperBin. n You can move a clip or sequence from the SuperBin directly to a bin in the Project window. To move a clip or sequence out of the SuperBin: 1. Click the Bins tab in the Project window. 2. Drag the clip or sequence from the SuperBin onto a bin icon in the Project window. The clip or sequence moves into the bin in the Project window. 77 Chapter 3 Working with the Project Window Copying Clips and Sequences into and out of the SuperBin To copy a clip or sequence into the SuperBin: t Press and hold the Alt key, and then drag a clip or sequence from another open bin window into the SuperBin. The clip or sequence moves into the SuperBin. n You can copy a clip or sequence from the SuperBin directly to a bin in the Project window. To copy a clip or sequence out of the SuperBin: 1. Click the Bins tab in the Project window. 2. Press and hold Alt key, and then drag the clip or sequence from the SuperBin onto a bin icon in the Project window. The clip or sequence is copied into the bin in the Project window. Using the Settings Scroll List From the Settings scroll list of the Project window, you can view, select, open, and alter various User, Project, and Site settings, as described in this section. To view the Settings scroll list: t Click the Settings tab in the Project window. Settings tab 78 Using the Settings Scroll List Types of Settings Three types of settings appear in the Settings scroll list, as indicated in the third column of information: User, Project, and Site settings. • User settings are specific to a particular editor. User settings reflect individual preferences for adjusting the user interface in the system. Individual User settings are stored in each user folder, which is stored in the following location: drive:\Program Files\Avid\Avid application\Avid Users • Project settings are directly related to individual projects. When you change a Project setting, it affects all editors working on the project. Specific Project settings are stored in each project folder, which is stored in the following location: drive:\Program Files\Avid\Avid application\Avid Projects • Site settings establish default parameters for all new users and projects on a particular system. They can apply to particular configurations of equipment installed at the site; for example, specification and node settings for an external switcher. They can also include other User or Project settings that you copy into the Site Settings window. Site settings are stored in a separate Settings folder, in the following location: drive:\Program Files\Avid\Avid application\Settings Defining Settings You can use the Settings scroll list to establish a hierarchy of settings that address the specific needs of each production phase. For example, you can establish: • User settings that facilitate logging, capture, and organizing projects, and editing interface preferences, including Bin View settings that display useful columns of information for each bin • Project settings that reflect the specific needs of the project 79 Chapter 3 Working with the Project Window By establishing these settings once, and by selecting the appropriate setting or bin view in context, you can save time and effort that would be spent searching for information or adjusting bin headings on-the-fly. You can also save these settings along with your template for use on similar projects, as described in “Managing Folders and Bins” on page 69. Reviewing Basic Settings The following sections describe basic system settings to review at the start of your project: • Bin Settings • General Settings To view the settings: t Double-click each setting in the Settings scroll list of the Project window. Bin Settings Bin settings define general system functions related to bins. Select these functions in the Bin Settings dialog box. For more information about options in the Bin Settings dialog box, see “Bin Settings” in the Help. 80 Using the Settings Scroll List Film Settings Film settings determine essential parameters for accurately capturing, tracking, and editing source material for 24p and 25p projects, including: • Audio transfer rate and pulldown parameters for film-to-tape transfers • Play rate for Timeline play • Format and display of ink numbers For information about the Film Settings options, see “Film and 24p Settings” in the Help. Setting the Play Rate for Timeline Play Depending on the type of project with which you are working, the options available from the Edit Play Rate pop-up menu vary. General Settings General settings define fundamental system defaults. For more information about options in the General Settings dialog box, see “General Settings” in the Help. 81 Chapter 3 Working with the Project Window Interface Settings You can set general options and appearance options in the Interface dialog box. General Interface settings determine the level of basic information displayed in the interface. Interface Appearance settings give you controls for customizing the colors and button style of the user interface. General Interface Settings The following illustration shows the General tab of the Interface dialog box. For more information about options in the General Settings dialog box, see “Interface Settings” in the Help. 82 Using the Settings Scroll List Appearance Interface Settings The following illustration shows the Appearance tab of the Interface dialog box. For more information about options in the Appearance tab in the Interface Settings dialog box, see “Interface Settings: Appearance Tab” in the Help. 83 Chapter 3 Working with the Project Window Changing Interface Component Colors You change the color of interface components by using a color grid. Table 2 describes the interface components that you can customize. Table 2 Customizable Interface Components Component Description Background The color of toolbars and dialog boxes behind the text. The default is gray. n If you select a background color but no button color, buttons take on the background color. Button The color of a button behind the button contents, when the button is not selected. The default is gray. Button Contents The color of text or symbols, such as icons or check marks, in the buttons. The default is black. Button Highlight The color of selected buttons, which is different from that of deselected buttons. Button Spotlight The background color of a button when you pass the mouse pointer over it. Text The color of text in dialog boxes, toolbars, and ToolTips. The default is black. Timeline Background The color of the Timeline top toolbar and the Timeline bottom toolbar. The default is gray. Timeline V Tracks The background color for the V (video), A (audio), or TC (timecode) tracks in the Timeline. The default is gray. Timeline A Tracks Timeline TC Tracks n Project Background The background color of the Project window. This setting takes precedence over the Fast Menu track color. Bin Default Background The color of a bin behind the bin contents. New bins first appear with the selected color as the background color. You can override the default background color by selecting Edit > Set Bin Background. 84 Using the Settings Scroll List To set the color of an interface component: 1. Click the Appearance tab of the Interface dialog box. Check box Color boxes Interface component list 2. Click in the color box next to the interface component you want to customize. 85 Chapter 3 Working with the Project Window A color selection grid appears. Color selection grid 3. Move the mouse pointer over the color selection grid, and release the mouse over the color to which you want to set your interface component. The color selection grid disappears. The color you selected appears in the color box. A check mark appears in the check box to show that you want your new color attribute for this selection to take effect. n If you deselect an interface component by clicking the check box, the color you specify in the color selection grid does not take effect. The color of the interface component reverts to its default value. 4. Do one of the following: t n 86 Click Apply to apply the changes you selected. If you click Cancel after you click Apply, interface components retain the selections you applied. t Click OK to close the dialog box and to put the new settings into effect. t Click Cancel to close the dialog box. The changes you selected but did not apply do not take effect. Using the Settings Scroll List Changing Shading Style Shading style controls the shading of the buttons and toolbars. To set the shading style: 1. Click the Shading Style button in the Appearance tab of the Interface dialog box. The Shading Style pop-up menu appears. 2. Select a shading style. 3. Do one of the following: t n Click Apply to apply the change you selected. If you click Cancel after you click Apply, Shading Style retains the selection you applied. t Click OK to close the dialog box and to put the new setting into effect. t Click Cancel to close the dialog box. The change you selected but did not apply does not take effect. The following examples show the shading styles. Convex Dim Radial Convex Radial Bright Radial 87 Chapter 3 Working with the Project Window Changing Shading Depth Shading depth controls the three-dimensional “rounding” of the buttons and toolbars. To set the shading depth: 1. Click the Shading Depth button in the Appearance tab of the Interface dialog box. The Shading Depth pop-up menu appears. 2. Select a depth. 3. Do one of the following: t n 88 Click Apply to apply the change you selected. If you click Cancel after you click Apply, Shading Depth retains the selection you applied. t Click OK to close the dialog box and to put the new setting into effect. t Click Cancel to close the dialog box. The change you selected but did not apply does not take effect. Using the Settings Scroll List The following examples show Shading Depth selections of 5% and 50%. Shading Depth 5% Shading Depth 50% Changing Button Separation Button separation controls whether certain buttons appear as single or grouped buttons. To change the separation of Monitor or Timeline buttons: 1. Click the Monitor Button Separation button or the Timeline Button Separation button in the Appearance tab of the Interface dialog box. The Button Separation pop-up menu appears. 2. Select a separation. 3. Do one of the following: t n Click Apply to apply the change you selected. If you click Cancel after you click Apply, Button Separation retains the selection you applied. 89 Chapter 3 Working with the Project Window t Click OK to close the dialog box and to put the new setting into effect. t Click Cancel to close the dialog box. The change you selected but did not apply does not take effect. The following examples show several Timeline buttons with each button separation selection applied. Maximum button separation Moderate button separation No button separation Changing Button Style Button style controls the shape of buttons in the interface. To change the button style: 1. Click the Button Style button in the Appearance tab of the Interface dialog box. The Button Style pop-up menu appears. 2. Select a button style. 90 Using the Settings Scroll List 3. Do one of the following: t n Click Apply to apply the change you selected. If you click Cancel after you click Apply, Button Style retains the selection you applied. t Click OK to close the dialog box and to put the new setting into effect. t Click Cancel to close the dialog box. The change you selected but did not apply does not take effect. The following examples show the different button styles available. Oval button style Octagonal button style Rounded button style Square button style Swoosh button style Antique button style 91 Chapter 3 Working with the Project Window Displaying Project Settings You can display the Settings scroll list of the Project window in different groups, depending on what you need to view. Table 3 describes the different Settings menu options. Table 3 92 Settings Menu Options Option Description Active Settings Displays currently active settings in your Avid system All Settings Displays all settings available in your Avid system Base Settings Displays Project, User, and Site settings only; no views are displayed Bin Views Displays bin display views Export Settings Displays all the Export settings Import Settings Displays all the Import settings Timeline Views Displays Timeline views Title Styles Displays all the templates you created for the Title tool Workspaces Displays all workspaces Workspace Linked Displays only linked workspaces Site Settings Displays all Site settings in the Site_Settings file Using the Settings Scroll List Changing the Settings Scroll List Display To change the Settings scroll list display of the Project window: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Click the Fast Menu button, and select the settings display group. Settings Display groups The Settings menu displays the settings group selected and the Settings scroll list displays only the settings in that group. The Settings Scroll List Table 4 briefly describes each item in the Settings scroll list. The table also lists where you can find additional information on a particular item and indicates whether the item has an associated dialog box (or window) that you can access from the Settings scroll list. For more information on the Settings scroll list, see “Using the Settings Scroll List” on page 78 and “Settings Options” in the Help. 93 Chapter 3 Working with the Project Window Table 4 Settings Scroll List Setting Name Description For More Information Audio Sets the default audio pan; contains audio scrub options and audio setup parameters. See “Adjusting Default Pan Settings” on page 359 and “Adjusting Digital Scrub Parameters” on page 357. Audio Project Sets parameters for audio setup. See “Preparing for Audio Input” in the Help. Bin Sets the Auto-Save preferences for bins. See “Bin Settings” on page 80. Bin View Selects and formats the information displayed in bins. See “Using Bin Display Views” on page 146. Capture Defines how the Avid editing application captures and See “Selecting Capture batch captures in specific situations. Settings” in the Help. Correction Sets parameters for color correction. See the Avid Color Correction User’s Guide or the Help. DMS Configures the editing client to work with the Avid ProEncode™ system. Select this item if your workgroup includes an Avid ProEncode system. See the Avid ProEncode Setup and User’s Guide. Deck Configuration Configures channels and decks into the system. See “Configuring Decks” in the Help. Deck Preferences Sets preferences that affect all decks configured into the system. See “Setting Deck Preferences” in the Help. Desktop Play Delay Lets you adjust the offset between audio and video playback. See “Adjusting the Play Delay Offset” on page 247. Effect Editor Changes effect parameters by adjusting the appearance See “Commands for and operation of effects. Using Advanced Keyframes” in the Help. 94 Using the Settings Scroll List Table 4 Settings Scroll List (Continued) Setting Name Description For More Information Export Sets parameters for file export. See “Creating a New Export Setting” in the Help. General Defines default values such as the default starting timecode and the audio file format for your project. See “General Settings” on page 81. Grid Defines the grid to use when you create effects. See “Setting the Effect Grid Options” in the Help. Import Sets parameters for file import. See “Creating and Using Import Settings” in the Help. Interface Defines the appearance and function of certain interface elements. See “Interface Settings” on page 82. Keyboard Displays the default keyboard on the keyboard palette. See “Using the Avid Keyboard” on page 241. MM Host Specifies the location of MediaManager by listing the See “Configuring Avid computer name of the MediaManager server. Editing Systems to Work with MediaManager and TransferManager” on page 195. MM User Defines user and login preferences for using MediaManager. See “Configuring Avid Editing Systems to Work with MediaManager and TransferManager” on page 195. Marquee Title Allows you to select the Title tool for creating titles and provides options for promoting titles. See the Avid Marquee Title Tool User’s Guide. Media Creation Sets parameters for video resolution and selects the drives for capture, creating titles, importing, and performing audio and video mixdown. See “Setting Media Creation Resolutions and Selecting Drives” in the Help. 95 Chapter 3 Working with the Project Window Table 4 Settings Scroll List (Continued) Setting Name Description NRCS Defines the name of the Newsroom Computer System See “Configuring the server and the default user name. Also sets Message of NRCS Tool” in the Help. the Day and Mail options for the NRCS tool. PortServer Sets up the client so that it recognizes workspaces. See “Setting up the LANshare Client” on page 196. Render Controls the size of imported graphics and rendered effects to ensure that the graphic or effect will be playable. See “Creating and Using Render Settings” in the Help. Safe Colors Sets the safe color parameters for the Color Correction See the Avid Color tool. Correction User’s Guide or the Help. Sound Card Configuration Allows you to map audio input sources directly to the See “Sound Card output sources available with your audio hardware. Configuration Settings” in the Help. Timeline Contains the latest Timeline settings. See “Accessing the Timeline Settings” on page 294. Timeline View If you save your Timeline settings, Timeline View appears in the Settings scroll list to facilitate copying settings. See “Customizing Timeline Views” on page 293. Title Style If you save a title style while you are using the Title tool, Title Style appears in the Settings scroll list. See “Saving and Recalling Title Styles” in the Help. Transfer Sets the preferences for using Avid Unity™ TransferManager to send files to another workgroup. See the Avid Unity TransferManager Setup and User’s Guide. n Trim 96 For More Information You must have the Avid Unity MediaNetwork client software installed on your system to view this setting. Customizes the Trim mode environment. See “Customizing Trim Mode” on page 334. Using the Settings Scroll List Table 4 Settings Scroll List (Continued) Setting Name Description For More Information Video Display Enables digital camera video input; enables support of See “Playing Video to the cameras with video input; sets the mode and source for Client Monitor” on page 243. desktop video; sets parameters for desktop video display; enables the Client monitor. Workspace Enables you to associate settings and windows with a See “Linking User workspace. Settings and Workspaces” on page 110. Working with Settings You can view and modify most of your current settings by double-clicking them in the Settings scroll list of the Project window and by selecting new options. You can duplicate, rename, copy, and move settings among files or systems. Selecting Another User Because User settings are not project or site specific, you can choose to change to another set of User settings within the Project window. See “Changing User Profiles” on page 51. Modifying Settings You cannot modify two types of settings: • Settings that require the presence of standalone peripherals • Settings that can be modified only from within the tools in which they are used, such as Bin view and Timeline view To modify available settings: 1. Double-click the name of a setting in the Settings tab in the Project window. The applicable Settings dialog box opens. 2. Type new values or select new options for the settings. 97 Chapter 3 Working with the Project Window 3. Click OK, Save, Cancel, Apply, or the Close button. Working with Multiple Settings You can have multiple versions of settings in your Settings scroll list in the Project window that apply to several users at various stages of production. For example, you can have: • Two Bin settings: one that automatically saves more often when you are editing intensively, and one that automatically saves less often when you are doing organizational work in the bins • Multiple Capture settings for capturing various types of source material • Multiple Deck Preferences settings for various types of capture or for output Duplicating Settings To create a new version of a setting: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Click the setting you want to copy. Ctrl+click any additional settings you want to copy. 3. Select Edit > Duplicate. A copy of each setting appears in the Settings scroll list with a version number in the second column for each Custom setting name. 4. Name your settings to indicate their functions. For more information about naming settings, see “Naming Settings” on page 99. n 98 If the original setting had a second column entry, a version number in the second column appears with each duplicate’s custom setting name. Using the Settings Scroll List Naming Settings You can give settings custom names to differentiate among copies or to indicate a specific use. To rename settings: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Click the Custom setting name column in the Settings scroll list (the column to the right of the setting’s name). Custom setting name column 3. Type a new name and press Enter. 4. Type a new name and press Enter. 99 Chapter 3 Working with the Project Window Selecting Among Multiple Settings With multiple settings, only one setting at a time is active. Settings that are currently active have a check mark to the left of the setting name. To change the active setting: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Click in the space to the left of the setting you want to select as the active setting. A check mark indicates that the setting is active. Deleting Settings You can delete settings from the Settings scroll list in the Project window at any time. For example, you might choose to delete one or more versions of a particular setting, or you might want to delete all but a few settings to transfer to another Settings window. To delete a setting: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Click a setting to highlight it. Ctrl+click each additional setting you want to delete. c You cannot undo a deletion. You can, however, copy settings from other files. See “Copying Settings Between Settings Files” on page 101. 3. Do one of the following: t Press the Delete key. t Select Edit > Delete. The selected settings are removed. 100 Using the Settings Scroll List Copying Settings Between Settings Files To copy settings between files: 1. With the Settings scroll list active, open the target settings file in one of three ways: t Create and open a new settings file by selecting File > New Setting File. t Open an existing settings file by selecting File > Open Setting File. t Locate and select the settings file you want in the Avid Projects or Avid Users folder, and click Open. 2. Click the setting you want to copy in the Settings scroll list of the Project window. Ctrl+click any additional settings that you want to copy. 3. Drag the highlighted settings to the open Settings window. 4. Click the Close button. A message box opens. 5. Click Save. The copied settings are also saved when you close or save the file or project. Moving Settings Between Systems You can move selected settings between existing settings files or into a new settings file: • To use in other projects • To transfer to other Avid systems • To change one type of setting to another You can drag selected settings from the Settings tab in the Project window into the Site_Settings window to establish standard system settings for all new projects and users. These settings can be copied to other systems by replacing the Site_Settings file in the Settings folder on the other systems. 101 Chapter 3 Working with the Project Window Using Site Settings The Avid default preference files and the Site_Settings file are located in the following folder: drive:\Avid\Avid application\Settings folder The default preference and the Site settings files include the following settings template: • AvidDefaultPrefsNC — NewsCutter Adrenaline FX and NewsCutter XP template settings for new users • Site_Settings — Template for new User and new Project settings for all products When a new user is created, the Avid editor first looks at the Site_Settings file and uses any settings specified in that file. If the Site_Settings file is empty or is missing settings, then the AvidDefaultPrefs(xx) file is used. If the AvidDefaultPrefs(xx) file is missing, hard-coded defaults are used. The AvidDefaultPrefs(xx) files contain the product-specific default User settings. Project settings are not stored in AvidDefaultPrefs(xx) files. The Site_Settings file is empty until you add User and Project settings from the Settings tab in the Project window. Settings that you add to the Site_Settings file become the site defaults. Site settings do not override User settings and Project settings. Any user can change these settings, with the changes stored in the User settings or the Project settings, depending on the type of setting. When the system opens a new project, the Site settings are the initial settings given to a new user or project. The system then proceeds to load any Project and User settings not included in the Site_Settings file. Adding Site settings to the Site_Settings file is useful if you need to establish global settings for all new users and projects, such as Deck Configuration settings or a specific start timecode for all sequences. 102 Using the Settings Scroll List To load settings into the Site_Settings file: 1. Open a project with the settings you want to establish as Site settings. If a project does not already exist with the settings you want, create a project and make adjustments to the default settings as needed. 2. Click the Settings tab. The Settings scroll list appears. 3. Do one of the following to open the Site_Settings window: t In the Project window, click the Fast Menu button and select Site Settings. t Select File > Open Setting File, navigate to the Settings folder, and double-click Site_Settings file. The Site_Settings window opens. 4. Click a Project or User setting in the Settings scroll list in the Project window, or Ctrl+click multiple settings. 5. Drag the selected settings to the Site_Settings window. Copies appear in the Site_Settings window. 6. Close the Site_Settings window. All new users and projects opened from the Select User and Project dialog box use these settings as the default settings. Selecting Preferences You can view in one step the settings for your project. To view the Settings tab of the Project window: t Select Edit > Preferences. The Project window, with the Settings tab displayed, appears in the middle of the monitor. 103 Chapter 3 Working with the Project Window Viewing the Effect Palette To view the Effect Palette: t Click the Effects tab (which displays the Effect icon) in the Project window. Effect icon Using the Info Display The Info tab displays basic project information, system memory information, and hardware information. The displayed information lists the options you selected in the New Project dialog box when you created the project. Viewing System Information To view basic project information: t Click the Info tab in the Project window. Basic project information is displayed. 104 Using the Info Display n The items listed in this view are for information only and cannot be changed. To view system memory information for an open project: t Click the Memory button. The Memory window opens. To view hardware information for an open project: t Click the Hardware button. The Hardware tool opens. For more information about system information, see the following topics: • “The Memory Window” on page 105 • “The Hardware Tool” on page 106 The Memory Window The Memory window displays the following information: • Objects: The total number of memory handles currently used by the Avid editing application. Objects include memory requirements of the application, such as windows, as well as clips, sequences, and other items associated with a project. • Total Physical Memory: The total number of bytes of random-access memory (RAM). • Available Physical Memory: The amount of RAM available for allocation by Windows. 105 Chapter 3 Working with the Project Window • Total Page File: The total number of bytes that can be stored in the paging file. The paging file is used as virtual memory by Windows. • Available Page File: The total number of bytes available in the paging files. • Working Set (min and max): The set of memory pages currently available to the application in RAM. You can view additional memory information through the Windows tools, Task Manager and Performance Monitor. You can view information about system activities, such as driver messages, through the Windows Event Viewer. For information on these tools, see the Windows Help. n You can improve performance on large projects by reducing the number of objects. Close unused bins, unmount unneeded media drives, consolidate finished elements, and eliminate old material from the project. Then quit and restart the Avid application. If performance is still slow, restart your system. The Hardware Tool The Hardware tool gives a visual representation of usage for each drive and provides operating system information. For additional information on the Hardware tool, see “Using the Hardware Tool” on page 139. Customizing Your Workspace A workspace is the arrangement and size of tool windows displayed on your Avid editing system. If you are accustomed to working with a particular group of windows arranged and sized in a particular setup, you can assign them to a workspace setting that you can then recall with a workspace button. 106 Customizing Your Workspace For example, during capture you might want to display the Capture tool in specific locations. During effects editing, you might want to display the Effect Palette and Effect Editor in a particular location and size. For information on switching between workspaces, see “Switching Between Workspaces” on page 111. While in a workspace, you can move tool windows or open and close tool windows. The next time you select that workspace, the tool windows appear with either: n • The arrangement from the last time you left the workspace • The arrangement you set for the workspace, regardless of any changes you made You cannot assign some tools to a workspace, including the Hardware tool, the Communication (Serial) Ports tool, the Title tool, and the Media tool. You can select your preference in the Workspace Settings dialog box. For more information, see “Creating a New Workspace Setting” on page 107. Creating a New Workspace Setting To create a new workspace setting: 1. Click Workspace in the Settings tab in the Project window. Workspace is highlighted. 2. Select Edit > Duplicate. A new workspace setting appears in the Settings scroll list. n If you are duplicating a previously named workspace setting, a .1 appears at the end of the new name. 3. Click to the left of the new workspace you want to set. A check mark appears next to the workspace. 107 Chapter 3 Working with the Project Window 4. Assign a custom name to the new workspace: a. In the column between Workspace and User, click until you see a text pointer and box. Make sure you click the Custom setting name column and not the Setting name. Custom setting name column b. Type a name for the new custom workspace, for example, audio. c. Press Enter. 5. Open the windows and tools with which you want to associate the workspace. Resize and move the windows to the location where you want them to appear in the monitors. 6. Double-click the custom workspace setting. The Workspace Settings dialog box opens. 7. Select or deselect the following options: 108 - Activate Settings Linked By Name: This setting allows you to link other settings to the workspace. See “Linking User Settings and Workspaces” on page 110. - Continually Update This Workspace: This setting automatically preserves the workspace in its most recent arrangement. Future changes to the arrangement of the tool windows are saved. Customizing Your Workspace - Manually Update This Workspace: This setting saves the workspace in its current arrangement when you click Save Workspace Now (which appears only after you select Manually Update This Workspace). Future changes to the arrangement of the tool windows are disregarded. 8. Click OK. Assigning a Workspace Button To assign a workspace button: 1. Select Tools > Command Palette. 2. Click the More tab. 3. Select Button to Button Reassignment. 4. Click a workspace button (W1–W8), and drag it to a location on another palette (for example, to the Tool palette). The buttons are assigned to the workspaces in the Settings scroll list of the Project window in the order that they appear. For example, the W1 button is assigned to the first workspace that appears in the Settings scroll list, W2 is assigned to the second workspace that appears in the Settings scroll list, and so forth. NewsCutter sorts the workspaces alphabetically. The workspace button assignments might change if you add workspaces. To keep a designated order, name the workspaces with a number preceding the first letter (for example, 2editing). 5. Click the W1 button to show the first workspace that appears in the Settings scroll list. When you open the windows associated with the first workspace, they open in the assigned locations. 109 Chapter 3 Working with the Project Window Linking User Settings and Workspaces User settings can be linked to a workspace. You can create a customized workspace and set up specific options in any Settings dialog box, and link them by name. For example, you can create an Audio workspace that opens the Audio Mix tool and the Audio tool. This workspace can also open a customized Timeline (with enlarged audio tracks and Automation Gain displays). Then, you can link this workspace to a Settings dialog box with customized options selected. You do this by creating a setting and giving it the same name in the Project window as the name of the workspace. To link User settings and a workspace: 1. Create a new workspace setting. See “Creating a New Workspace Setting” on page 107. 2. Give the workspace a custom name. 3. Double-click a setting from the Settings scroll list that you want to link to the new workspace. For example, double-click Capture. Adjust the Capture setting to what you want. 4. Give this Capture setting the same name you gave the workspace previously. 5. Double-click another setting (for example, Interface). Select the new options (for example, Show ToolTips), and click OK. 6. Give this setting the same name you gave the workspace previously. 7. Double-click the workspace you just created. The Workspace Settings dialog box opens. 8. Click Activate Settings Linked By Name. 9. Click OK. All the settings and the new workspace you created will be activated when you activate this workspace. 110 Customizing Your Workspace Switching Between Workspaces To switch from one workspace to another: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Click to the left of the workspace setting you want to use. A check mark appears next to the workspace. Deleting a Workspace To delete a workspace: 1. Select the workspace you want to delete from the Settings scroll list of the Project window. The workspace is highlighted. n Make sure a check mark does not appear next to the workspace you want to delete. You cannot delete the active workspace. 2. Do one of the following: t Press the Delete key. t Select Edit > Delete. The selected workspace is removed from the Settings scroll list. 111 Chapter 3 Working with the Project Window Navigating in Dialog Boxes and Menus You can use the keys listed in Table 5 to navigate in many dialog boxes and menus and to select and deselect options. Table 5 Navigation Keys Key Function Page Up, Page Down Moves from tabbed page to tabbed page within a dialog box Tab Moves from check box to check box or from option button to option button within a tabbed page in a dialog box Right Arrow, Left Arrow, space bar Selects or deselects a check box or an option button in a dialog box Up Arrow, Down Arrow Moves up or down through a menu Sharing Bins and Projects on Avid Unity MediaNetwork This section describes working with your Avid system in an Avid Unity environment that does not use Avid Unity MediaManager. If you are using Avid Unity MediaManager, see the Avid Unity MediaManager Setup and User’s Guide. Understanding Avid Unity MediaNetwork Avid Unity MediaNetwork allows you to share bins and projects across the network. When you place your bins and projects on Avid Unity MediaNetwork workspaces (drive volumes), several users can work on the same project at the same time. 112 Sharing Bins and Projects on Avid Unity MediaNetwork For example, an editor can create sequences in one bin while an assistant recaptures media in another bin. At the same time, other users can add audio effects or titles to other bins in the project. Users can perform tasks from their own computers. The Avid system provides a simple locking mechanism to help keep track of who is currently working in a bin. The method allows one writer and multiple readers of a bin. c The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin. In a MediaNetwork environment, the Avid application creates and stores projects and bins on the MediaNetwork client’s internal drive. If a user moves or saves these projects and bins to the MediaNetwork workspace, only one MediaNetwork client can work on the project at a time. If two or more users are working simultaneously on the same project, only one user will be able to update the files. Other users will be able to open and play sequences but not make any changes to them. Mapping Workspaces on the Avid Unity Network For information on mapping workspaces, see the MediaNetwork clients quick start cards. These instructions assume that Avid Unity MediaNetwork is up and running. For details on Avid Unity MediaNetwork, see the Avid Unity MediaNetwork Management Guide. Sharing Methods Before you begin copying or creating bins and projects on an Avid Unity MediaNetwork workspace, determine the sharing method you will use for the project. 113 Chapter 3 Working with the Project Window Shared Bins When you use the shared bins, you store the project on your local computer and store bins and media files on the shared workspace. This method allows users in a shared environment to share only selected bins with other users. The system uses the following methods to identify the shared bins: • Stores the bin in a Unity Bins folder in the Project window. This folder is similar to the Other Bins folder. • Displays a second column of information for the bin that identifies the computer that currently has the bin locked. • Uses bold text to identify bins that are locked by another user. Shared Bins and Projects If you share bins and projects, you create and store the project folder and bins on the shared workspace (or copy an existing project, bins, and the related media files). The Avid system uses the following methods to identify information from each computer using the shared workspace: • Creates a project folder for each computer that accesses the project. The Avid system adds the computer’s name to the folder name to create a unique name and stores any project-specific information in the folder. This mechanism prevents users from overwriting the projectspecific data for other users. The folder is similar to the folder created when you select New Folder from the Project Window Fast menu. For more information, see “Managing Folders and Bins” on page 69. n 114 • Displays an extra column in the Project window that identifies the computer that has the bin locked. • Uses bold text to identify bins that are locked by other users. • Creates a folder at the top level of the shared workspace called Unity Attic. This folder contains backup files for each project on the shared volume. Depending on the number of users sharing a workspace, you might want to increase the number of files that the Avid system stores in the Unity Attic folder (using the Bin Settings dialog box). Sharing Bins and Projects on Avid Unity MediaNetwork The following illustration shows the Project window for a shared project. Bold bins are locked for editing but can be viewed. Computer that currently has the bin locked Project folders for each user The following illustration shows the contents of a shared workspace at the desktop level. Shared projects Shared media files Unity Attic Opening a Shared Project To open an existing project on the shared volume: 1. Start your Avid application. 2. In the Select Project dialog box, navigate to the project on Avid Unity MediaNetwork. The Project window opens. For a description of the elements specific to Avid Unity in the Project window, see “Sharing Methods” on page 113. 115 Chapter 3 Working with the Project Window 3. Open one of the bins by double-clicking the Bin icon. The bin appears with a Bin Lock Status button. You can click the red (locked) or green (unlocked) Bin Lock Status button to view a history file that shows which computers and users have modified the bin and the date and time of the modifications. The following illustration shows locked and unlocked bins. Unlocked bin Locked bin When a bin is unlocked, you have permission to make changes. You should not make changes to a locked bin. See “Restrictions and Limitations for Locked Bins” on page 118. n The Bin Lock Status button does not appear if the bin is not on Avid Unity MediaNetwork. Working with Locks The Avid system uses a simple locking mechanism to help you keep track of who is currently working in a shared bin. This allows one writer and multiple readers of a bin. Default Locking Mechanism The user who opens the bin first gets the lock and obtains write access to the bin. The Avid system uses bold text in the Project window to identify bins that are locked by another user. When the person who owns the lock closes the bin, it becomes available for another user to open and take the lock. 116 Sharing Bins and Projects on Avid Unity MediaNetwork If one user has the lock and another user has the same bin open, when the first user closes the bin, the second user must close and reopen the bin to get the lock. You can click the red or green Bin Lock Status button in the bin to view a history file that shows which computers and users have modified the bin. To open a bin without taking the lock: t Alt+double-click (Windows) or Option+double-click (Macintosh) the bin in the Project window. Overriding the Default Locking Mechanism You can instruct the Avid system to keep a bin locked even after you close it. To permanently lock a bin: 1. Select one or more bins in the Project window. 2. Right-click (Windows) or Ctrl+Shift+click (Macintosh) the Bin icon, and select Lock Project Bin. An asterisk (Windows) or diamond (Macintosh) appears next to the user name in the Project window. In this case, the bin remains locked even after you close it. To unlock the bin: t n Right-click (Windows) or Ctrl+Shift+click (Macintosh) the bin in the Project window, and select Unlock Project Bin. The Lock Project Bin and Unlock Project Bin commands are also available from the Clip menu. 117 Chapter 3 Working with the Project Window Restrictions and Limitations for Locked Bins The following restrictions apply to bins that are locked by another user: • You cannot select a locked bin for operations such as capture, title creation, and importing. This helps to minimize the problems of modifying a locked bin. • You cannot drag to a locked bin. • If you drag from a locked bin to a writable bin, the Avid system creates a duplicate (not a copy) of the selection in the writable bin. The original item is not removed from the locked bin. This operation is the equivalent of duplicating a selection and then dragging the duplicate to another bin. • You cannot move a bin that is locked by another user. • If you modify a locked bin, the Avid system does not let you save the bin to the same name, but it allows you to save the bin to another name. However, this causes duplicate bin IDs and might cause system-level conflicts with the contents of the two bins. The application sees the duplicate contents of these bins and resolves the conflicts by newest modifications (this might not be desirable behavior). You should avoid creating duplicate bins by modifying a locked bin. If you do create a duplicate bin in this way, you should manually merge the changes into the original bin and delete the duplicate bin. c 118 The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin. Chapter 4 Using Basic Tools The Tools menu on the menu bar provides quick access to a collection of essential tools for use in your projects. This chapter provides information about several basic tools that you can use at any time during your project. • Using Toolsets • Using the Tools Menu • Using the Deck Controller • Using the Command Palette • Using the Avid Calculator • Using the Console Window • Using the Hardware Tool • Using the Communication (Serial) Ports Tool Chapter 4 Using Basic Tools Using Toolsets You can use predesigned work environments (toolsets) that are suited to your most common tasks: • NRCS • Capture • Edit • Effects Editing • Audio Editing • Color Correction The Toolset menu provides you with six environments that include the following: • Tools appropriate for the task • A screen optimized for the task, screen resolution, and number of monitors • A neatly organized workspace with nonoverlapping windows You can customize the toolset workspace, restore it to the default arrangement, or link it to other settings. For example, you might want each toolset to appear with a different color scheme. You can also customize the NRCS toolset. For more information, see “Customizing Toolsets” on page 128 and “Linking Toolsets to Other Settings” on page 128. 120 Using Toolsets Opening Toolsets To open a toolset: t Select Toolset > toolset. t Press one of the following key combinations: Press To view Shift+F8 NRCS toolset Shift+F9 Capture toolset Shift+F10 Edit toolset Shift+F11 Effects Editing toolset Shift+F12 Audio Editing toolset Any open tools close and the screen changes to display windows appropriate to the toolset task. 121 Chapter 4 Using Basic Tools NRCS Toolset The NRCS toolset displays the SuperBin in Brief view, the Source/Record monitor, the Settings tab of the Project window, and the Timeline. An area in the center of the toolset is left blank to accommodate the NRCS tool when a user connects to a server. 122 n For more information on bin views, see “Using Bin Display Views” on page 146. n For more information on the NRCS tool, see “Understanding the NRCS Tool” in the Help. Using Toolsets Capture Toolset The Capture toolset displays the Bins tab of the Project window, the SuperBin in Frame view, the Capture tool, the Source/Record monitor in minimized form, and the Timeline. n For more information on bin views, see “Using Bin Display Views” on page 146. n For more information on the Capture tool, see “Setting Up the Capture Tool” in the Help. 123 Chapter 4 Using Basic Tools Edit Toolset The Edit toolset displays the Bins tab of the Project window, the SuperBin in Brief view, the Source/Record monitor, the Audio Mix tool, and the Timeline. 124 n For more information on bin views, see “Using Bin Display Views” on page 146. n For more information on the Audio Mix tool, see “Using the Audio Mix Tool” on page 365. Using Toolsets Effects Editing Toolset The Effects Editing toolset displays the Effect Palette in the Project window (Effects tab), the SuperBin in Brief view, the Effect Editor, the Source/Record monitor, and the Timeline. n For more information on bin views, see “Using Bin Display Views” on page 146. n For more information on the Effect Editor and the Effect Palette, see “Using the Effect Editor” and “Using the Effect Palette” in the Help. 125 Chapter 4 Using Basic Tools Audio Editing Toolset The Audio Editing toolset displays the Bins tab of the Project window, the SuperBin in Brief view, the Source/Record monitor, the Automation Gain tool, and the Timeline. 126 n For more information on bin views, see “Using Bin Display Views” on page 146. n For more information on the Automation Gain tool, see “The Automation Gain Tool” on page 382. Using Toolsets Color Correction Toolset The Color Correction toolset displays the SuperBin in Brief view, the Source/Record monitor configured to a three-monitor view, the Color Correction tool, the Bins tab of the Project window, and the Timeline. n For more information on bin views, see “Using Bin Display Views” on page 146. n For more information on the Color Correction tool, see “The Color Correction Tool” in the Help. 127 Chapter 4 Using Basic Tools Customizing Toolsets To customize the toolset workspace: 1. For the toolset you want to customize, select Toolset > toolset. 2. Open other tools with which you want to work and position them where you want them. 3. Select Toolset > Save Current. The next time you select the customized toolset, it appears with your changes. To restore the default toolset: t Select Toolset > Restore Current to Default. Linking Toolsets to Other Settings You can link the current toolset to custom User settings. To link a toolset to another setting: 1. Select Toolset > Link Current to. The Link Toolset dialog box opens. 2. Click the Links to Current Toolset pop-up menu, and Select Link to Named Settings. 128 Using the Tools Menu 3. Type the name of the other setting to which you want to link the toolset. For more information about creating and naming custom settings, see “Working with Settings” on page 97. n You can link toolsets only to User settings. 4. Click OK. The active toolset is linked to the custom setting you specified. You might want to link several toolsets to named settings but leave the other toolsets linked to a default, unnamed setting. To link a toolset to an unnamed setting: 1. Select Toolset > toolset. 2. Select Toolset > Link Current to. The Link Toolset dialog box opens. 3. Click the Links to Current Toolset pop-up menu, and select Link to Unnamed Settings. The active toolset is linked to all the unnamed settings in the Settings scroll list. Using the Tools Menu You can open any of the most frequently used system tools from the Tools menu. To open a tool: t Select Tools > tool name. 129 Chapter 4 Using Basic Tools Using the Deck Controller The deck controller provides direct serial or V-LAN® VLXi® control of an Avid-compatible video deck at any time during editing. This feature allows you to cue and screen footage from source tapes in various edit modes or when recording a digital cut. Logging controls Timecode indicator Close button Timecode display Timecode display Deck controls Delete Mark IN button Delete Mark OUT button Deck Selection pop-up menu Source Tape Display button Eject button Mark IN button Mark OUT button Clear Memory button Go To Memory button Each deck controller includes the following elements: • n 130 The Timecode display provides information about the control status of the video deck, as follows: - If the deck is properly connected and power is on, the deck controller displays timecode when a tape is mounted. - If a deck is not properly connected to the system or power is off when you open the controller, the indicator displays the message, No Deck. - If you turn the deck power off with the deck controller already open, the indicator displays the message, Power Off. - If you switch the deck control to Local on the VTR, the indicator displays the message, Local. The Timecode indicator flashes green during playback or recording to indicate that the system is receiving valid timecode from the source tape. If the indicator remains unlit, the system is not receiving timecode. Using the Command Palette • The deck controls and the J-K-L keys provide a standard range of playback capabilities, including fast forward and rewind, stop and play, step back and step forward, pause, and eject. • The Deck Selection pop-up menu allows you to specify a deck with deck control parameters that you can customize in the Deck Settings dialog box. For more information, see “Deck Settings Options” in the Help. • The deck controller allows you to associate a tape name with the controller by clicking the Source Tape Display button and selecting a tape in the Select Tape dialog box. For more information, see “Selecting a Tape” in the Help. • Logging controls allow you to log IN and OUT points while cueing your tape. • Marks you set with the deck controller are temporary and allow you to return to timecode locations entered in the window while screening and cueing a tape. If the Capture tool is open, however, timecodes logged here also appear in the Capture tool and can be entered into an open bin. To open a deck controller: t Select Tools > New Deck Controller. The Deck Controller window opens. Using the Command Palette The Command palette provides a central location for all user-selectable buttons that you can map to various locations for ease of use. Userselectable buttons allow you to perform a wide range of commands with a single click of the mouse. 131 Chapter 4 Using Basic Tools The Command palette organizes buttons by editing function. Tabs are displayed for each editing function and the buttons that perform those functions are displayed within each tab. n When you are working with a 24p project, the Command palette displays the Step Forward 8 Frames button and Step Backward 8 Frames button. You can use the Command palette to: n • Map buttons to the Tool palette or the keyboard. See “Mapping UserSelectable Buttons” on page 133. • Map menu commands to various buttons and keys. See “Mapping Menu Commands” on page 135. • Directly activate a command. See “Activating Commands from the Command Palette” on page 136. For information about each button in the Command palette, right-click a button and select What’s This? from the menu. Button Mapping Mapping user-selectable buttons allows you to reconfigure Command palettes or the keyboard in various combinations to suit different editing needs. n 132 When you map buttons to the keyboard, the mapping might be specific to the current editing mode. For example, buttons mapped to the Page Up or Page Down keys revert to their default button functions when you enter Effect mode. After you exit Effect mode, the buttons return to the mapped function. Using the Command Palette The following are a few examples: • Subcataloging clips: You can map the Make Subclip button and other clip management buttons. Make Subclip • Add Locator Complex layering and effects editing: You can map buttons such as Motion Effect, Remove Effect, and Fade Effect. Motion Effect For more information on multiple settings, see “Working with Multiple Settings” on page 98. Find Bin Remove Effect Fade Effect When you remap buttons or commands, the application immediately saves your new configuration in one of the default settings that you can open from the Project window. You can also save, rename, and recall multiple versions of any of these settings to serve various purposes. The application saves button configurations as follows: • Changes to the Keyboard palette are saved in the Keyboard settings. • Changes to the Tool palette are saved in the Interface settings. Both of these settings are saved in the User settings. Mapping User-Selectable Buttons To map buttons or keys on the keyboard by using the Command palette: 1. Open a window that has a user-selectable button palette by doing one of the following: t Activate the Source/Record monitor or the pop-up monitor, click the Fast Menu button, and drag to tear off the Tool palette. t Double-click Keyboard in the Settings scroll list in the Project window to open the Keyboard palette. 133 Chapter 4 Using Basic Tools 2. Select Tools > Command Palette. The Command palette opens. 3. Select Button to Button Reassignment. 4. Click the tab from which you want to select a user-selectable button. 5. Drag the button from the Command palette to a button location on the Tool palette or the Keyboard palette (whichever one you opened previously). Using the Blank Button The Blank button in the Other tab of the Command palette allows you to replace a defined button with an undefined button. If you do not need or use a specific button on a Tool palette, you can replace the button with a Blank button. For information on mapping the Blank button to a new location, see “Mapping User-Selectable Buttons” on page 133. Mapping the Modifier Key You can add modifier keys to functions already associated with keys and buttons. The Other tab of the Command palette contains the Add Alt key button. For example, if you map the Add Alt Key button to the Mark IN key (I key), the function of the I key changes to Go to IN Point (which is equivalent to pressing the Alt and I keys). For a list of other functions that use modifier keys, see the “Shortcuts” section in the Help. n 134 After you modify a key or button with the modifier key buttons, you can use the default function of the key or button by pressing the appropriate modifier key and the modified key, or by pressing the modifier key and clicking the modified button. Using the Command Palette Mapping Menu Commands You can map menu commands displayed in the menus on the Avid editing application menu bar directly to buttons on the Tool palette or to the Keyboard palette. This is especially useful if you frequently use the keyboard or the Tool palette during editing. In some cases, you can avoid using the menus altogether. n Before you can map some commands, you must first establish the condition that enables the command. For example, before you can map the Render In/Out command from the Clip menu, you must first place IN and OUT points in the Timeline so that the menu command appears. To map menu commands: 1. Open a window that has a user-selectable button palette by doing one of the following: t Activate the Source/Record monitor or the pop-up monitor, click the Fast Menu button, and drag to tear off the Tool palette. t Double-click Keyboard in the Settings scroll list in the Project window to open the Keyboard palette. 2. Select Tools > Command Palette. The Command palette opens. 3. Select Menu to Button Reassignment. 4. Click a target button on the Keyboard palette or the Tool palette. The pointer changes to a small white menu. 5. Select the menu command you want to map to the target button. For example, select Tools > Effect Editor. 135 Chapter 4 Using Basic Tools The initials for the menu command appear on the target button. Effect Editor menu command mapped to a new key Activating Commands from the Command Palette You can perform a command function directly from the Command palette. For example, in the Move tab, you can click the Go to Next Locator button to move the position indicator to the next locator. To activate a command from the Command palette: 1. Select Tools > Command Palette. The Command palette opens. 2. Select Active Palette. 3. Click the tab from which you want to select a command function. 4. Click the button in the tab for the function you want to perform. 136 Using the Avid Calculator Using the Avid Calculator The Avid Calculator helps you calculate video and film durations, and convert timecode and film key numbers to different formats. For example, you can: • Convert drop-frame to non-drop-frame timecode values. • Convert timecode durations between 30-frames-per-second (fps) and 25-fps projects. • Convert durations to total frame count. To use the Avid Calculator: 1. Select Tools > Calculator. The Avid Calculator opens. 2. Click the Format pop-up menu. and select a format. 3. Make calculations in one of the following ways: n t Use the top row of numbers on the keyboard to enter numbers and functions in the Avid Calculator. t Press the Num Lock key, and then enter numbers and functions with the numeric keypad. t Use the numbers on the Calculator. You do not need to enter leading zeros, colons, or semicolons for timecode. To convert your totals at any time to another format: t Click the Format pop-up menu, and select a different frame code or key number format. 137 Chapter 4 Using Basic Tools Using the Console Window The Console window provides a number of features, including: c • Current system information, including your system ID number • A log of error messages • Detailed information about sequences in the Timeline or about objects in a bin • Information after you capture or import Do not use the programming features of the Console without guidance from Avid professionals. Contact your Avid Reseller. (In North America, you can contact Avid Customer Support.) Displaying System Information To display current system information: 1. Select Tools > Console. The Console window opens. 2. Scroll to the top of the Console window to view your system information and ID. This feature is especially useful for finding the system ID when you need to contact your Avid Reseller or Avid Customer Support. Reviewing a Log of Errors To review errors logged to the Console: 1. When an error occurs and a message box opens, close the message box and select Tools > Console. 2. Scroll through the Console to find a log of the error to use when you contact your Avid Reseller or Avid Customer Support. 138 Using the Hardware Tool Getting Information with the Console Window The Console window provides quick access to bin information such as total duration of selected clips or total items in a bin, including hidden items. You can also use the Console window to display information about a shot, segment, or sequence in the Timeline. To get information with the Console window: 1. Select Tools > Console. The Console window opens. 2. Select the item about which you want information: t In the Timeline, move the position indicator to the selected clip or segment. t In the bin, select an object or Ctrl+click multiple objects. 3. Do one of the following: t Select File > Get Bin Info. t Select File > Get Position Info. Information about the clip appears in the Console window. Using the Hardware Tool The Hardware tool provides the following information about the system’s hardware configuration: • The Drives tab lists each online drive. The name of each drive and its total size are listed below each Drive icon. The shaded portion of the bar graph to the right of each drive shows the amount of storage space currently filled. The number in the bar graph indicates the amount of available drive storage space for each drive. • The System tab lists the operating system, its version and build numbers, and the physical memory. 139 Chapter 4 Using Basic Tools Checking the Hardware Configuration To check the hardware configuration of your Avid editing system, do one of the following: t Select Tools > Hardware. t Click the Info tab in the Project window, and then click Hardware. The Hardware tool opens. The Hardware tool contains the following information: 140 • Each online drive is listed on the left side of the Drives tab. The name of each drive and its total size are listed below each Drive icon. The shaded portion of the bar graph to the right of each drive shows the amount of storage space currently filled. The number in the bar graph indicates the amount of available storage space for each drive. • The name of the operating system, version number, service pack (if any), and build number appear in the System tab. The total physical memory is also listed in the same location. Using the Communication (Serial) Ports Tool Using the Communication (Serial) Ports Tool The Communication (Serial) Ports tool allows you to view the current configuration of the serial interface at any time during editing. You can also use it to reconfigure the ports without closing the Avid application or shutting down the computer. n Although you can use the Communication (Serial) Ports tool to reassign ports, you still need to reconnect the appropriate cables to the newly assigned ports. To open the Communication (Serial) Ports tool: 1. Select Tools > Communication (Serial) Ports. The Communication (Serial) Ports tool opens. 2. Assign ports for deck control and other devices, as necessary, by selecting a port or no port from any of the pop-up menus. 3. Close the Communication (Serial) Ports tool. 141 Chapter 4 Using Basic Tools 142 Chapter 5 Organizing with Bins The Avid editing application provides powerful database tools for organizing and managing your captured material. You can work with bins using three different views. You can rename, sort, sift, duplicate, and delete clips and sequences. You can also print single-clip frames or whole bins. These topics are covered in the following sections: • Setting the Bin Display • Basic Bin Procedures • Using Brief View • Using Text View • Using Frame View • Using Script View • Printing Bins • Gathering Format Elements Chapter 5 Organizing with Bins Setting the Bin Display You can use the Set Bin Display dialog box to display clips referenced by a sequence, even if the clips were not previously in the bin. Place a sequence in a new bin, and follow this procedure. To set the bin display: 1. Click in a bin. 2. Select Bin > Set Bin Display. The Set Bin Display dialog box opens. Table 6 briefly describes the icons listed in the Set Bin Display dialog box. 3. Select the object types that you want to see: master clips, subclips, sequences, and so on. 4. The option “Show clips created by user” is selected by default. Deselect this option only if you want to hide all objects except those created by the system. 5. Select the option “Show reference clips” to automatically display objects that are referenced by sequences in the bin, whether those clips were previously in the bin or not. 6. Click OK. The bin displays objects according to your specifications. Table 6 Object Icon 144 Object Icon Descriptions Object Description Master Clips A clip that references audio and video media files formed from captured footage or imported files Subclips A clip that references a selected portion of a master clip Sequences A clip that represents an edited program, partial or complete, that you create from other clips Basic Bin Procedures Table 6 Object Icon Object Icon Descriptions (Continued) Object Description Sources A clip that references the original videotape source footage for master clips Effects A clip that references an unrendered effect that you create Motion Effects A file in the bin that references effect media files generated when you create motion effects Rendered Effects A clip that references an effect media file generated when you render an effect Groups (For MultiCamera editing) Clips containing two or more grouped clips, strung together sequentially according to common timecodes ITV Enhancement A clip that represents Interactive TV (ITV) enhancements that conform to SMPTE standard 363M. For more information, see the Avid MetaSync Setup and User’s Guide. Opaque Enhancement A clip that represents enhancements that do not conform to SMPTE standard 363M. For more information, see the Avid MetaSync Setup and User’s Guide. Basic Bin Procedures There are some basic procedures that you can use in either Text view or Frame view for manipulating clips in the bin. They include selecting, deleting, duplicating, moving, copying, and sifting clips and sequences. When you are working with bins, an asterisk (*) appears before the bin name in the bin’s title bar. This asterisk indicates that the changes to the bin have not been saved. Once you save the bin, the asterisk is removed. n To view a complete list of the bins in your project, see “Using the Bins Display” on page 61. 145 Chapter 5 Organizing with Bins Using Bin Display Views There are four display views for viewing and working with clips in a bin: Brief view, Text view, Frame view, and Script view. For information about bin views, see “Using Brief View” on page 160, “Using Text View” on page 161, “Using Frame View” on page 180, and “Using Script View” on page 184. n You can resize each display view by dragging the lower right corner of the Bin window. The size of the display view is saved as a User setting for the bin. The bin view retains its set size every time you open that view of that bin, even in separate editing sessions. Each bin view can have a different size. Changing the Bin Display View Size To change the bin display view size: t Click a corner of a bin display view and drag the bin to resize it. The bin display view size is retained as a user setting for that bin. The bin retains its set size every time you open that view of that bin, even in separate editing sessions. Each bin display view can have a different size. Custom Bin Views At the bottom of the bin is the Bin View pop-up menu (Text view only) for selecting different Bin views. Bins have two default views that are automatically loaded: Custom and Statistics. Customizing Bin Views in Text View You can create and save customized Bin views that you can easily access from the Bin View pop-up menu. You can customize the Bin view by adding, hiding, or rearranging Bin columns. The only required column heading is the clip name, which is displayed by default. 146 Basic Bin Procedures There are several ways to customize views of the bin: • Alter the arrangement of existing columns in the standard Statistics view to suit your needs, without adding or hiding columns. These arrangements will be recalled each time you select Statistics view. • Add or hide columns of information to create customized Statistics views. These are saved as additional view settings in numerical order, for example Statistics.1, Statistics.2, unless you choose another name. To customize views of the bin, you can add, hide, copy, or rearrange standard or customized columns in any combination to create your own custom views. You can name and save them to suit your needs. When you create a new Bin view, the system saves the settings for this view so that you can later access and alter, copy, or delete these settings. New Bin View settings appear in the Settings scroll list of the Project window. Saving a Custom Bin View Any time you add, hide, or delete a column, the Bin view name changes to italic with the file name extension .n to indicate that it no longer matches the original view. If you select a new Bin View setting while the current setting is untitled or italic, the system discards the current setting. n If you do not save the view after adding or deleting headings, it is discarded. To save a Bin view: 1. Open a bin and click the Text tab. 2. Add or hide columns according to preference. For more information about showing or hiding columns, see “Showing and Hiding Columns” on page 163. The Bin view name changes to italic. 3. Click the Bin View pop-up menu, and select Save As. The View Name dialog box opens. 4. Type a name for the custom view, and click OK. 147 Chapter 5 Organizing with Bins The Bin Fast Menu All Bin menu commands are also available in the Bin Fast Menu, located in the lower left corner of every bin. The Fast Menu is convenient when you are working with several open bins and need to access Bin Menu commands quickly. To open the Bin Fast Menu: t Click the Fast Menu button in the lower left corner of the bin. Setting the Font and Point Size You can set the default font and point size of a Project, Bin, Source/Record, or Timeline window. You can have multiple variations of fonts and point sizes across these windows. For example, you can set the Project window to Helvetica, 13 pt.; set one Bin window to Times Roman, 11 pt.; and set another Bin window to Arial, 12 pt. Table 7 describes the windows you can change, and where these changes are saved. Table 7 Font and Point Size Options Window What you can change Where it is saved Project Changes the font and point size of the text in the Bin and Settings tab Project setting Bin Changes the font and point size of the text in a Bin setting (not the Bin View Bin window setting) Source/Record Changes the font and point size of the sequence Source/Record setting or source clip name text Timeline Changes the font and point size of clip text Timeline View setting When you close the window, the last font and point size applied is saved. 148 Basic Bin Procedures Setting the Text Font To set a font for a Project, Bin, Source/Record, or Timeline window: 1. Select (activate) a Project, Bin, Source/Record, or Timeline window. 2. Select Edit > Set Font. The Set Font dialog box opens. 3. Click the Font pop-up menu, and select one of the available fonts. n Any font loaded in the Fonts folder appears in the list. For information on adding fonts to your system, see your Windows documentation. 4. Click OK. The new font is applied and saved with the window. Setting the Point Size To set a point size for a Project, Bin, Source/Record, or Timeline window: 1. Select (activate) a Project, Bin, Source/Record, or Timeline window. 2. Select Edit > Set Font. The Set Font dialog box opens. 3. Type the point size you want. 4. Click OK. The new point size is applied and saved with the window. Selecting Clips and Sequences To select clips or sequences in a bin, do one of the following: t Click the clip or sequence icon (Brief view or Text view). t Click the picture area of the clip or sequence (Frame view or Script view). t Ctrl+click to select multiple clips or sequences. 149 Chapter 5 Organizing with Bins To reverse your selection: t Select Bin > Reverse Selection. The items that you previously selected are deselected, and those that were previously deselected are selected. Duplicating Clips and Sequences When you duplicate a clip or sequence, the system creates a separate clip linked to the same media files. You can move, rename, and manipulate this clip without affecting the original clip. To duplicate a clip or sequence: 1. Select the clip or sequence that you want to duplicate, or Ctrl+click to select multiple clips or sequences. 2. Select Edit > Duplicate. A copy of the clip or sequence appears in the bin, with the original clip or sequence name followed by the file name extension .Copy.n, where n is the number of duplicates created from the original clip or sequence. Moving Clips and Sequences You can move clips and sequences to other bins to group and organize various types of material based on project needs. To move clips or sequences from one bin to another: 1. Create or open another bin. Give the bin a name that represents its purpose or contents. 2. Position or resize the original bin and the new bin so that you can see both of them at the same time. 3. Select the clip or sequence that you want to move, or Ctrl+click to select multiple clips or sequences. 4. Drag the clips or sequences to the new bin. 150 Basic Bin Procedures n If the destination bin’s display has been set to show reference clips, the referenced object types do not appear until you save the bin. Copying Clips and Sequences When you copy clips, you essentially create a reference clip in another bin, and any change you make to the copy will affect the original as well. You cannot copy clips to the same bin, and you cannot return a clip copy to the same bin where the original resides. When you press and hold the Alt key and drag a clip to make a copy, the system does not add the file name extension .Copy.n to the clip or sequence as it does when duplicating. When you copy clips from one bin to another, the custom columns that you created in the first bin are also copied to the second bin. The custom columns appear in the order in which you created them. To copy clips from one bin to another bin: 1. Position the bins so that you can see both of them at the same time. You might need to resize the bins to do this. 2. In the original bin, click the clip or sequence that you want to copy, or Ctrl+click to select multiple clips or sequences. 3. Press and hold the Alt key, drag the clips or sequences to the destination bin, and release the mouse button. Deleting Clips and Sequences To delete clips or sequences from a bin: 1. Select the clips and sequences that you want to delete. 2. Do one of the following: t Select Edit > Delete. t Press the Delete key. The Delete dialog box opens, showing information about the selected items. 151 Chapter 5 Organizing with Bins 3. Select the items for deletion. 4. (Option) Delete the associated media files for master clips and effect clips. You can select both clips and media files for deletion, or you can select only the media files if you want to retain the clips for recapture later. 5. Click OK. If you choose to delete media files, a message box opens. 6. Click Delete. Assigning Colors to Bin Objects You can assign colors to clips, subclips, sequences, and effect clips to help you manage and organize the bin objects. Colors assigned to bin objects are referred to as source colors. Adding a Color Column to a Bin To add a Color column to a bin: 1. With a bin in Text view, select Bin > Headings. The Bin Column Selection dialog box opens. 2. Click Color. 3. Click OK. The Color column appears in the bin. n 152 By default, a new column appears as the last column in the bin. To move the Color column, click the Color column heading and drag it to the left. Basic Bin Procedures Assigning a Source Color To assign a color to a clip, subclip, sequence, or effect clip in a bin: 1. With a bin in Text view, select the bin objects to which you want to assign a color. 2. Select Edit > Set Clip Color > color. The color appears in the Color column. n You can also assign a color by clicking in the Color column and selecting a color. Assigning a Custom Source Color To assign a custom color to a clip, subclip, sequence, or effect clip in a bin: 1. With a bin in Text view, select the bin objects to which you want to assign a color. 2. Select Edit > Set Clip Color > Pick. The Windows Color dialog box opens. 3. Select a color and click OK. The custom color appears in the Color column and on the clip icon. n After you assign a custom color, the color appears as Other in the Set Clip Color submenu. 153 Chapter 5 Organizing with Bins Limiting Color Choices When assigning colors to bin objects, you can limit the color choices to only the colors currently used in the bin. To limit the colors available when assigning colors to bin objects: 1. With a bin in Text view, select the bin objects to which you want to assign a color. 2. Alt+click in the Color column in the bin. A menu of all the colors you are using in the bin appears. Any custom colors you assigned are labeled Other. 3. Select one of the colors. The color appears in the Color column and on the clip icon. Sorting by Color To sort bin objects by color: 1. With a bin in Text view, click the Color column heading in the bin. 2. Click the Bin Fast Menu, and select Sort. The objects in the bin are sorted by color. n Colors are sorted by hue, saturation, and value. Sifting Clips and Sequences When you sift clips, the bin displays only those clips that meet a specific set of criteria. For example, you can do a custom sift to display only those clips containing the word “close-up” in the heading column. The dialog box provides you with six different levels of criteria. 154 Basic Bin Procedures To sift clips and sequences: 1. Select Bin > Custom Sift. The Custom Sift dialog box opens. Text to Find text box Column or Range to Search pop-up menu Criterion pop-up menu 2. Click the Criterion pop-up menu, and select one of the sifting options. 3. Click the first Text to Find text box, and type the text that you want to use as a sift criterion. When sifting by color, type the exact name of the color by using uppercase and lowercase letters, in the text box. 4. Click the Column or Range to Search pop-up menu, and select a column heading to which you want to apply the criterion. 5. Type additional sift criteria, and make additional column selections, as necessary. 6. Click OK. Only the clips that meet your criteria remain in the bin, with the word “sifted” added to the bin name. 155 Chapter 5 Organizing with Bins After you have sifted the clips in a bin, you can display the bin in a sifted or an unsifted state as follows: To view the entire bin: t Select Bin > Show Unsifted. To view the sifted bin: t Select Bin > Show Sifted. The word “sifted” appears in parentheses after the bin name when you are viewing a sifted state. Locking and Unlocking Items in the Bin You can lock any item in the bin — including source clips, master clips, subclips, and sequences — to prevent deletion. When you lock clips in the bin, you lock their associated media files on your desktop as well. To lock items: 1. Click a clip, subclip, or sequence to select it. Ctrl+click additional clips if necessary. 2. Select Clip > Lock Bin Selection. 156 Basic Bin Procedures A Lock icon appears for each locked clip in the Lock column of the bin in Text view. Lock icons To unlock previously locked items: 1. Click a clip, subclip, or sequence to select it. Ctrl+click additional clips or sequences, if necessary. 2. Select Clip > Unlock Bin Selection. n You can use the clip-locking feature along with archiving software to automatically archive all locked media files. For more information on archiving locked files, see your archiving software’s documentation. Selecting Offline Items in a Bin Offline items are clips, subclips, or sequences that are missing some or all of their original media files or that have never been captured. To identify offline items, do one of the following: t Select Bin > Select Offline Items. t Click the Bin Fast Menu, and select Select Offline Items. The bin highlights all items that are missing media files. 157 Chapter 5 Organizing with Bins Selecting Media Relatives for an Object When you identify the media relatives of a selected clip or sequence, the system highlights all other clips linked to the selected clip, such as subclips or other sequences. To identify media relatives: 1. Open the bin that contains the selected clip or sequence. 2. Open any other bins that might contain the media relatives that you want to find. 3. Resize and position the bins so that you can see their contents. Text view is best for viewing as many objects as possible. 4. Click the selected clip or sequence. 5. Do one of the following: t Select Bin > Select Media Relatives. t Click the Bin Fast Menu, and select Select Media Relatives. The system highlights all related objects in all open bins. Highlighted media relatives 158 Basic Bin Procedures n You can also use the Media tool to look at the captured video and audio data files stored on your media drives. For more information on the Media tool, see “Using the Media Tool” on page 198. Selecting Unreferenced Clips When you select unreferenced clips, the system highlights all clips that are not currently referenced by clips or sequences present in the open bins. Any master clips, subclips, or effect clips you have edited into a sequence in the bin are not highlighted. To select unreferenced clips: 1. Open the bin containing the sequence or clip that is referenced. 2. Open all other bins containing clips that were used during editing. 3. Select Bin > Select Unreferenced Clips. A message box warns you that unreferenced clips will be highlighted in open bins only (items in closed bins are not shown). 4. Click OK. All unreferenced clips are highlighted in the open bins. n The Select Unreferenced Clips command is effectively the reverse of the Select Media Relatives command. 159 Chapter 5 Organizing with Bins Using Brief View In Brief view, the Avid application displays five standard columns of information about the clips and sequences in your bins: • Name • Start • Duration • Tracks • Offline This view helps you manage your screen real estate. Brief tab Column heading Object icons Fast Menu button To see Brief view: t n 160 Click the Brief tab. You cannot customize the column headings in Brief view. Using Text View Using Text View In Text view, clips are displayed in a database text format, using columns and rows, with icons representing the various objects. Text view provides the most complete view of clip information. You can rearrange and customize columns in Text view to suit your needs. Text tab Column heading Object icons Fast Menu button For information on specific Text view features, see “Organizing Bin Information in Text View” on page 161. To see Text view: t Click the Text tab. Organizing Bin Information in Text View Text view allows you to organize clip and sequence information using the following methods: • Arranging bin columns • Modifying clip and sequence data • Sorting clips and sequences 161 Chapter 5 Organizing with Bins Arranging Bin Columns This section provides procedures for adding, hiding, moving, duplicating, and deleting columns from a bin. Moving and Rearranging Columns To move a text column in a bin: 1. Click the heading of the column that you want to move. The entire column is highlighted. 2. Drag the column to the position you want, and release the mouse button. The column appears in the new position, and columns to the right are moved to make room. 162 Using Text View Aligning Bin Columns When you align bin columns, the system maintains the same order of columns from left to right but spaces them according to the length of their contents. This is especially useful for removing spaces left after you move or rearrange columns. To align bin columns: t Select Bin > Align Columns. Showing and Hiding Columns You can select individual or multiple headings to be displayed or hidden in Text view. To select column headings: 1. Select Bin > Headings. The Bin Column Selection dialog box opens. 2. Select the headings you want to add to the bin: t Click the name of a heading to select it. t Click a highlighted heading to deselect it. t Click All/None to highlight all headings or no headings. 3. Click OK. Only the headings highlighted in the dialog box appear in the bin or Text view. Deleting Columns Deleting a statistical column is the same as hiding the column; you can restore the column at any time by using the Bin Column Selection dialog box. When you delete a Custom column, however, you must re-create the column. 163 Chapter 5 Organizing with Bins To delete a column: 1. Click the column heading. 2. Do one of the following: t Select Edit > Delete. t Press the Delete key. The column disappears from the view, and surrounding columns close to fill the space. Duplicating Columns You can duplicate existing columns containing timecode information in other compatible columns that you target in a dialog box. To duplicate a timecode column: 1. Select the column you want to duplicate by clicking its heading. 2. Select Edit > Duplicate. The Select dialog box opens. The dialog box contains column names compatible with the column you selected in step 1. The column must contain the same type of data for the copy to occur. 3. Select a column name from the list, and then click OK. The column of information appears in the column you designated. Adding Customized Columns to a Bin You can add your own column headings to describe information about clips and sequences. For example, you might want to add a column heading to describe what kind of shot (close-up, wide shot, master shot, extreme close-up, and so on) is used in a clip. To add a new custom column: 1. Move any existing column to the right or left to create an empty area. 2. Click an empty area to the right of the current headings in the headings box. 164 Using Text View 3. Type the column heading you want, and press Enter. Column headings must contain fewer than 30 characters, including spaces. Custom heading This places the pointer in the data box, beside the first clip in the bin. 4. Select Bin > Align Columns after you have entered the new column heading. 5. Type the information, and press Enter to move to the next line. Changing a Custom Column Heading You can change the heading name of custom columns only. You cannot change any of the standard statistical or film column headings. To change the name of a custom column: 1. Alt+click the heading to highlight it. 2. Type the new text for the heading, and press Enter. 165 Chapter 5 Organizing with Bins Managing Clip Information in Text View There are several ways to manage clip information in Bin columns. These methods include moving information with columns, modifying clip data, moving information between whole columns, copying information between cells, and sorting clip information, as described in this section. Moving Within Column Cells Use the keyboard shortcuts to move from cell to cell in bin columns: n To use these shortcuts, select the cell entry so it appears in black, not the entire row. • Tab moves the pointer to the parallel cell in the next column. You can continue to press the Tab key to scroll through the cells to the right until the cell in the last column is highlighted. The next time you press the Tab key, the cell in the first column is highlighted. • Shift+Tab moves the pointer to the cell in the previous column. You can continue to press Shift+Tab to scroll through cells to the left until the cell in the first column is highlighted. The next time you press Shift+Tab, the cell in the last column is highlighted. • Enter (on the main keyboard) enters any new information typed in the cell and moves the pointer down to the cell in the next row. You can continue to press Enter to scroll down the column until the last cell in the column is highlighted. The next time you press Enter, the first cell in the column is highlighted. • Shift+Enter (on the main keyboard) moves the pointer up to the cell in the previous row. You can continue to press Shift+Enter until the cell in the top row is highlighted. The next time you press Shift+Enter, the cell in the last row is highlighted. Modifying Clip Information You can change or modify the information in certain columns for your master clips, subclips, tapes, and other objects stored in the bin. This is especially useful if some of the data are incorrect or if you need to conform information for organizational purposes. 166 Using Text View The following conditions apply to modifying clip information: • When you modify a clip’s information, related objects are automatically updated to reflect the new data. For example, if you change the name of a clip, the updated name appears in the sequences that use the clip. • Some data cannot be modified after capture because changes would prevent you from playing back and editing the material successfully. • Sequence data cannot be changed, even though it appears in your bin. The only way to modify sequence data is to edit the sequence itself. You can, however, change the name and start time for the master timecode track, as described in “Changing the Sequence Info” on page 275. You can modify some data directly for master clips, subclips, and other objects stored in a bin. There are two ways to modify data: • You can modify some data directly for master clips, subclips, and other objects stored in a bin. • You can select Bin > Modify to change specific information for master clips only. Modifying Data Directly When you modify information in a bin directly, you click a cell and type the new information. For example, you can type a new name for a clip or correct the start and end timecodes. You can directly modify any data in the bin prior to capture. After the footage is captured, however, you can directly modify only selected headings, with restrictions as shown in Table 8. 167 Chapter 5 Organizing with Bins Table 8 Direct Modification Headings Heading Restrictions (Clip) Name No restrictions. Auxiliary timecodes, 1–5 No restrictions. Color No restrictions. KN (Key Number) Start Only for 24p projects, 25p projects, and matchback projects. Altering the starting key number also alters the KN End to maintain the duration. This can cause discrepancies with any auxiliary timecode information that you entered manually. KN (Key Number) End Only for 24p projects, 25p projects, and matchback projects. Altering the KN End also alters the KN Start to maintain the duration. Mark IN Altering the mark IN also alters the IN-to-OUT duration. This replaces any previous mark. Mark OUT Altering the mark OUT will also alter the IN-to-OUT duration. This replaces any previous mark. Pullin Only for 24p projects and matchback projects. Pullin data imported from a telecine-generated list can be altered directly only before capturing or after unlinking. See “Transferring 24-fps Film to NTSC Video” in the Help. (NTSC only) Pullout Automatically calculated. This field can not be modified. To modify the clip data directly: 1. Click the Text tab. 2. Click the cell that you want to modify. Select only one item at a time. 3. Click the cell again to enter text. If the pointer does not change to an I-beam, you might be attempting to modify a column that cannot be directly modified. 4. Type the new information, and press Enter. 168 Using Text View Modifying Data by Using the Modify Command The Modify command gives you specialized control over information in specific headings. For example, you can use the Modify command to change the name of source tapes or to increment or decrement the start and end timecodes by a specified length of time for one or several master clips at once. You can apply changes with the Modify command to master clips only; subclips and sequences cannot be altered in this way. In addition, you can perform only modifications that alter the end timecodes or the tracks before capture, as described in Table 9. Table 9 Modify Command Options Type of Modification Options Description Set Timecode Drop/ Non-drop Drop, Non-drop Changes the timecode format between dropframe and non-drop-frame. Setting must match the timecode format of the tape. Set Timecode By Field Start or End Changes either the start or end timecode. Only start timecode can be altered after capture. Hour, Minutes, Seconds, Allows you to enter custom timecode. Frames Increment Timecode Start or End Changes either the start or end timecode. Incrementing the start timecode automatically modifies the end timecode by the same amount. Only start timecode can be incremented after capture. Timecode text box Allows you to enter custom incremental timecode. 169 Chapter 5 Organizing with Bins Table 9 Modify Command Options (Continued) Type of Modification Options Description Decrement Timecode Start or End Changes either the start or end timecode. Decrementing the start timecode automatically modifies the end timecode by the same amount. Only start timecode can be decremented after capture. Timecode text box Allows you to enter custom decremental timecode. Set Key Number Generic (Prefix) Key Number text box Allows you to enter a custom generic key number. Only for 24p, 25p, and matchback projects. Set Pullin A, B, C, or D Selects the pulldown phase to match to the timecode entry (24p and matchback projects only). For more information, see “Transferring 24-fps Film to NTSC Video” in the Help. Set Tracks V, A1, A2, A3, A4, A5, A6, A7, and A8 track selector buttons Changes the clip’s configuration of tracks (film projects only). The clip must be unlinked. See “Unlinking Media Files” on page 216. Set Source None Opens the Select Tape dialog box. Selects another source tape name for the clips that should match the original source tape name. To modify selected data by using the Modify command: 1. Open the bin. 2. Click the small clip icon to the left of the clip, sequence, or other object you want to modify. Ctrl+click each additional object you want to modify. 3. Select Clip > Modify. 170 Using Text View The Modify dialog box opens. Modify Options pop-up menu 4. Click the Modify Options pop-up menu, and select an option (for example, Set Timecode Drop-Nondrop). 5. Select an option or type information in the text boxes (timecode values, for example) when they appear. 6. Click OK. The modification takes effect. Copying Information Between Columns To copy information between columns: 1. Click the column that you want to copy. 2. Select Edit > Duplicate. A dialog box prompts you to target a column for the data. 3. Select the target column for the data, and click OK. 171 Chapter 5 Organizing with Bins Sorting Clips Sorting clips arranges them in either numerical or alphabetical order, based on the data in the column you select as the sorting criteria. You can sort clips in several different ways, including an ascending sort, a descending sort, and a multilevel sort. n You can sort clips and sequences in Text view only. If you need to view sorted clips in Frame or Script view, sort them in Text view first and then return to Frame view or Script view. Sorting Clips in Ascending Order To sort clips in ascending order: 1. Click the Text tab. 2. Click the heading of the column that you want to use as the criterion. The column is highlighted. 3. Do one of the following: t Right-click the column heading, and then select Sort on Column, Ascending. t Select Bin > Sort. The objects in the bin are sorted in ascending order. For information on sorting order, see “Sorting Clips in Descending Order” on page 173. n If the Sort command appears dimmed in the menu, you have not selected a column. To reapply the last sort: t With no column selected, select Bin > Sort Again. This step is especially useful after you have added new clips to a sorted bin. 172 Using Text View Sorting Clips in Descending Order To sort clips in descending order: 1. Click the Text tab. 2. Click the heading of the column that you want to use as the criterion. The column is highlighted. 3. Do one of the following: t Right-click the column heading, and then select Sort on Column, Descending. t Press and hold the Alt key while you select Bin > Sort Reversed. The objects in the bin are sorted in descending order. For information on sorting order, see “Sorting Clips in Ascending Order” on page 172. Performing Multilevel Sorting with Columns You can select multiple columns in a bin and perform a multilevel sort by using the information in the columns. To perform a multilevel sort: t Rearrange the columns in the bin to establish the primary column. The column that appears farthest to the left in Text view becomes the primary criterion for the sorting operation. Sorting Clips by Color You can sort the clips by color if you assigned colors to the clips. See “Assigning Colors to Bin Objects” on page 152. To sort clips by color: 1. Click the Color column heading in the bin. 2. Select Bin > Sort. The objects in the bin are sorted by color. n Colors are sorted by hue, saturation, and value. 173 Chapter 5 Organizing with Bins Displaying Timecodes in a 24p or 25p Project When you are working with 24p and 25p projects (PAL with pulldown), you can add timecode columns to bins or the Media tool to enter and display starting timecodes in several timecode formats for master clips, subclips, and sequences. n For information on displaying timecodes in the Timeline and the Tracking Information display, see “Displaying Timecodes in a 24p or 25p Project” on page 174 and “Displaying Tracking Information” on page 226. After you add a timecode column (TC 24, TC 25, TC 25P, or TC 30) to a bin, you can use the Duplicate command to convert the values for master clips and subclips to the appropriate timecode for that column. For example, when working with a 24p NTSC project, if you duplicate the Start column values to one of the timecode columns and the Start column contains a master clip with the timecode 01:00:00:15, the timecode is converted to the timecode of that column. Table 10 shows the converted timecode for each timecode column. All the values are equivalent. Table 10 n 174 Timecode Columns Bin Column Timecode TC 24 01:00:00:15 TC 25 01:00:00:15 TC 25P 01:00:00:16 TC 30 01:00:00:19 The TC1 track in the Timeline represents the timecode of the project in which you are working. For example, when you are working in a 24p NTSC project, the TC1 track displays the same timecode as the TC 30 track. Using Text View Frame Counting for Timecodes Table 11 shows the frame count for each timecode. The timecodes are listed as 24 for 24 fps, 25 for 25 fps, 25P for 25 (PAL with pulldown), and 30 for 30 fps (the count skips six frames to fit 30 frames into 24 fps). Table 11 Timecode Frame Counts for Record Timecode Frames 24 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 00 25 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25P 00 01 02 03 04 05 06 07 08 09 10 11 13 14 15 16 17 18 19 20 21 22 23 24 00 30 00 01 03 04 05 06 08 09 10 11 13 14 15 16 18 19 20 21 23 24 25 26 28 29 00 Adding Timecode Columns to a Bin or the Media Tool To add timecode columns to a bin or the Media tool: 1. Select Bin > Headings. The Bin Column Selection dialog box opens. 2. Ctrl+click the timecode columns you want to display. 3. Click OK. The timecode columns appear in the bin or the Media tool. Adding Timecode Values to the Timecode Columns To add timecode values to the timecode columns: 1. Open a bin or the Media tool. 2. Add the Start column and the timecode column with the format you want to use. 3. Select the Start column. 175 Chapter 5 Organizing with Bins 4. Select Edit > Duplicate. The Select dialog box opens. 5. Select the timecode heading from the list. 6. Click OK. The values for master clips, subclips, and sequences in the Start column are converted to the appropriate timecode format and entered into the column you selected. Bin Column Headings You can select individual or multiple headings to be displayed or hidden in a bin. Table 12 describes the Bin Column Selection headings. For a procedure on how to select column headings, see “Showing and Hiding Columns” on page 163. Table 12 176 Bin Column Selection Heading Description Name This heading does not appear as a column selection, but it always appears in the bin. The column contains the name of the clip or sequence (you can rename a clip or sequence after it has been captured). Audio The audio resolution (sample rate). Audio Format The audio format of master clips (AIFF-C, SDII, or WAVE). Audio Sample Size The sample size used when you work with audio files: 16bit or 24bit. Auxiliary Ink Auxiliary ink format settings allow you to display two types of ink numbers at the same time. This lets you track additional types of film information for different film gauges. Used for 24p projects, 25p projects, and matchback projects only. Auxiliary TC1 through TC5 You can enter an auxiliary timecode, such as Aaton® or Arri®, or another timecode for editing film or audio timecode for film. (Not restricted to film projects.) Using Text View Table 12 Bin Column Selection (Continued) Heading Description Aux TC 24 The original HDTV sources (1080p/24) or audio DATs created for PAL feature film productions that use in-camera timecode. Cadence The type of pulldown present on the source NTSC tapes when in a 23.976 or 24p project. CFPS The captured frames per second. Camera The camera used to film this clip. This feature is used in multicamera shoots. Camroll The camera roll containing this clip. Used for 24p projects, 25p projects, and matchback projects only. Color The color of the bin objects for organizing the objects. Color Framing The color framing for the tape. For NTSC, the choice is Even or Odd. For PAL, the choices are A Standard, A Non-Standard, B Standard, or B NonStandard. Creation Date The date and time the clip was logged or captured. Drive The last known drive on which the media for that master clip existed. Duration The length of the clip. End The timecode of the clip’s tail frame. FPS The play rate: the number of frames to be displayed each second. The default is 29.97 for NTSC and 25 for PAL for video. The play rate can also be 24 or 23.98. Film TC The timecode used on film. Used for 24p and 25p projects only. Frame Displays the same frame that is displayed when you select Frame view for the bin. See “Using Frame View” on page 180. n IN-OUT It can take longer for the screen to display frames than text. Therefore, working with frames can slow down the work that you do with bins. The length of the marked segment, if any. 177 Chapter 5 Organizing with Bins Table 12 178 Bin Column Selection (Continued) Heading Description Ink Number The ink number for the clip. Used for 24p projects, 25p projects, and matchback projects only. KN Duration The length of the clip, expressed in feet and frames. Used for 24p projects, 25p projects, and matchback projects only. KN End The ending key number for the clip. Used for 24p projects, 25p projects, and matchback projects only. KN IN-OUT The Mark IN and Mark OUT key number for the clip. Used for 24p projects, 25p projects, and matchback projects only. KN Mark IN The key number for the IN point, if you set one for the clip. Used for 24p projects and 25p projects only. KN Mark OUT The key number for the OUT point, if you set one for the clip. Used for 24p projects and 25p projects only. KN Start The starting key number for the clip. Used for 24p projects, 25p projects, and matchback projects only. Labroll The labroll containing the clip. Lock Specifies whether the clip is locked against deletion. Mark IN The timecode for the IN point, if you set one for the clip. Mark OUT The timecode for the OUT point, if you set one for the clip. Media File Format The clip media format. Modified Date The date and time a sequence was last edited or changed. Offline The track names for any media files that are offline. Perf The film edge perforations format used for 3-perf projects. Used for 24p projects, 25p projects, and matchback projects only. Project The project under which the media was originally captured. Using Text View Table 12 Bin Column Selection (Continued) Heading Description Pullin The telecine pulldown of the first frame of the clip (pulldown phase). Pullin can have the values A, B, X (matchback only), C, or D. Used for 24p projects and matchback projects only. (NTSC only) Pullout The telecine pulldown of the last frame of the clip. Pullout can have the values A, B, X (matchback only), C, or D. Used for 24p projects and matchback projects only. (NTSC only) Reel # The source reel number. Used for 24p and 25p projects only. Scene The scene number of the clip. Shoot date The date the footage was shot. Slip The number and direction of perfs for subclips (audio clips only). Used for 24p and 25p projects only. Sound TC The timecode for audio. Soundroll The sound roll this clip came from. Used for 24p projects, 25p projects, and matchback projects only. Start The timecode of the clip’s head frame. TC 24 The 24-fps timecode. TC 25 The 25-fps timecode, no pulldown. Used for 24p and 25p projects only. TC 25P The 25-fps timecode with PAL pulldown. Used for 24p and 25p projects only. TC 30 The 30-fps timecode with 2:3 pulldown. Used for 24p and 25p projects only. Tape The source tape name. TapeID The Tape ID number. Tracks All tracks used by this media object. VITC The vertical interval timecode. Video The resolution under which the media for that clip was captured. 179 Chapter 5 Organizing with Bins Using Frame View In Frame view, each clip is represented by a single frame, with the name of the clip displayed below the frame. The system uses the head frame as the default, but you can play back the footage within any clip and select any frame to represent the footage. You can make the pictures larger to see more detail or smaller to see more clips in the window. You can also rearrange the frames in any order. Each frame appears on your screen with its assigned name directly beneath it. Frame tab Clip frame Clip name To see Frame view: t 180 Click the Frame tab. Using Frame View Changing the Bin Background Color You can customize the background color of the bin behind the frames. Changes affect one bin at a time. However, changes you make in Frame view appear in Script view as well. Text view remains black and white. To change the bin background color: 1. Activate the bin you want to change, and make sure you are in Frame view. 2. Select Edit > Set Bin Background > color. The bin color changes, based on your selection. 181 Chapter 5 Organizing with Bins Enlarging or Reducing Frame Size You must enlarge or reduce all frames in the bin together. You cannot change the size of an individual frame. To enlarge the frame size: t Select Edit > Enlarge Frame. The display size increases each time you select this option, up to seven times. To reduce the frame size: t Select Edit > Reduce Frame. The display size decreases each time you select this option, up to seven times. Rearranging Frames Frame view allows you to rearrange the display of the frames in the bin by moving them. To rearrange frames: 1. Click a single frame, and drag it to its new position. To rearrange more than one frame at a time, Shift+click or lasso multiple frames and drag them to a new position in the bin. n To lasso, click above the top frame and drag to surround the frames. 2. Click the background area of the bin to deselect the clips. n 182 When you return to Text view, the order of the clips is changed there as well. Using Frame View Changing the Frame Identifying the Clip By default, Frame view displays the first frame of each clip in the bin. You can, however, change the displayed frame. To change the frame identifying the clip: 1. Select the clip that you want to change. 2. Press and hold the K key (Pause) on the keyboard, and press the L key (Play Forward) to roll the footage within the frame forward at slow speed. To move backward through the footage, press and hold the K key and press the J key (Play Reverse). 3. When you see the frame that you want use, release the keys. The application saves the displayed frame as part of the bin configuration. Arranging Frames in a Bin To realign the frames in a bin after you have changed their display, use one of the following procedures: To align all frames to an invisible grid: t Select Bin > Align to Grid. To spread out the frames evenly to fill available space in the bin window: t Select Bin > Fill Window. To make frames appear in Frame view in the order in which they are sorted in Text view: t Select Bin > Fill Sorted. 183 Chapter 5 Organizing with Bins Using Script View Script view combines the features of Text view with Frame view and adds space for typing notes or script. The frames are displayed vertically on the left side of your screen with a text box to the right of each clip. Clip data matching the column headings in Text view appears above each text box. Script tab To see Script view: t Click the Script tab. Entering Script View To see Script view: t 184 Click the Script tab. Using Script View Adding Text in Script View To type text in the script box: t Click the script text box, and begin typing. This text does not appear in sequences edited from the clips; text appears only in printouts of the bin in Script view. You can use basic word processing procedures to highlight, delete, cut, copy, and paste text between script text boxes. If the notes or text you type extends beyond the size of the text box, use the Page Up or the Page Down key to scroll through the text. Enlarging or Reducing Frame Size You must enlarge or reduce all frames in the bin together. You cannot change the size of an individual frame. To enlarge the frame size: t Select Edit > Enlarge Frame. The display size increases each time you select this option, up to five times. To reduce the frame size: t Select Edit > Reduce Frame. The display size decreases each time you select this option, up to five times. Rearranging Clips in Script View To rearrange the order of clips in Script view, do one of the following: t Drag each clip up or down to a new location in the bin. t Sort and sift clips in Text view, and then return to Script view to display selected clips in the sort order you want. 185 Chapter 5 Organizing with Bins Printing Bins You can print entire bins or individual frames in hardcopy form. To print entire bins: 1. Make sure your printer is correctly configured. See your printer or Windows documentation, or contact your system administrator. 2. Select Text view, Frame view, or Script view. n To print a frame in Frame view or Script view, you must use a printer capable of printing graphics files. 3. Select File > Page Setup. The Page Setup dialog box opens, reflecting specific options for your printer. 4. Select the appropriate options from the Page Setup dialog box, and then click OK. 5. Select File > Print Bin. The Print dialog box opens, reflecting specific options for the type of printer you have. 6. Select the print options in the Print dialog box, and then click OK. The system prints the active bin. 186 Gathering Format Elements Gathering Format Elements While organizing your project, you can gather various format elements into a single bin that you can open and use later during editing. Some useful format elements might be: • Bars and tone • Head and tail leader • Repeated titles • Countdowns • Graphic elements (repeated animations and so forth) For information on importing graphic elements and titles, see “Importing Files” in the Help. Preparing Digital Bars and Tone Your Avid editing application includes a set of test pattern PICT files. You can select the type of test pattern you want to use and import it to the system at any time. When you are ready to output a digital cut, you can generate tone to go along with bars by using the Calibration tone features of the Audio tool. For more information, see “Preparing for Output” in the Help. Importing Color Bars and Other Test Patterns To import a test pattern from a PICT file: 1. Open an existing bin, or create a new one for the test pattern. 2. Select the destination bin. 187 Chapter 5 Organizing with Bins 3. Select File > Import. The Select Files to Import dialog box opens. Look In pop-up menu File browser section 4. Use the Look In pop-up menu to navigate to the folder containing the test pattern file: drive:\Program Files\Avid\Avid application\ SupportingFiles\Test_Patterns 5. Select a test pattern from the file browser section. The file name appears in the File Name text box. 6. Click Open. The clip for the imported file appears in the selected bin. 188 Gathering Format Elements If you import SMPTE_Bars.pct, it does not exactly match the SMPTE bars generated by the Video Output tool. The I and Q blocks in the bottom portion of the pattern cannot be exactly represented in the RGB color space used when importing files. If you must have I and Q blocks correct in a sequence, do one of the following: t Capture SMPTE bars from a signal generator. t Use the Video Output tool to generate SMPTE bars and record them to tape by using the controls on the deck. Then capture them back into the system from the tape. 7. Create a clip of tone media by using the Audio tool. For more information, see “Creating Tone Media” in the Help. Consider recording tone at both 44 kHz and 48 kHz for use in various projects. Match the resolution of the tone to the audio resolution of the sequence. 8. Create a new sequence with the SMPTE bars, and edit the tone media clip onto audio tracks 1 and 2. 9. Edit the end of this sequence to an appropriate length (1 minute is a standard length for sequences). 10. Rename the sequence to indicate its purpose. Creating Leader You can use digital leader to mark the beginning and ending of tracks and to help you maintain sync. You can create your own leader for video, as described in this section. Whatever your choice for specification, be sure to make all your leader clips the same length, with common sync points. Creating Video Leader To create leader for picture tracks: 1. Create a black screen in the Title tool for tail leader or a white screen for head leader. For information on using the Title tool, see the Avid Products Effects Guide. Optionally, you can type a title on the screen that says Tail Leader or Head Leader. 189 Chapter 5 Organizing with Bins 2. Name this clip Head Leader or Tail Leader when you save the title. 3. Create a subclip from an appropriate length of the clip, according to your chosen specifications. 4. (Option) Mark a sync frame in the subclip as follows: a. Load the clip into the Source/Record monitor. b. Find an appropriate sync point and add a locator. For information on adding locators, see “Using Locators” on page 257. c. (Option) Double-click the locator in the Source/Record monitor to add a sync point notation that appears on the monitor. For information on adding an edit, see “Adding an Edit” on page 328. Once the leader is prepared, you can splice the leader during editing onto the tracks that you want to keep in sync. You can use the sync points for visually aligning tracks. Creating Audio Leader To create tail leader for audio tracks: 1. Load a clip that includes a section of recorded tone into the Source/Record monitor. 2. Create a subclip from an appropriate section of the clip, according to your chosen specifications. 3. Name this new subclip Head Leader or Tail Leader. 4. Load this subclip into the Source/Record monitor. 5. Prepare the sound levels for leader without a sync point (no audio pop) by opening the Audio Mix tool and bringing the audio level all the way down for the entire clip. 6. For leader that includes a sync point (audio pop), do the following: a. Find the appropriate sync point. b. Step one frame backward and place an add edit before the sync frame; then step two frames forward and place an add edit after the sync frame. 190 Gathering Format Elements c. Move the position indicator before the first add edit, and open the Audio Mix tool. d. Bring the audio level all the way down. e. Move the position indicator after the second add edit, and use the Audio Mix tool to bring the level all the way down. For information on adding an edit, see “Adding an Edit” on page 328. Once the leader is prepared, you can splice the leader during editing onto the audio tracks that you want to keep in sync. You can use the sync points for visually aligning tracks. 191 Chapter 5 Organizing with Bins 192 Chapter 6 Managing Media Files When you capture footage, the system creates digital media files for the video and audio tracks on the media drives attached to your system. In addition to the bin tools that allow you to organize the clips that reference these media files, your Avid editing system provides useful tools and features for directly managing media files for storage and playback efficiency, for backup, and for transfer between systems. The following sections describe these procedures: • Working with Media Files in an Avid Unity Environment • Using the Media Tool • Consolidating Media • Refreshing Media Databases • Backing Up Media Files • Finding a Related Media File • Relinking Media Files • Unlinking Media Files • Using Videotapes for Archiving and Restoring Media Files Chapter 6 Managing Media Files Working with Media Files in an Avid Unity Environment If you are using your Avid editing system in an Avid Unity workgroup environment, you can use Avid Unity MediaManager to share media files between systems. Avid Unity MediaManager is a media database that allows you to search the large number of media objects (master clips, sequences, effects, and any other type of object that references digital media) in the Avid Unity MediaNetwork shared storage environment. You can also use Avid Unity MediaManager to manage sequences and other media objects whose media is no longer online. You can then search for these objects, view information about them such as the source tape name, obtain the source footage, and rerecord or recapture it. For information about configuring your Avid editing system to work with MediaManager, see “Configuring Avid Editing Systems to Work with MediaManager and TransferManager” on page 195. You can also use Avid Unity TransferManager to share files between workgroups. For more information about Avid Unity MediaManager and Avid Unity TransferManager, see the Avid Unity MediaManager Setup and User’s Guide and the Avid Unity TransferManager Setup and User’s Guide. n 194 For information about sharing bins and projects in an Avid Unity environment that does not use Avid Unity MediaManager or Avid Unity TransferManager, see “Sharing Bins and Projects on Avid Unity MediaNetwork” on page 112. Working with Media Files in an Avid Unity Environment Configuring Avid Editing Systems to Work with MediaManager and TransferManager Before you can interact with MediaManager and TransferManager, you need to configure your Avid editing system. You do this using the following settings from the Settings scroll list: • MM Host • MM User • Transfer You must specify the MediaManager location to let your Avid editing system know where to look for MediaManager on the network. After you specify the network settings, you can check in clips to and check out clips from MediaManager. For more information about MediaManager settings, see the Avid Unity MediaManager Setup and User’s Guide. The MM Host settings is a Site setting that applies to all users of a particular Avid editing system. If you want to access another MediaManager server, you must modify the MM Host settings to reflect the server. n The connection defined in your MM Host settings identifies the MediaManager location to which you will be checking in media objects. You can check out objects from a different MediaManager by dragging clips from that MediaManager to a bin without changing the MM Host settings. If you want to transfer media from one workgroup to another, you can use the TransferManager application. TransferManager receives and queues transfer requests from one or more clients. Transfers are then initiated by the TransferManager server to off load the client. For more information about the Transfer setting, see the Avid Unity TransferManager Setup and User’s Guide. 195 Chapter 6 Managing Media Files Support for Avid Unity LANshare Your Avid editing application can be used as a client in an Avid Unity LANshare workgroup system. LANshare allows you to share media with other clients connected to a high-performance server through an Ethernet network. To use LANshare, you need to set up the client in the Avid editing application. For more information, see “Setting up the LANshare Client” on page 196. For more information on using LANshare, including system requirements and supported resolutions, see the LANshare documentation and release notes. c Because LANshare workgroups and PortServer workgroups do not support all Avid resolutions, make sure you specify a supported resolution in your Avid editing application. For information on supported resolutions, see the LANserver system or PortServer system documentation. Setting up the LANshare Client When you use the Avid application with the LANserver, set up the client so that it recognizes LANshare workspaces when you start the application. To enable the client to recognize LANshare workspaces: 1. Open a bin. 2. Double-click PortServer in the Settings tab in the Project window. The Port Server Settings dialog box opens. 3. Click Auto-connect to LANshare at Launch. 4. Click Connect, and then click OK. The dialog box closes and auto-connect is set. 196 Working with Media Files in an Avid Unity Environment PortServer Pro Support Your Avid editing application is supported as a client on a PortServer Pro. The PortServer Pro system allows the system to access MediaNetwork workspaces by using an Ethernet 100BASE-T connection. The system connects to a gigabit uplink Ethernet switch, which in turn connects to the PortServer Pro system. The PortServer Pro is connected as a client to an Avid Unity MediaNetwork system using a Fibre Channel connection. This functionality allows up to 10 Avid editing systems to be connected to each PortServer Pro. This solution enables many Avid editors to share media in real time at a low cost. n c You can have multiple users editing on an Avid system, but all users must have administrative privileges. Without administrative privileges, certain functions such as accessing projects and capture might not work correctly. You cannot change users’ permissions in the operating system while the Avid application is running. Quit the application, make permission changes, and restart the application after making the permission changes. When you are in a workgroup environment using a MediaManager server with the Norton AntiVirus® Utility, you need to turn off the auto-protection feature when you access MediaManager. You can then turn the auto-protection feature back on. You need to perform this each time you access MediaManager. In addition, do not perform a Live Update. For more information, see the Norton AntiVirus Utility documentation. 197 Chapter 6 Managing Media Files ProEncode Support on the PortServer Pro When you have a ProEncode™ server in your workgroup environment and ProEncode client software on your Avid system, a Send to ProEncode option appears in the File menu. ProEncode takes your sequences or clips and distributes them to multiple encoding stations simultaneously, creating different output formats for distribution, such as MPEG-2, RealSystem™, and QuickTime. For information on using ProEncode, see the Avid ProEncode Setup and User's Guide. You can use an Ethernet 100BASE-T or Fibre Channel connection to connect the ProEncode server to the PortServer Pro. This functionality frees up MediaNetwork Fibre Channel connections for more clients. Using the Media Tool The Media tool is your window to the captured video and audio data files stored on your media drives. As an important counterpart to the bins, the Media tool provides similar database tools for manipulating digital media files in tandem with your organization of clips and sequences. Basic Media Tool Features The Media tool provides many of the same controls for viewing and managing information that you use with bins: 198 • The four display views in the Media tool function like those in bins: Brief view, Text view, Frame view, and Script View. • You can display the same Brief view information described in “Using Brief View” on page 160. • You can use Text view headings and options for columns of clip and media file data. You can also use procedures such as customizing the display of columns, moving within columns, and sorting information, as described in “Organizing Bin Information in Text View” on page 161. • You can use the same Frame view options described in “” on page 176. Using the Media Tool • You can use the same Script view options described in “Using Script View” on page 184. • The Media Tool Fast Menu gives you quick access to the same commands available in the Bin Fast Menu. • You can highlight, move, copy, duplicate, delete, sort, and sift clips in the Media tool. You can also select media relatives, sources, and unreferenced clips, as described in “Basic Bin Procedures” on page 145. • Media tool database and display options are saved as User settings. When you close the Media tool, the view you are in (Brief, Text, Frame, or Script) is saved, and any customizations of columns are saved. • You can print Media tool data by using the same procedures for printing bins, as described in “Printing Bins” on page 186. The Media tool also has a number of unique features: • Unlike a bin, the Media tool can display all the tracks captured for each clip as separate media files. Therefore, when you view, delete, and manipulate files, you have the added option of specifying individual video and audio tracks. • Unlike a bin, the Media tool does not display sequences and subclips. Only master clips, precompute (rendered effect) clips, and associated media files are available for display. • The following Bin menu commands do not apply to the Media tool: Batch Capture, Batch Import, Relink, Modify, AutoSync, and AutoSequence. You must perform these functions from a bin. 199 Chapter 6 Managing Media Files Opening the Media Tool To open the Media tool: 1. Select Tools > Media Tool. The Media Tool Display dialog box opens. 2. Select the display options as follows: - n The Media tool loads the media database only for the drives you select. The more drives you select, the more memory is required for the Media tool to open. - n 200 You can select individual media drives or all drives. You can display files for the current project, for selected projects, or for all projects. Only projects with associated online media and the current project appear in the Project(s) list in the Media Tool Display dialog box. Using the Media Tool - You can display master clips, precompute (rendered effect) clips, or media files, or any combination of the three. 3. Click OK. The Media tool opens. Text tab Precompute clip Media file Master clip Deleting Media Files with the Media Tool You can use the Media tool to delete selected media files without harming the related master clips, subclips, and sequences. n If you use the Media tool to delete selected media files, you will no longer have access to visuals of the deleted material. If you load a clip for which a media file has been deleted, a blank screen appears with the message “Media Offline.” If you need to use those clips again, you must recapture from tape. 201 Chapter 6 Managing Media Files Depending on your needs, you can do one of the following: t Delete selected audio or video tracks, and retain other tracks from a clip. t Delete entire sets of media files and related clips from within the Media tool. t Delete all unrelated media upon completion of a project, and retain only the media required for playback of a finished sequence as described in “Consolidating Media” on page 203. To delete selected media files: 1. Select Tools > Media Tool. 2. In the Media Tool Display dialog box, select the types of files (master clips, precompute clips, or media files) that you want to delete. 3. Click OK. The Media tool opens. 4. Select one or more media files (audio, video, or both) or master clips whose media files you want to delete. 5. Do one of the following: t Select Edit > Delete. t Press the Delete key. The Delete Media dialog box opens. 6. Select the media files that you want to delete: 202 - Video media file (V). The master clip linked to that file is black, and the message “Media Offline” is displayed in the monitor. Related subclips and sequences are affected in the same way. - Audio media file (A1 to A24). The master clip linked to that file is silent. Subclips and sequences created from the master clip are affected in the same way. - Precompute media file (V, A). The section of the sequence with the effect is black, and the message “Media Offline” is displayed. Consolidating Media 7. Click OK. A dialog box opens. 8. Click Delete. The selected media files are deleted. Consolidating Media When you consolidate media files, the system finds the media files or portions of media files associated with selected clips, subclips, or sequences. It then makes copies of them and saves the copies on a target drive that you specify. n Because the Media tool displays only master clips, you cannot consolidate subclips or sequences with the Media tool. You can consolidate master clips, subclips, and sequences in the bin. The Consolidate/Transcode Feature The Consolidate/Transcode feature allows you to create and save copies of the sequence’s media files to a selected drive. This makes it relatively simple to move source files with you when you work on a different system. Using the Consolidate/Transcode feature has the advantage of copying only the amount of media necessary; you save only the sequences and clips used in the project. For example, it will not copy an entire 1-hour audio file to consolidate a single 10-second clip. The Consolidate command operates differently depending on whether you are consolidating master clips, subclips, or sequences. There are also different advantages in each case, as follows: • Master clips: When you consolidate a master clip, the system creates exact copies of the media files. If you link the original master clip to the new files, the system creates a master clip with the file name extension .old that remains linked to the old files. If you maintain the link between the original master clip and the old media files, the system creates a new master clip with the file name extension .new that is linked to the new files. The new clips are also numbered 203 Chapter 6 Managing Media Files incrementally beginning with .01. Consolidating master clips does not save storage space because the system copies the same amount of media for each clip. Consolidating a Master Clip Link the master clip to new or old files. Original media files Copy of media files Master Clip.old.01 • Master Clip Master Clip.new.01 Subclips: When you consolidate a subclip, the system copies only the portion of the media files represented in the subclip, and creates a new master clip that is the duration of the subclip and a new subclip. The file name extension .new is attached, along with incremental numbering beginning with .01. Consolidating a Subclip Original media files Master Clip 204 Subclipped copy of media files Subclip Master Clip.new.01 Subclip.new.01 Consolidating Media • Sequences: When you consolidate a sequence, the system copies only the portions of media files edited into the sequence, and creates new master clips for each clip in the sequence. The file name extension .new is attached to the master clips, along with incremental numbering beginning with .01. The sequence is not renamed but is automatically relinked to the new media files. Consolidating a Sequence Original media files Clip A Clip B Clip C Edited copy of media files Clip A.new.01 Clip B.new.01 Clip C.new.01 New links are established. Original links are broken. Sequence n Because a consolidated sequence is linked to the new files by default, consider duplicating the sequence each time you consolidate if you need to maintain links to the original files For information on transcoding, see “Using the Transcode Option” on page 208. 205 Chapter 6 Managing Media Files Using the Consolidate/Transcode Command To consolidate master clips, subclips, or sequences: For more information on rendering effects, see the Avid Products Effects Guide. 1. If you are consolidating a sequence, duplicate the sequence to maintain links to the original files, if necessary, and render any unrendered effects. 2. Select a clip or sequence. 3. Select Bin > Consolidate/Transcode. The Consolidate/Transcode dialog box opens. 4. Select the Consolidate option in the upper left corner. 5. In the Target Drive(s) area, select a drive or drives. 206 Consolidating Media 6. Select options as described in Table 13. 7. Select other options as described in Table 14. 8. Click the Consolidate button in the lower right corner. Table 13 Consolidate/Transcode Options Option Description Video and audio on same drive(s) Select to store the consolidated media files on the same target drive. Deselecting this option allows you to select separate drives for the audio and video media files. Handle length n frames If you are consolidating subclips or sequences, type a handle length for the new clips, or accept the default: leave it at 60 frames (NTSC) or 50 frames (PAL). The handle length is the number of safety frames before and after the chosen media. Create new sequence(s) Select this option to create a new sequence from the consolidated or transcoded clips. Do Audio Sample Rate Conversion Select to convert multiple audio sample rates in a sequence or master clip to a single audio sample rate when performing a digital cut. If your sequence or master clip has multiple audio sample rates, you need to convert it to a single audio sample rate. Target Audio Sample Rate Select a sample rate for the sequence. The default sample rate for DV is 48 kHz. Table 14 Consolidate-Only Options Option Description Delete original media files when done Select to delete original media files automatically. Skip media files already on the target drive Select to bypass files if some related media files are already located on the target drive. 207 Chapter 6 Managing Media Files Table 14 Consolidate-Only Options (Continued) Option Description Relink selected clips to target drive before skipping Select to ensure that all selected clips are linked to media on the target drive. This option appears when you select “Skip media files already on the target drive.” Consolidate all clips in a group edit Select to copy media for all clips in a group edit, for consolidating a group clip or a sequence that contains group clips. Another way to back up media files is to copy them directly onto another hard drive by using the Windows desktop. You cannot, however, take advantage of the storage-saving features of the Consolidate command, and it is more difficult to identify particular media files when searching directly through folders. c Do not make copies of media files from the desktop while the Avid application is running. Also, do not keep duplicate copies of media files online; either delete the originals, take the backups offline, or store the backups in a folder with a different name. Using the Transcode Option The Transcode option in the Consolidate/Transcode dialog box lets you create a playable sequence from clips that have different target resolutions. To use the Transcode option: 1. Select a clip or sequence in a bin. 2. Select Bin > Consolidate/Transcode. 208 Consolidating Media The Consolidate/Transcode dialog box opens. 3. Select the Transcode option in the upper left corner. 4. In the Target Drive(s) area, select a drive or drives. 5. Click the Target Video Resolution pop-up menu, and select a video resolution. See Table 15. 6. Select a file format: OMF or MXF. 7. Select other options as described in Table 13. 8. Click the Transcode button in the lower right corner. Table 15 Transcode-Only Options Option Description Target Video Resolution Select a video resolution for the sequence. OMF/MXF Select a file format. Loading the Media Database The media database is a catalog of master clips and precomputes stored on the external media drives. One use of the media database is to display master clips and precomputes in the Media tool. Bins also contain references to some of the media files based on the contents of the bin. The Avid editing application does not maintain the entire database in memory at all times. Instead, it builds up a partial database for the bins that have been opened in the current session to preserve as much memory as possible for editing. If you store the master clips and the edited sequences for a project in separate bins, there are two scenarios in which sequences might appear to be offline. In this case, you need to load the entire database to relink clips to their media files. The scenarios are: 209 Chapter 6 Managing Media Files • Recapture: When you recapture the master clips while the sequences bin is closed, quit and then restart the application, and open the sequences bin only. • Consolidating: When you consolidate the master clips and relink them to the consolidated media while the sequences bin is closed, quit and restart the application, and open the sequences bin only. To update offline sequences with the new media files: t Select File > Load Media Database. The system loads all online master clips and precomputes. n c You need not load the media database more than once during a single editing session because the database remains in memory until you quit the application or restart the system. If you add files to the database through a 1394 IEEE port while the application is running, however, the database does not automatically rebuild. In this instance, you need to refresh the database. For information on this procedure, see “Refreshing Media Databases” on page 210. If a bin continues to display the message Media Offline after loading the media database, either the media files are missing or the links have been broken. For more information, see “Relinking Media Files” on page 212. Refreshing Media Databases Refresh the media directories after you remove media from the media drives (for example, after you have physically moved drives). The Refresh Media Directories command reexamines all the media databases on the system. This command can take a long time to execute on systems that have large amounts of media online. n 210 Any media files added through a 1394 IEEE port to the OMFI MediaFiles folder while NewsCutter is running do not appear in the media database until you refresh the media directories. Backing Up Media Files To refresh media databases: t Select File > Refresh Media Directories. Backing Up Media Files The OMFI MediaFiles folders on your external media drives contain the individual media files created when you captured source material. Unlike the smaller Avid Projects and Avid User folders, these folders are too large to back up onto floppy disks. The options for backing up media files include: • Consolidating or making copies of media files for transfer to another system • Archiving larger media files and folders to a dedicated mass-storage system Finding a Related Media File The Reveal File command allows you to select a clip in a bin and automatically open its related media file. This is useful if you want to delete or move the media file. To find a related media file: 1. Select the clip in a bin for which you want to find the media file. The clip is highlighted. 2. Select File > Reveal File. 211 Chapter 6 Managing Media Files The system searches all available drives and highlights a related media file. Related media file If more than one file is related to the clip, a message asks if you want to see the next file. If you click OK, you need to bring the Explorer window forward by pressing and holding the Alt key and pressing the Tab key until you select the OMFI MediaFiles folder. Relinking Media Files Sometimes, after you consolidate or move material between systems, the clips or sequences lose their links to the original media files. When a clip becomes unlinked, it displays the message Media Offline. If appropriate media exists online, you can use the Relink command to reestablish the link. 212 Relinking Media Files When you select subclips or sequences and select the Relink command, the system searches for master clips that contain the same material included in the selection. You can also relink master clips to appropriate media files. The system compares information such as source tape name, timecode information, and channels captured. If the search is successful, the system establishes new links to the available media files. You can instruct the system to search specific drives or all available drives. To relink clips, subclips, or sequences: 1. Select the unlinked object or objects in the bin. 2. Select Bin > Relink. The Relink dialog box opens. 3. Select a relinking option depending on the type of object you are relinking, either non-master clips or master clips: n t Select “Relink offline non-master clips to any online items” to relink clips and sequences to the master clips that contain the same material. t Select “Relink all non-master clips to selected online items” to relink related subclips or sequences to the highlighted clip in the bin. You can also relink non-master clips to offline media by selecting the option “Allow relinking to offline items.” When you select “Allow relinking to offline items,” all available drives are searched regardless of the setting for “Relink to media on volume.” t Select “Relink offline master clips to online media files” to relink master clips to media files that share similar database information. 4. Click the “Relink to media on volume” pop-up menu, and select an option: t Select All Available Drives to search across all media drives that are online. t Select a specific drive volume if you know the location of the media or if you want to relink to media on a specific media drive. 5. (Option) Select “Relink only to media from the current project.” 213 Chapter 6 Managing Media Files 6. (Option) Select “Match case when comparing tape names.” 7. Click OK. The system searches the selected media drives, and relinks clips and sequences if possible. The system disregards capture rate, video resolution, and audio resolution when matching media files. n To maintain the original Capture settings for a subclip or sequence, use the Batch Capture command; do not use the Relink command. Make sure you select the following options, located on the Batch tab of the Capture Settings dialog box: “Capture the tracks logged for each clip,” “Use the audio sample rate logged for each clip,” “Use the audio sample size logged for each clip,” and “Use the video compression logged for each clip.” For information on batch digitizing, see “Batch Capture from Logged Clips” in the input and output guide for your Avid system. Relinking to Selected Clips You can also use the Relink command for connecting subclips or sequences to selected master clips and subclips. To relink to selected master clips and subclips: 1. Move the subclips or sequences that you want to relink into the bin containing the clips. 2. Select the clips targeted for relinking. 3. Select Bin > Relink. The Relink dialog box opens. 4. Select “Relink all non-master clips to selected online items” to relink related subclips or sequences to the highlighted clip in the bin. 5. Click the “Relink to media on volume” pop-up menu, and select an option: 214 t Select All Available Drives to search across all media drives that are online. t Select a specific drive volume if you know the location of the media or if you want to relink to media on a specific media drive. Relinking Media Files 6. (Option) Select “Relink only to media from the current project.” 7. (Option) Select “Match case when comparing tape names.” 8. Click OK. The subclips or sequences are linked to the selected clips or subclips. Relinking Consolidated Clips If the appropriate media exists online, you can reconnect consolidated clips, subclips, or sequences to the new or old media files. For example, if you consolidated a sequence and forgot to create a duplicate, and later decide to use the original media files instead of the consolidated media files, you can break the new link and reestablish the old link to the original files. n Because subclips and sequences do not point directly to the media files, you can perform this procedure only by using the source master clips. To relink consolidated subclips or sequences: 1. Select the new master clips for a consolidated subclip or sequence (the clips will have the file name extension .new), and unlink them. For information on unlinking, see “Unlinking Media Files” on page 216. 2. Select Bin > Relink. The Relink dialog box opens. 3. Select “Relink offline master clips to online media files” to relink master clips to media files that share similar database information. 4. Click the “Relink to media on volume” pop-up menu, and select a specific drive volume that contains the original media files. 5. (Option) Select “Relink only to media from the current project.” 6. (Option) Select “Match case when comparing tape names.” 7. Click OK. The clips are relinked to the original media files. 215 Chapter 6 Managing Media Files Unlinking Media Files You can use the Ctrl and Shift keys to modify the Relink command for unlinking clips from their media files. To unlink master clips from their current links: 1. Select the master clips to unlink. 2. Press Ctrl+Shift, and select Bin > Unlink. The clips are unlinked and display the message Media Offline. n Because subclips and sequences do not point directly to the media files, you can perform this procedure only by using the source master clips. If you have similar material from different sources, you can duplicate a set of clips, unlink the duplicates, and then modify the sources of the duplicates before capturing the new source material. Using Videotapes for Archiving and Restoring Media Files You can archive to videotape the source media associated with sequences, master clips, and subclips. Archiving the source media to videotape is similar to recording a digital cut, except you can reedit the sequence after you restore it. You can use the archiving process to: 216 • Archive completed projects that you can restore at a later date, if you need to reedit the project. • Provide more space on the media drives for a new project. • Create backups of your project files. • Move a project to another workstation. Using Videotapes for Archiving and Restoring Media Files When you archive a project, the source media files are archived to videotape and you save the project files. For information about saving the project files, see “Backing Up Your Project Information” on page 53. You can reconstruct everything in your project with the archived files and your source tapes. n The quality of media degrades when you archive and restore media files one or more times. The target videotape format might include some compression. The archiving process divides the archive into multiple archive sequences based on the length of the videotapes that are available. The archiving to videotape process adds handles to the new clips that allow you to reedit the sequence after you restore the media files from the videotape. During the archiving process, the original media is archived to videotape. Media with effects is not recorded to tape because you can easily re-create the effects after the project is recaptured. However, the handles for transition effects are included in the archive file. The final sequence can be linked to the recaptured media to re-create the project. Each archived master clip is stamped with the archive tape name and archive timecodes during the restoration process. The original source information on the master clips will remain unchanged. Archiving Media Files Before you can archive your media files to videotape, you must stripe the record tapes (record black and timecode for the entire duration of the tape). For information about preparing record tapes, see “Preparing Record Tapes” in the Help. To archive a video project’s media files: 1. Set up the Digital Cut tool as follows: a. Select Clip > Digital Cut. The Digital Cut tool opens. b. Click the Deck Selection pop-up menu, and select a deck. 217 Chapter 6 Managing Media Files The Select Tape dialog box opens. c. Click Cancel to leave Tape Name unspecified. d. (Option) Select the Custom Preroll option, and select the number of seconds from the pop-up menu to indicate how many seconds the tape rolls before the archiving process starts. This option overrides the Preroll setting in the Deck Settings dialog box. 2. Create a new bin for the archive, and name the bin. For example, you can name the bin Archive. 3. Duplicate the sequences and clips you want to archive. 4. Drag the new duplicate sequences and clips to the new Archive bin. 5. Select the clips and sequences to archive from the Archive bin by doing one of the following: t Select Edit > Select All to select all the clips and sequences in the bin. t Ctrl+click to select specific clips or sequences. 6. Select Clip > Archive to Videotape. The Archive to Videotape dialog box opens. 7. Select the appropriate options in the Archive to Videotape dialog box, as described in Table 16 on page 220. n If the clips or sequences that you want to archive are not highlighted in the active bin, Archive to Videotape appears dimmed in the Clip menu. 8. Click OK. The Tape Lengths dialog box opens. Archive Length displays the calculated length of time required for archiving the media files. The archive might require more time than indicated because individual clips are not divided between tapes. 9. In the “Enter the quantity of tapes available for the archive” area, do one of the following: t 218 Type the number of blank videotapes needed for the archive, next to the length of time of your blank tapes. Using Videotapes for Archiving and Restoring Media Files For example, if the archive length is 2 hours and 15 minutes, and you have 30-minute videotapes, you would type 5 in the 30 Minutes text box. t Type a custom tape length in the Custom text box, and type the number of available blank videotapes. 10. Click OK. The Digital Cut tool opens and becomes the active window. 11. Follow the instructions displayed in the message boxes to complete the archiving process. A set of archive sequences is created in the Archive bin and the source media is output to the videotape. One archive sequence is created for each tape. When needed, the system prompts you for another blank tape. When the system finishes creating the archive, a message box notifies you that the process is complete. 12. Copy the project files (bins, project, and settings) to a Zip® disk or equivalent storage device. For more information, see “Backing Up Your Project Information” on page 53. After you archive your project, you can delete the media files from your NewsCutter system to provide more space on your media drives. Archive to Videotape Options The Archive to Videotape dialog box allows you to optimize the archiving of the media files for the selected sequences and clips. To access the Archive to Videotape dialog box: t Select Clip > Archive to Videotape. 219 Chapter 6 Managing Media Files Table 16 describes the Archive to Videotape options. Table 16 Archive to Videotape Options Option Description Archive Name Type a name for the archive. ProjectArchive is the default name. The archive name is numbered incrementally beginning with 001 to indicate the order of the tapes. Start Timecode Type a value in the Start Timecode text box to set the starting timecode of the archive on the videotape. By default, the start Timecode is set to 01:00:00:00. For Subclips and Sequences: Use handles Select this option to archive additional frames. Handle Length n frames Type the number of additional frames you want to archive at the heads and tails of the new master clips. This provides enough overlap for trimming and adding transition effects. Archive entire master clips Select this option if you want to archive the entire master clip. For Sequences: Archive all clips in a group edit Select this option if you selected a sequence that contains group clips and you want to archive the media for all the clips in the group. Restoring an Archive from Videotape Restoring an archive from videotape is similar to batch capture. The archiving process creates new master clips for sequences. During the restoration, each archived master clip is stamped with the archive tape name and archive timecodes. The original source information on the master clips remains unchanged. 220 Using Videotapes for Archiving and Restoring Media Files After you restore an archive, any links to the original source clips are broken, and only the sequence and its new master clips are linked to the newly captured media files. To restore an archive from videotape: 1. Copy the project files to the Avid Project folder located at: drive:\Program Files\Avid\Avid application\Avid Projects 2. Open the project. 3. Open the archived bin. 4. Select Tools > Capture, and set the following options: a. Click the Deck Selection pop-up menu, and select a deck. If the Select Tape dialog box opens, click Cancel to leave Tape Name unspecified. b. Click the Res (Resolution) pop-up menu, and select a resolution. c. Click the Target Drive pop-up menu, and select a drive volume. d. Make sure the audio sample rate is set correctly. See “Adjusting Audio Project Settings” in the Help. n For more information about setting up the Capture tool, see “Preparing to Capture” in the Help. 5. Select the archived sequences, original sequences, and original clips. n If you select only the archived sequences, the media is restored; any new media is not relinked to your original clips. To relink the new media to the original clips, select the original clips and repeat the restoration. Repeating the restoration only relinks the selected items to the new media files. 6. Select Clip > Restore from Videotape. The Restore from Videotape dialog box opens. 7. (Option) Select “Restore only those items for which media is currently unavailable” if you are repeating the restoration. Otherwise, deselect this option. 221 Chapter 6 Managing Media Files 8. Click OK. The Capture tool opens and becomes the active window. 9. Follow the instructions in the message boxes to complete the restoration. The application recaptures the archived sequences and clips. 10. Batch import any graphics and render all non-real-time effects. For information about batch import, see “Reimporting Files” on page 618. 222 Chapter 7 Viewing and Marking Footage Before making your first edit, you can review your footage, add locators to clips, mark IN and OUT points, and create subclips. By viewing and marking your material in advance, you can concentrate on editing and refining your sequence at a later time without having to pause and set marks each time you load a new clip. Techniques for playback, viewing, and subcataloging clips are described in the following sections: • Customizing the Source/Record Monitor • Viewing Methods • Loading and Clearing Footage • Resizing Monitors • Controlling Playback • Playing Video to the Client Monitor • Marking and Subcataloging Footage • Finding Frames and Clips Chapter 7 Viewing and Marking Footage Customizing the Source/Record Monitor You can customize the Source/Record monitor by displaying or hiding labels on buttons. You can also customize the appearance of the Timeline by displaying a variety of information about your sequence. You can customize Trim mode by changing the Transition Play Loop settings for Preroll, Postroll, and Intermission. Expanding the Source/Record Monitor You can stretch your Source/Record monitor into two monitors. This lets you open a source clip in the left monitor, or Source monitor; the right monitor, or Record monitor, displays your sequence and provides the usual Source/Record monitor functions. To expand the Source/Record monitor: t Click either edge of the Source/Record monitor and drag it to the outside. To switch between the monitors: t 224 Press Esc. Customizing the Source/Record Monitor Changing the Pop-up Monitor Size You can resize the pop-up monitor for better viewing. To resize the pop-up monitor: t Click the lower right corner of the monitor and drag it to the size you want. Using the 16:9 Display Format The Avid editing application supports the display of some forms of native 16:9 media with the correct aspect ratio. When you shoot this “wide” format with a camera, it stores it anamorphically (into a standard 4:3 frame) as opposed to letterboxed. When you select the 16:9 option, the anamorphic 16:9 media is displayed (not letterboxed) in the Source/Record monitor, pop-up monitor, and the Title tool. Titles and effects are also created in the correct aspect ratio. To enable the 16:9 display: t With the Source/Record monitor active, select Clip > 16:9 Monitors. A check mark appears next to the 16:9 option. The Source/Record monitor displays media as 16:9. n If you shoot footage as anything other than 16:9 and choose to display the Source/Record monitor as 16:9, the media appears distorted. 225 Chapter 7 Viewing and Marking Footage Using 16:9 for 24p and 25p Editing For 24p and 25p projects, you can use the 16:9 Monitors option to correctly display the 16:9 aspect ratio from the film transfer. To display a larger film image: 1. During either shooting or the telecine process, use a 16:9 lens to squeeze the film images anamorphically to the 4:3 aspect ratio. 2. After capturing the footage, select the 16:9 Monitors option to return the squeezed image to its normal aspect ratio. The picture will be larger. Any masked letterbox area at the top and bottom of the footage will be smaller or might not be visible once it is set to 16:9. Displaying Tracking Information Tracking information consists of any type of format used to identify clips, audio and video tracks, individual frames, or footage durations while you work. The Avid interface displays this information in the Tracking Information menu, located above the Source/Record monitor. This information is updated continuously to reflect your current position in the footage. You can select various alternative tracking formats from submenus. By default, the tracking information area displays no information until you select a tracking format. In addition, tracking data are not displayed when you do not have material loaded in the monitor. If you load a clip and no information is currently displayed, you can still open the submenu by clicking in the area above a monitor. 226 Customizing the Source/Record Monitor To select a tracking information format: 1. Load a clip or sequence into the monitor. 2. Click in the information display area in either the first or second row of information above the monitor, and select a format. Tracking Information menu 227 Chapter 7 Viewing and Marking Footage Tracking Format Options The Tracking Information menu contains options for information to be displayed above the monitors. Table 17 describes the tracking format options. Table 17 Tracking Format Options Option Description Mas Displays master timecode at present location. Dur Displays total duration of the sequence. I/O Displays duration between IN and OUT points. Abs Displays absolute time duration at present position. Rem Displays time remaining at present position. TC, TC 24, TC 25, For 24p and 25p projects only. Includes a submenu listing the source tracks of a TC 25P, TC 30 specific track (V1, A1, A2, and so forth). 228 V1 Displays the source track of the video on track 1. A1 Displays the source track of the audio on track 1. A2 Displays the source track of the audio on track 2. Timecode Displays tracking information as timecode (24p and 25p projects include a submenu with the various timecodes). Footage For 24p and 25p projects only. Displays tracking information as feet and frames. Frames Displays tracking information as total frames. None Hides the display. Customizing the Source/Record Monitor The option you select from pane 1, pane 2, or pane 3 is displayed above the monitor. The following is a summary of the contents of the menu: Pane 1 Pane 2 Pane 3 The following is a summary of the contents of the menu: • Pane 1 lists options for summary information, such as master timecode (Mas), duration of the entire clip (Dur), IN to OUT duration (I/O), absolute timecode (Abs), and time remaining (Rem). • Pane 2 lists options for displaying the timecode for a specific track (V1–V24 and A1–A24). This list contains options only for the tracks existing in the currently loaded clip or sequence. For example, a clip with only one audio track does not show an option for A2. • Pane 3 lists tracking formats, such as timecode in hours, minutes, seconds, and frames (Timecode), feet and frames for 24p and 25p projects (Footage), a sum total of frames for either film or video (Frames), or None, which leaves the display area blank. Selecting an option in this portion affects the items in the upper portion. When you are working with a 24p or 25p project, the Timecode submenu allows you to choose an output timecode format, and the Footage submenu allows you to choose a supported film type. 229 Chapter 7 Viewing and Marking Footage Displaying Clip Information The Info window displays statistical information about the clip. You open the Info window from the Source/Record monitor or a bin. This window updates information automatically. n If no clip is loaded in a monitor, you cannot open the Info window. To display clip information from the Source/Record monitor: 1. Place the mouse pointer in the gray area to the right of the Clip icon. 2. Press and hold the mouse button. The Info window opens. 3. Drag the Info window to a new location to leave it open. To display clip information from a bin: 1. Press Ctrl+Alt and click the clip for which you want to display information. The Info window opens. 2. Drag the Info window to a new location to leave it open. 230 Customizing the Source/Record Monitor Copying Text from the Info Window You can cut, copy, and paste information from the Info window anytime, but you cannot edit or change any information within the window. To copy text from the Info window: 1. Select the information you want to copy. 2. Press Ctrl+C to copy the information. 3. Place and click the mouse pointer where you want to paste the information, and then press Ctrl+V. Displaying the Timecode Window Each pop-up monitor displays one line of timecode. The Timeline also displays one line of timecode. The Timecode window allows you to display one or more lines of timecode in a separate window. To set a timecode display: 1. Select Tools > Timecode Window. The Timecode window opens. 2. Click the Timecode pop-up menu, and select a display option. For a description of the Timecode options, see Table 18. The window displays the timecode you have selected. The information is continuously updated based on the location of the position indicator and the monitor that is active. 3. Click the Close button to close the Timecode window. Table 18 Timecode Display Options Option Description Mas Displays master timecode at the present location Dur Displays total duration of the sequence 231 Chapter 7 Viewing and Marking Footage Table 18 Timecode Display Options (Continued) Option Description I/O Displays duration between IN and OUT points Abs Displays absolute time duration at the present position Rem Displays time remaining at the present position TC Displays timecode for the selected track V1–V24 Displays the source timecode of the video on tracks 1 to 24 A1–A24 Displays the source timecode of the audio on tracks 1 to 24 Timecode Displays tracking information as timecode (24p and 25p projects include a submenu with the various timecodes). Footage For 24p and 25p projects only. Displays tracking information as feet and frames. Frames Displays tracking information as total frames. Add Display Allows you to add another timecode display Remove Display Deletes the selected timecode from the display Displaying Multiple Timecodes To display multiple timecodes in the Timecode window: 1. Select Tools > Timecode Window. The Timecode window opens. 2. Click anywhere in the Timecode window to display the Timecode popup menu, and select Add Display. A new line appears in the window. 3. Click the new line to display the Timecode pop-up menu, and select an option. For a description of these options, see Table 18. 232 Customizing the Source/Record Monitor n You might need to resize the timecode display to see all the options. To do so, drag the lower right corner of the window. 4. Click the Close button to close the Timecode window. Setting the Font and Point Size for Monitor Displays You can apply a font and point size to a sequence or clip name. To set the font and point size: 1. With the Source/Record monitor active, select Edit > Set Font. The Set Font dialog box opens. 2. Click the Font pop-up menu, select a font, and type a point size in the Size text box. 3. Click OK. The new font and point size are applied to the sequence name or clip name. Pop-up Monitors You can load clips and sequences into pop-up monitors to view and mark or subcatalog clips for use in a sequence that you build in the Source/Record monitor. See “Loading Clips or Sequences into a Pop-up Monitor” on page 235. Displaying a Second Row of Buttons You can choose to display a second row of buttons under the Source/Record monitors. You can use this row of buttons in the same manner as the top row of buttons that display by default. To display a second row of buttons below the Source/Record monitor: t Right-click in the Source/Record monitor, and select Second Row of Buttons from the menu. 233 Chapter 7 Viewing and Marking Footage Viewing Methods You can work with clips and sequences in several different ways, depending on your needs and preferences. Each method has its own uses and advantages, as follows: • Viewing in bins: You see pictorial images of the clips in your bins by using Frame view or Script view. You can also list the clips by name by using Brief view or Text view. See “Using Brief View” on page 160 and “Organizing Bin Information in Text View” on page 161. • Viewing in the pop-up monitors: You can load clips and sequences into pop-up monitors to view and mark or subcatalog clips for use in a sequence that you build in the Source/Record monitor. • Viewing in the Source/Record monitor: You can drag a clip or sequence into the Source/Record monitor to view, mark, or modify an existing clip or sequence. • Viewing in the Timeline: Use the Timeline to view individual tracks for either a sequence or a source clip. Loading and Clearing Footage You load individual or multiple clips or sequences into the Source/Record monitor or into a pop-up monitor by using different methods. You can also use the Clip Name menu to display clips and sequences. Loading Clips or Sequences into the Source/Record Monitor To load a clip or sequence into the Source/Record monitor: 1. Open a bin and select the clip or sequence. 2. Do one of the following: n 234 t Drag the clip or sequence into the Source/Record monitor. t Double-click the clip or sequence icon. If you selected a master clip, the footage loads in the Source monitor. Loading and Clearing Footage n You can change a Bin setting so that double-clicking an object in a bin opens it in a pop-up monitor instead of in the Source/Record monitor. See “Bin Settings” on page 80. To load multiple clips or sequences into the Source/Record monitor: 1. Open a bin, and Ctrl+click to select multiple clips or sequences. 2. Drag the clips or sequences into the Source/Record monitor. Loading Clips or Sequences into a Pop-up Monitor To load clips or sequences into a separate pop-up monitor: 1. Open a bin, and locate the clip or sequence. 2. Alt+double-click the clip or sequence. The clip or sequence appears in a separate pop-up monitor. n You must have “Double-click loads clip in New Pop-up Monitor” selected in the Bins Settings dialog box. If “Double-click loads clip in Source or Record Monitor” is selected, Alt+double-click the clip or sequence to load it into a pop-up monitor. See “Bin Settings” on page 80. Using the Clip Name Menu When you have clips loaded in a monitor, you use the Clip Name menu located above each monitor to switch between various loaded clips or to clear clips from the monitors. Switching Between Loaded Clips or Sequences If you loaded multiple clips or sequences into the Source/Record monitor, you see only one clip or sequence displayed at a time. To view an alphabetical list of the loaded clips or sequences and to select an alternative clip or sequence for viewing: t Click the name of the current sequence displayed above the monitor to reveal the Clip Name menu, select a different clip or sequence name from the menu. 235 Chapter 7 Viewing and Marking Footage The selected clip or sequence replaces the current clip or sequence in the monitor. Clip Name menu n To see the list of clips or sequences sorted in the order in which they were loaded into the monitor, press the Alt key while opening the Clip Name menu. Clearing Clips or Sequences from Monitors To clear the monitor or to clear the clip or sequence names from the menu: t 236 Click the name of the clip or sequence currently displayed above the Source/Record monitor to display the Clip Name menu, and select one of the following commands: - Clear Monitor removes the displayed clip or sequence from the screen, leaving black. The clips or sequences are still loaded. - Clear Menu deletes the list of all loaded clip or sequence names and leaves only the clip or sequence currently displayed. Resizing Monitors Resizing Monitors You can resize the Source/Record monitor to provide more area for displaying the Timeline or other windows. You can either hide the video completely or resize the monitor. Hiding the Video in the Source/Record Monitor You can resize the Source/Record monitor, displaying only the position bars, the editing buttons, and the information portion above the monitors. No video is displayed. To hide the video in a monitor: 1. Click in the Source/Record monitor to make it active. 2. Right-click, and select Hide Video. The video disappears. Only the position bars, the editing buttons, and the information portion above the monitors are displayed. To redisplay the video in the monitor: t Right-click in the monitor, and select Hide Video. Resizing the Source/Record Monitor You can resize the Source/Record monitor. To resize the monitor: 1. Click in the Source/Record monitor to make it active. 2. Click the lower right corner of the window, and drag to adjust the size of the monitor. The monitor is displayed with the new size; the aspect ratio is maintained. 237 Chapter 7 Viewing and Marking Footage Controlling Playback There are several ways to play, view, and cue clips: n • Instantly access frames or move through footage by using the position indicator within the position bar under the monitors. • Play, step (jog), or shuttle through the footage by using user-selectable buttons. • Play, step, or shuttle by using keyboard equivalents. If you try to play a sequence and the outline of the monitor flashes, another window is covering the monitor. Click the monitor to bring it forward, or move the window that is covering it. Using Position Bars and Position Indicators You can use the position indicators that appear in the position bars under the pop-up and Source/Record monitors to move to a specific point in a clip or sequence. The position indicator also appears in the Timeline when you are viewing a sequence. To quickly access frames within a clip loaded into a monitor or to move through the footage, do one of the following: t Move the position indicator within the position bar under the monitor by clicking anywhere in the position bar or by dragging the position indicator to the left or right. The speed with which you drag the position indicator determines the speed at which you move through the footage. Position indicator 238 Position bar Controlling Playback t Click anywhere in the Timeline to relocate the position indicator, or drag the position indicator through footage at varying speeds. In the Timeline, the position indicator shows your position within the sequence. It is always in the same position as the position indicator in the Source/Record monitor’s position bar. t Click to the far left or far right of the position bar or the Timeline to go directly to the beginning or end of a clip or sequence. Position indicator in Timeline Using Buttons You can use the buttons that appear under the Source/Record monitor and in the pop-up monitors to play and step (jog) through your footage. You can also use the keyboard to manipulate footage. To play the clip backward or forward in one-frame increments: t Click the Step Forward or the Step Backward buttons under the monitors. t Press the 3 or the 4 key. t Press the Right Arrow or the Left Arrow key. To play forward or backward in 10-frame increments: t In the Move tab of the Command palette, click the Step 10 Frames or 8-frames (24p) buttons. (For more information on the Command palette, see “Using the Command Palette” on page 131.) t On the keyboard, press the 1 key to play backward or the 2 key to play forward. 239 Chapter 7 Viewing and Marking Footage Stepping Forward and Backward by Field You can locate defects on individual fields of a frame with the single-field step feature. By default, the first field of every frame is displayed when you step through material frame by frame. n The single-field step feature is not available when you work with 24p or 25p projects. With single-field step, you can view both fields of each two-field frame sequentially to locate a dropout from the source videotape, or dust and scratches from the original film footage. n You can map the Step Forward One Field and Step Backward One Field buttons to any button on the Tool palette or the Timeline top toolbar, or to any key on the Keyboard palette. For information on mapping buttons, see “Mapping User-Selectable Buttons” on page 133. To use single-field step: 1. Click the Step Forward One Field or the Step Backward One Field button in the Move tab of the Command palette, which can be mapped to any button on the Tool palette, the Timeline top toolbar, or any key on the Keyboard palette. (For more information on the Command palette, see “Using the Command Palette” on page 131.) n You can also press and hold the Alt key while pressing the 3 or the 4 key or the Right Arrow or the Left Arrow key. A number 2 appears in the upper right corner of the monitor to indicate you are parked on field 2 of a frame. (The absence of the number 2 indicates you are parked on field 1 of the frame.) 2. Continue to click the Step Forward One Field or the Step Backward One Field button to view each field of a frame. 240 Controlling Playback Using the Avid Keyboard The Keyboard palette varies, depending on the type of keyboard attached to your Avid system. If an Avid-supported international keyboard is attached, then the Keyboard palette matches that keyboard. n The keyboard settings vary, depending on the type of keyboard attached to your Avid system. The following shows the keyboard settings for a keyboard used in the United States. If an Avid-supported European keyboard is attached to your Avid system, then the keyboard settings will match that keyboard. Step buttons Workspace buttons Delete key Play button Home key End key Stop Play buttons Arrow keys The J-K-L keys on the keyboard allow you to play, step (jog), and shuttle through footage at varying speeds. This feature, also referred to as threebutton or variable-speed play, allows you to use three fingers to manipulate the speed of playback for greater control. To view your Keyboard settings: t Double-click Keyboard in the Settings scroll list of the Project window. 241 Chapter 7 Viewing and Marking Footage Shuttling with the J-K-L Keys To shuttle through the footage by using the J-K-L keys on the keyboard: 1. Load a clip or sequence into the Source/Record monitor. 2. Use the J-K-L keys to shuttle at varying speeds: t Press the L key to move forward through the footage at normal speed. You can increase the speed according to the following table. Press the L Key To Play Footage at NTSC Rate PAL Rate 24p Rate 2 times 2x normal speed 60 fps 50 fps 48 fps 3 times 3x normal speed 90 fps 75 fps 72 fps 4 times 5x normal speed 150 fps 125 fps 120 fps 5 times 8x normal speed 240 fps 200 fps 192 fps t Press the J key to move backward at the same shuttle speed increments. t Press the K and L keys together for slow forward (8 fps for NTSC, 6 fps for PAL, and 6 fps for 24p projects). t Press the K and J keys together for slow backward. t Press and hold the K key and tap the L key or the J key to step through footage one frame at a time. To pause the shuttling: t Press the K key. To stop the shuttling: t 242 Press the space bar. Playing Video to the Client Monitor Navigating with Home, End, and Arrow Keys In addition to using the buttons in the application, you can use the Home, End, and arrow keys to navigate through clips and sequences. • The Home key takes you to the beginning of a clip or sequence. • The End key takes you to the end of a clip or sequence. • The Left Arrow key moves the footage one frame backward. Pressing and holding the Alt key while pressing the Left Arrow key moves onehalf frame backward. • The Right Arrow key moves the footage one frame forward. Pressing and holding the Alt key while pressing the Right Arrow key moves one-half frame forward. Playing in Bins You can play clips and sequences in the bin while in Frame view and Script view by using all the buttons and keys and the mouse, as described in the preceding sections. Playing Video to the Client Monitor If you want to see sequences and effects as they will appear on an external display monitor, you need to connect a Client monitor to your Avid editor. The Avid application uses the hardware inside a camera or digital deck to create the video signal that the Client monitor displays. c To use a Client monitor, you must have a camera or digital deck connected to your system. This section describes how to connect a Client monitor to an Avid software-only system and how to configure the system to play video to the Client monitor. For more details on connecting a camera or deck and a Client monitor to your system, see the documentation that comes with your equipment. 243 Chapter 7 Viewing and Marking Footage Selecting the Client Monitor Setting After you connect the camera or digital deck and Client monitor to your Avid editing system, you must configure your system to play video to the Client monitor. Use the Video Display setting in the Settings scroll list to configure your system. To configure Video Display settings: 1. Double-click Video Display in the Settings scroll list. The Video Display Settings dialog box opens. n 244 Not all options listed in this procedure are available on all NewsCutter models. Playing Video to the Client Monitor 2. If it is not already selected, select the “DV device supports digital video input” option. 3. Select the “Send video to DV device (client monitor enabled)” option. 4. Specify a number of seconds of video to prefill in the Seconds of Video to Pre-Fill text box. This setting instructs the system to delay the beginning of playback by the number of seconds you specify. During this time, the system processes frames in advance and stores them in memory. When playback begins, the system starts to display the preprocessed frames while it continues to process new ones. The system will continue to play back the sequence successfully in real time unless it exhausts its supply of preprocessed frames. By accepting a delay at the beginning of playback, you increase the likelihood that the system will play the material successfully. The maximum delay you can specify is 10 seconds. 5. Select the OpenGL® mode for your video display in the OpenGL Hardware section. Select one of the following: n You will get better performance selecting a hardware OpenGL. t All video boards installed in your Avid editing application will be listed in the pop-up menu. Select your OpenGL video board. t If you do not have an OpenGL video board, click the pop-up menu, and select Software OpenGL. 6. Click the Enable Confidence View checkbox. Enable confidence view (also called passthrough) if you want to view incoming or outgoing media in the Record monitor as you are capturing media or creating a digital cut. 7. Specify the number video streams you want the Record monitor to display in the Stream Limit text box. - 1 to 8 streams for an Avid NewsCutter Adrenaline FX system. - 1 to 4 streams for an Avid NewsCutter XP Mojo system or software-only application. 8. Click OK to save the settings. The Avid application sends the video to the Client monitor. 245 Chapter 7 Viewing and Marking Footage Supporting a Camera Without Video Input If you connect a camera that does not have video input, your Avid system must use internal video signal processing for video display in the Source/Record monitor and pop-up monitors. You cannot use the Digital Cut tool. To support a camera without video input: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Video Display. The Video Display Settings dialog box opens. 3. If “DV device supports digital video input” is selected, a check mark appears in the box. Deselect it by clicking the check box. - Send video to DV device (client monitor enabled) is dimmed. - Digital Cut is dimmed in the Clip menu. The next time you connect a digital camera with video input, select “DV device supports digital video input.” The desktop video settings return to their previous state and the digital camera provides the desktop video display. Play Length “In Use” Indicator After you click the Play Length Toggle button, which appears in the Play tab of the Command palette, the Play button is highlighted in white. This reminds you to turn off the Play Length function before an important play and review session. When the Play Length function is active, the sequence stops playing after 1 minute. 246 Marking and Subcataloging Footage Adjusting the Play Delay Offset The Desktop Play Delay dialog box allows you to adjust the offset between audio and video playback. With a camera or deck connected to your system, play a sequence in the Timeline. If the Source/Record monitor plays back video and audio ahead of the camera or deck, you can adjust this offset. Playback on the Source/Record monitor can be delayed by the number of frames selected as an offset so that the video and audio play simultaneously to the camera or deck and the Source/Record monitor. To adjust the offset: 1. In the Project window, click the Settings tab. The Settings scroll list appears. 2. Double-click Desktop Play Delay. The Desktop Play Delay dialog box opens. 3. Click the slider to increase or decrease the amount of frame offset. You might need to readjust the frames a few times to find the correct offset. Marking and Subcataloging Footage You can speed the editing process by marking clips with IN and OUT points in advance, by using locators to subcatalog footage, and by creating subclips. 247 Chapter 7 Viewing and Marking Footage Marking IN and OUT Points You can mark IN and OUT points for your clips in advance, which provides several advantages: • You can quickly build a sequence by splicing the marked clips into place one after another. • You can use the process of rough cut (or storyboard) editing, which allows you to instantly splice several prepared clips into a sequence. See “Creating an Instant Rough Cut” on page 282. • You can play back and mark clips in the bin before loading a single clip, saving several steps. Even if your marks are not accurate now, you can trim the edit points and fine-tune the sequence later without reediting the material. To mark IN and OUT points before adding them to a sequence: 1. Load a clip or sequence into the Source/Record monitor. 2. Play or step through the material. Use the J-K-L keys when playing a clip in a bin. (For more information on using the J-K-L keys, see “Shuttling with the J-K-L Keys” on page 242.) 3. Mark an IN point by doing one of the following: 248 t Click the Mark IN button under the monitor to mark an IN point and stop playback. t Press the Mark IN key (the I key) to mark a clip in a bin. (The Mark IN key does not stop playback.) Marking and Subcataloging Footage The Sawtooth icon appears on the left side of the monitor to indicate the mark IN frame. Sawtooth icon Mark IN button Mark OUT button Clear Mark IN button Clear Mark OUT button 4. Continue playing, stepping (jogging), or shuttling through the material. 5. Mark an OUT point by doing one of the following: t Click the Mark OUT button under the monitor to mark an OUT point. t Press the Mark OUT key (the O key) to mark a clip in a bin. (The Mark OUT key does not stop playback.) The Sawtooth icon appears on the right side of the monitor to indicate the Mark OUT frame. 249 Chapter 7 Viewing and Marking Footage Clearing a Mark and Setting a New One You can clear marks and set new ones. To clear the IN point: t Click the Clear IN Mark button (or press the D key). To clear the OUT point: t Click the Clear OUT Mark button (or press the F key). To clear both the IN and OUT points: t Click the Clear Both Marks button in the Timeline top toolbar (or press the G key). To set a new IN point: t Click the Mark IN button (or press the I key) when you reach a different frame. To set a new OUT point: t Click the Mark OUT button (or press the O key) when you reach a different frame. Dragging IN and OUT Points To position IN and OUT points based on visual feedback: t 250 Press the Alt key, and drag marked IN or OUT points to new locations. The clip in the Source/Record monitor plays forward or backward as you move the IN or OUT points. Marking and Subcataloging Footage Marking an Entire Clip or Segment To mark an entire clip or segment: n A segment in a sequence consists of the material between any two edit points. 1. Load a clip or sequence into the Source/Record monitor. 2. In a sequence, move the position indicator to the segment that you want to mark. 3. In the Track Selector panel in the Timeline, select the tracks corresponding to the cuts you want to mark. Track Selector panel 4. Click the Mark Clip button under the monitor or in the Timeline top toolbar. n n To ignore the current track selection and to mark the smallest clip at the current position in the sequence, press and hold the Alt key while you click the Mark Clip button. If you load a master clip into the Source/Record monitor, this procedure places an IN point at the beginning and an OUT point at the end of the clip. 251 Chapter 7 Viewing and Marking Footage Marking Audio Clips You can mark audio and video separately for an edit by using the Audio Mark buttons. This feature is useful for creating an overlap edit (split edit or L-cut). To mark IN and OUT points on audio tracks: 1. Load a clip or sequence into the Source/Record monitor. 2. In the Track Selector panel, select the tracks corresponding to the cuts you want to mark. 3. Move the position indicator to the location where you want to mark the audio clip. Audio Mark IN button Audio Mark OUT button 4. Do one or both of the following: t Click the Audio Mark IN button in the Edit tab of the Command palette to mark an IN point. t Click the Audio Mark OUT button in the Edit tab of the Command palette to mark an OUT point. You can also create an overlap edit for an audio track by using the Audio Mark buttons. See “Creating Overlap Edits” on page 345. To remove audio IN and OUT points: 1. Shift+click the Clear IN Mark button and the Clear OUT Mark button. 2. Shift+click the Clear Both Marks button in the Timeline top toolbar. Using the Tool Palette The Tool palette provides additional buttons for editing and navigating. You can have the Tool palette buttons appear with or without labels. You can “tear off” the Tool palette to have it displayed in another screen location. You can also map other tools or functions to the Tool palette. See “Mapping User-Selectable Buttons” on page 133. 252 Marking and Subcataloging Footage Opening the Tool Palette To open the Tool palette: t Click the Fast Menu button under the Source or the pop-up monitor. The Tool palette opens. n If a subset of the buttons appears on the Tool palette, click the lower right corner and drag to the right and down to reveal the full Tool palette and blank, mappable buttons. Using the Tool Palette Options To see the names of the buttons on the Tool palette: t Hold the mouse pointer over a button. The name of the button appears in a yellow ToolTip box. To have labels appear on the Tool palette buttons: 1. Double-click Interface in the Settings tab in the Project window. The Interface dialog box opens. 2. Select “Show Labels in Tool palette.” 3. Click OK. The names of the buttons appear on the buttons under the icons. To tear off the Tool palette and move it to another location: 1. Click the Fast Menu button under the Source or the pop-up monitor. 2. Move the mouse until an outline appears. 3. Click the outline, and the Tool palette opens in the new location. 253 Chapter 7 Viewing and Marking Footage Using the Tool Palette from the Record Monitor The Fast Menu button does not appear under the Record monitor. If your Source/Record monitor appears as a single monitor, use the following procedure to use the Tool palette. To use the Tool palette with the Record monitor: 1. Click the Toggle Source/Record button until the word “Source” appears next to the title in the monitor and the button changes to green. 2. Click the Fast Menu button under the Source monitor. 3. Click the Tool palette, and drag it to another location in the application. 4. Click the Toggle Source/Record button again until the word “Sequence” appears next to the title in the monitor. Using the Timeline Top Toolbar The Avid editing application provides you with a top toolbar in the Timeline. You can use it for editing; you can also map additional buttons to it. For information about mapping buttons, see “Mapping User-Selectable Buttons” on page 133. You can choose to hide or show the Timeline top toolbar. To show the Timeline top toolbar: 1. Double-click Timeline in the Settings tab in the Project window. The Timeline Settings dialog box opens. 2. Click the Display tab. 3. Select or deselect Show Toolbar, and then click OK. 254 Marking and Subcataloging Footage Creating Subclips When you mark footage with IN and OUT points, you can either save the entire clip along with the new marks or create subclips based on the marks you set to break up longer master clips into smaller segments of selected footage. This is similar to creating circle takes of your best footage before editing. Subclips do not directly reference the original media. Subclips remain linked to the master clips from which they are created, and the master clips, in turn, reference the captured media files located on your storage drives. As a result, none of the original footage is lost. Subclips do not limit your access to the original, captured master clip material when trimming. Therefore, if you must trim beyond the marked IN to OUT points of the subclip to make it longer or shorter, your system accommodates the adjustments during the trim. For more information on trimming, see Chapter 10. You can create subclips directly from the marked section of material in the monitors by using one of the following methods. To use the Alt key to create a subclip: 1. Press and hold the Alt key. 2. Drag the picture from the monitor to the bin in which you want to store the subclip. To use the Make Subclip button to create a subclip: t Click the Make Subclip button in the Edit tab of the Command palette to create the subclip. (For more information on the Command palette, see “Using the Command Palette” on page 131.) The subclip is placed into the active bin by default. If you press the Alt key while you click the Make Subclip button, a dialog box allows you to select the destination bin for the subclip. 255 Chapter 7 Viewing and Marking Footage The new subclip is listed in the bin, preceded by a subclip icon and identified with a numbered .Sub.n file name extension, as shown in the following illustration. A new subclip as referenced in Text view Subclips do not limit your access to the original, captured master clip material when trimming. Therefore, if you must trim beyond the marked IN to OUT boundaries of the subclip to make it longer or shorter, your system does accommodate the boundary adjustments during the trim. When subclips are created in 24p or 25p projects, they are always created as “hard” subclips. This means that you will not be able to trim past the edges of the subclip when adjusting transitions and edits. Hard subclips prevent film tracking information errors for editing and cut lists. Subclips and Audio Sync for 24p and 25p Projects The system allows for the ¼-frame resyncing of audio in the event of telecine errors or for the purpose of adjusting audio sync for intended online mixing, but this subframe syncing can be done only to subclips. Avid recommends that you create subclips after you capture your footage and audio but before you begin editing in order to check or adjust audio sync. It is easier to adjust the subclip’s audio sync before you work the subclip into an edit. For more information about adjusting audio sync, see Chapter 12. 256 Marking and Subcataloging Footage Using Locators Locators are a type of electronic bookmark. They allow you to find and identify specific frames during editing. Key words that you enter into the comments attached to a locator allow you to use standard Find procedures to call up the clips quickly. You can display information about the locators by using the Locators window. There are eight Add Locators buttons in the More tab of the Command palette. Each Add Locator button is a different color, which allows you to group locators by color. For example, you can use the red Add Locator button to identify color correction frames and use the blue Add Locator button to identify cutaway shots. Ways to Use Locators Locators and the Locators window have many uses. A few examples are: • Color correction notations: Use locators to mark clips or specify frames that require color correction, noting the specific correction to perform if someone else does the job. • Visual track alignments: Use locators at matching points in synchronized audio and video tracks; if the tracks lose sync, you can visually realign the locators in the Timeline to restore sync. For more information on sync, see Chapter 12. • Music cues: Use locators to mark the IN and OUT points for music. • Trim markers: Use locators in the Timeline to return directly to an edit you have designated for further trimming at a later time. • Cutaway markers: Use locators to identify cutaway shots with comments, so that when you return to cover jump-frame edits with cutaway footage, you can quickly access the clips. • Replace markers: Use locators to mark filler segments with comments to identify the items that should replace the filler. • Semipermanent IN or OUT points: Use locators with the Mark Locators button to put multiple sets of locators on a long clip, and so on. 257 Chapter 7 Viewing and Marking Footage • Add comments for EDLs: Use locators to add comments to sequence clips to appear in lists that you create, such as an EDL or cut list. • Viewing reviewer comments: Use the Locators window to view reviewer comments and the specific frame. • Print a list of reviewer comments: Use the Locators window to print a list of changes or comments that you can distribute to other people in the production. When you insert a locator, it appears as a colored oval in the Timeline, in the position bar, and at the bottom of the frame in the monitor. The color of the oval corresponds to the color of the locator button you used. You can also add locators on-the-fly while you capture. See “Adding Locators On-the-Fly” in the Help. Locator displayed in the monitor and in the Timeline 258 Marking and Subcataloging Footage Adding Locators While Editing To add locators and comments during an editing session: 1. Load a clip or sequence into the Source/Record monitor. 2. (Option) Select a specific track by using the Track Selector panel. See “Using the Track Selector Panel” on page 318. 3. Cue to the frame and click the Add Locator button. The Add Locator button is found in the More tab of the Command palette. The locator oval appears in the Timeline, in the position bar, and at the bottom of the frame in the monitor. 4. Double-click the locator in the position bar under the monitor, or click the large oval on the frame. The Locators window opens. 5. Click the locator’s information line displayed in the top section of the Locators window. The locator’s information line is highlighted. 6. Type your comments in the comment area of the Locators window. 7. Press the Tab key or close the Locators window to save your comments. You can also press Enter on the numeric keypad to save your comments. The information is stored with the marked frame. The first line of the information appears at the bottom of the frame in the monitor. You can copy all locators currently placed in source clips directly into the sequence as you edit. The locators and the locator text appear in all sequence segments that reference the source clips. To go quickly to a frame with a locator while editing: t Select Edit > Find to search for a particular comment. 259 Chapter 7 Viewing and Marking Footage Moving to the Previous or Next Locator You can move to a frame marked by a locator by using the Go to Previous Locator button or the Go to Next Locator button. To move to the previous or next locator: t Click the Go to Previous Locator button or the Go to Next Locator button in the Move tab of the Command palette. The position indicator moves in the direction you have indicated and the monitor displays the frame containing the locator. n You can map these buttons to your Tool palette or Keyboard palette. See “Mapping User-Selectable Buttons” on page 133. Using Locators to Mark an Area You can mark the area between two locators by using the Mark Locators button. To mark the area between two locators: 1. Move the position indicator between two locators. 2. Click the Mark Locators button located in the Edit tab of the Command palette. The area between the two locators is selected. Deleting Locators You can delete locators in the Timeline or position bar, or by using the Locators window. To delete a single locator: 1. Select a locator in the Timeline or in the position bar. 2. Press the Delete key. The selected locator is removed. For more information on using the Locators window to delete locators, see “Deleting Locators by Using the Locators Window” on page 264. 260 Marking and Subcataloging Footage Using the Locators Window The Locators window allows you to quickly add comments, go to locator marks, delete locators, and print a list of locators in the currently loaded clip or sequence. Many features of the Locators window are similar to those of the Bin window. You can use the Locators window to: • Find information about each locator. • Access the Locators Fast Menu, which allows you to: • - Modify and sort the display. - Display frames for easy visual reference. - Change the color of the locator icons. - Open a Review & Approval file. Print the Locators window. This is especially useful for identifying and listing specific frames to be used in an effect, for example. You can also make a list of IN and OUT points for adding music. • Go to the locator in the sequence or clip. • Delete a single locator or multiple locators. The Locators window is divided into two sections: • The top section displays information in text columns about the locators. • The bottom section allows you to type comments about the frame marked by the selected locator. 261 Chapter 7 Viewing and Marking Footage The following illustration shows a Locators window with three locators. Locator information area Comment area Viewing and Navigating in the Locators Window To view locators in the Locators window: 1. Load a sequence containing locators into the Source/Record monitor. 2. Do one of the following: t Select Tools > Locators. t Find a video frame with a locator on it, and click the locator. To navigate in the Locators window: t Press the Tab key to switch between the locator information area and the comment entry area. t Press the Up Arrow and Down Arrow keys to select locators in the locator information area. Sorting Information in the Locators Window You can sort or reverse-sort the locators by using the locator information area in the Locators window. To sort the locators in ascending order: 1. Select the column that you want to sort. The column is highlighted. 2. Click the Locators Fast Menu, and select Sort. 262 Marking and Subcataloging Footage To sort the locators in descending order: 1. Select the column that you want to sort. The column is highlighted. 2. Press and hold the Alt key while you click the Locators Fast Menu, and select Sort Reversed. Displaying Frames in the Locators Window You can display the frame associated with each locator in the Locators window. To display the frame associated with a locator: t Click the Locators Fast Menu, and select Images. The Locators window displays the frame associated with each locator. Changing the Color of the Locator Icon You can change the color of the locator icon from the Locators window. The locator icon uses the same color in the Timeline, position bar, and monitor. To change the color of the locator icon: 1. Select a locator in the locator information area of the Locators window. 2. Click the Locators Fast Menu, and select a color. The icon color of the selected locator changes to the new color. Accessing a Locator in a Sequence or Clip From the Locators window, you can go to the frame in the sequence or clip that is marked by the locator. To go to a locator in a sequence or clip: t Double-click a locator in the locator information area of the Locators window. The appropriate frame is displayed. 263 Chapter 7 Viewing and Marking Footage Printing the Contents of the Locators Window To print the Locators window: 1. Make sure your printer is set up correctly. 2. Select File > Page Setup. A Page Setup dialog box opens, reflecting specific options for your printer. 3. Select the appropriate options. 4. Click OK. 5. Select File > Print. The Print dialog box opens, reflecting specific options for your printer. 6. Select the print options. 7. Click OK. The system prints the Locators window. Deleting Locators by Using the Locators Window You can use the Locators window to delete a single locator or multiple locators. To delete locators by using the Locators window: 1. Select the locators in the locator information area of the Locators window by doing one of the following: t Click a single locator. t Ctrl+click multiple locators. 2. Press the Delete key. The selected locators are removed. 264 Finding Frames and Clips Displaying Information in the Locators Window You can display creation information for each locator displayed in the Locators window. Displaying the creation information is useful when you are using the Review & Approval process. You can display the following information for each locator displayed in the Locators window: • Name of the user who created the locator • Date the locator was created • Time the locator was created To display information about a locator: t Click the Locators Window Fast Menu button, and select Details. The Locators window shows the User, Date, and Time columns. For more information about using the Locators window, see “Using the Locators Window” on page 261. Finding Frames and Clips Once you have captured, viewed, marked, and subcataloged numerous clips for a project, you might have difficulty relocating specific clips or frames among several bins. The Avid application allows you to locate and cue footage quickly. 265 Chapter 7 Viewing and Marking Footage Using Frame Offset Timecode to Cue a Frame To cue a frame by using frame offset timecode: 1. Using the numeric keypad, type a plus (+) sign to move forward or a minus sign (–) to move backward from the current position. n If you are using a laptop that does not have a numeric keypad, you cannot type in a number for the frame offset. 2. Type a number for the frame offset, and press Enter on the numeric keypad. Use the following formats: - One or two digits: Type 1 through 99 to specify a number of frames forward or backward. For example, type –42 to move backward 42 frames. - Three digits: Type 100 or a greater number to move forward or backward a specified number of seconds and frames. For example, if you type +100 and the master track timecode is selected on the Tracking Information menu, you move forward 1 second and 0 frames. - Frames only: To move forward or backward 500 frames, for example (not 5 seconds), type + or -, press the F key, and then type 500. Using Timecode to Find a Frame At any time during editing, you can type timecode values by using the numeric keypad on the right side of the keyboard to cue a loaded clip or sequence to a specific frame. In addition, you can cue backward or forward from the current location in the clip or sequence by a specified number of minutes and seconds plus frames by using positive or negative frame-offset values. The system interprets the numbers you type with the numeric keypad according to the type of tracking format you have selected in the row of information displayed above the monitor. 266 Finding Frames and Clips n If you are using a laptop that does not have a numeric keypad, you cannot type in a number for the timecode value. To cue to a frame based on a known timecode: 1. Type the timecode for the frame by using the numeric keypad on the right side of the keyboard. 2. Use one of these formats: - SMPTE timecode: Use two digits each for the hours, minutes, seconds, and frames with no leading zeros. For example, type 1230200 to enter 01:23:02:00. - Current timecode: If you are finding a timecode that starts at the same time as the current timecode, just type the last digits. For example, if the current timecode is 1:05:12:13 and you type 425, the system finds the frame at 1:05:04:25. 3. Press Enter on the numeric keypad. Searching for a Clip or Sequence You can use the Find feature to search for a clip or sequence loaded in the Source/Record monitor by using: • Clip names • Locator text • Text displayed in the Timeline • Comment text To do a text search of a loaded clip or sequence by using the Find feature: 1. Load the clip or sequence into the monitor. 2. Select Edit > Find. The Find Text dialog box opens. 3. Type part or all of the text for which you are searching. If the exact text is unknown, type only a known word or portion of a word. 267 Chapter 7 Viewing and Marking Footage 4. Select one or more options: - Locators causes the system to search for matching text entered into the Locator information area only. - Clip Names causes the system to search for matching text in clip names only. - Timeline Text causes the system to search for matching text in any clip text displayed in the Timeline. 5. Click OK. If the system finds matching text, it cues to the head of the clip if you selected Clip Names or Timeline Text. The system cues to the Locator frame if you selected Locators. 6. If the cue point is not the one you want, select Edit > Find Again to search for another incidence of matching text. Using Match Frame The Match Frame feature locates the source footage for the frame currently displayed in the Record monitor, loads it into the Source monitor, cues to the matching frame, and marks an IN point. It removes the source clip’s original IN and OUT points. In addition to relocating and reediting master clips during a session, you can use Match Frame to locate clips quickly, based on media relatives, when you have forgotten their location. You can also locate the source clip (master clip or subclip) of a motion effect. Track selection determines the matching frame. If you select a video track, the system matches a frame from the video. If you enable several tracks, the system matches the frame from the highest selected track level, in descending order: V1, A1, A2, and so on. 268 Finding Frames and Clips To use the Match Frame feature: 1. Load a sequence into the Source/Record monitor. 2. Move to the frame that you want to match. 3. Make sure you select the correct track for the frame that you want to match in the Track Selector panel. 4. Do one of the following: t Click the Match Frame button in the Other tab of the Command palette. The source clip is loaded into the Source monitor, and any previous IN or OUT points are removed. A new IN point is marked at the matching frame. t Alt+click the Match Frame button in the Other tab of the Command palette. The source clip is loaded into the Source monitor, and any previous IN or OUT points are maintained. t Press and hold Alt+Ctrl and click the Match Frame button in the Other tab of the Command palette. The source clip of the motion effect (a master clip or subclip) is loaded into the Source monitor. n If you do not want to mark the source clip and remove the original marks, press the Alt key as you click the Match Frame button. Performing a Reverse Match Frame To perform a reverse Match Frame: 1. Place the position indicator on the frame in the source footage. 2. Select the appropriate tracks in the Timeline. 3. Click the Reverse Match Frame button in the Other tab of the Command palette. 269 Chapter 7 Viewing and Marking Footage The system cues the sequence to the matching frame on the record side. If the clip exists in more than one place, the sequence cues to the first location of the matching frame, and continues through the sequence to subsequent locations each time you click the Reverse Match Frame button. Selecting Tracks for Matching Frames Track selection determines the matching frame. If you select a video track, the system matches a frame from the video. If you enable several tracks, the system matches the frame from the highest selected track level, in descending order: V1, A1, A2, and so on. You can match frame a single track without having to turn off all other tracks. With audio, you can select the audio track that you want to match a frame on instead of the system match framing the top audio track. To match frame a selected frame on a single track: t Right-click the track number that you want to match frame, and select Match Frame Track. Using Match Frame to Locate the Source Clips of Motion Effects To use the Match Frame feature to locate the source clip of a motion effect: 1. In the Timeline, place the position indicator on the motion effect that you want to match. 2. Select the track for the motion effect that you want for match. 3. Alt+click the Match Frame button in the Other tab of the Command palette. The source clip of the motion effect is loaded into the Source/Record monitor. 270 Finding Frames and Clips Finding a Bin With a clip or sequence loaded into a monitor, you can quickly find the original bin in which it is stored by using the Find Bin button. Clicking this button finds the bin, opens it, and highlights the clip or sequence within the bin. This works for sequences, subclips or clips within sequences, or clips in the Source monitor. To find the bin in which a specific clip is located: 1. Load a clip into the Source monitor. 2. Click the Source monitor to activate it. 3. Click the Find Bin button in the Other tab of the Command palette. The system highlights the clip in the bin. To find the bin in which a specific sequence is located: 1. Load a sequence into the Record monitor. 2. Click the Record monitor to activate it. 3. Click the Find Bin button. The system highlights the sequence in the bin. To find the bin in which a specific clip in a sequence is located: 1. Move the position indicator to the clip within the sequence. 2. Press and hold the Alt key, and click the Find Bin button. The system opens the bin and highlights the clip. 271 Chapter 7 Viewing and Marking Footage Locating a Master Clip from a Subclip in a Sequence To find the original clip in the bin for a subclip that has been edited into a sequence, you can use the Match Frame and Find Bin buttons together. n For this operation, you must have the Match Frame button mapped below both the Source and Record monitors. To locate a master clip from a subclip: 1. Cue to the subclip in the sequence. 2. Click the Match Frame button to load the subclip into the Source monitor. 3. Click the Match Frame button in the Source monitor to load the original master clip into the Source monitor. 4. Click the Find Bin button in the Source monitor to open the bin and highlight the master clip. 272 Chapter 8 First Edits After you have viewed and marked your clips or have created subclips, you are ready to create a sequence. This chapter introduces you to procedures that you use to build a basic sequence, as described in the following sections: • Starting a New Sequence • Making the First Edit • Editing Additional Clips into the Sequence • Lifting, Extracting, and Copying Material • Playing the New Sequence • Proceeding with Editing Starting a New Sequence To start a new sequence, do one of the following: t Select Clip > New Sequence. t Right-click in the Timeline, and select New Sequence. t Right-click in the Source/Record monitor, and select New Sequence. Chapter 8 First Edits One of the following actions occurs: - If just one bin is open, or if several bins are open and you have clicked a specific bin to activate it, the new sequence appears in the bin. It also appears in the Source/Record monitor and in the Timeline, with the generic title “Untitled Sequence n.” Each new sequence is numbered incrementally until you rename it. - If several bins are open but none is activated, the Select dialog box opens. Select the bin in which to store the new sequence, or click New Bin to create and open a new bin, and click OK. An untitled sequence appears in the bin, in the Source/Record monitor, and in the Timeline. To rename the new sequence: t 274 Immediately type a new name while the name is highlighted in the bin. Starting a New Sequence n If you click anywhere in the interface after creating the new sequence, you deactivate the sequence name field. You must click the sequence name again to rename the sequence. Changing the Sequence Info The following optional procedure allows you to rename the new sequence and to set a customized start timecode by using the Get Sequence Info command. To rename a sequence and to set a customized timecode: 1. With your sequence loaded and the Source/Record monitor active, select File > Get Sequence Info. The Sequence Info dialog box opens. 2. Type a new name in the Name text box. 3. Drag the pointer across the Starting TC (timecode) to select it, and then type a new timecode. n You can switch from non-drop-frame timecode to drop-frame timecode by changing the colons (:) in the Starting TC text box to semicolons (;). The reverse is also true. 4. For 24p or 25p projects, drag the pointer across the start key number (Starting EC) and type a new start key number. 5. Click OK. 275 Chapter 8 First Edits Changing the Start Timecode for Sequences To change the start time of a sequence that has already been created: 1. Click the sequence start time in the bin. 2. Type a new timecode. Setting Up Tracks for the New Sequence When you create a new sequence by using the New Sequence command, and no material is loaded in the Source/Record monitor, the Timeline is empty. n You can add a Meta track for MetaSync editing. For information about MetaSync, see the Avid MetaSync Setup and User’s Guide. To add a new track to a sequence loaded in the Source/Record monitor: t Select Clip > New Audio Track or Clip > New Video Track. The new track appears in the Timeline. When you add a new track to a sequence, the Avid application assigns a consecutive number to it. You can change the numbering scheme of tracks rather than use the consecutive numbering default. To add a new track and to change the numbering system: 1. Press and hold the Alt key, and select Clip > New Audio Track or Clip > New Video Track. The Add Track dialog box opens. Track Type pop-up menu 276 Track Number pop-up menu Starting a New Sequence 2. If you want to switch from the type of new track you selected (for example, from a new video to a new audio track), click the Track Type pop-up menu and select the other option. 3. If you want to select a track number other than the default consecutive numbering offered by the dialog box, click the Track Number pop-up menu and select another number. You cannot select the number of an existing track. n You can have a maximum of 24 video tracks and 24 audio tracks. 4. Click OK. The new track appears in the Timeline and in the Track Selector panel. Deleting Tracks To delete a track: 1. Select the track you want to delete in the Track Selector panel. 2. Press the Delete key on the keyboard. A dialog box opens. 3. Click OK. The track is deleted. 277 Chapter 8 First Edits Adding Filler You can add a small amount of black filler at the start of your sequence. A brief moment of black before the start of your sequence is sometimes useful during playback or when recording a digital cut. You can also add filler at any time during editing to another part of the sequence. n You cannot add filler to the end of a sequence except during a digital cut, and you cannot add filler to an empty sequence. To add filler by using the Load Filler command: 1. Select Clip > Load Filler. The system loads a 2-minute clip of filler into a pop-up monitor. 2. Select the length of filler, as needed, using the Mark IN and Mark OUT buttons. 3. Click the Splice-in or the Overwrite button to edit the black into the sequence. To add filler by using the Add Filler at Start command: 1. Right-click in the Timeline, and select Add Filler at Start. To set a default duration for the filler: 1. Double-click Timeline in the Settings tab in the Project window. The Timeline Settings dialog box opens. 2. Click the Edit tab, and type the duration of the filler that you want added to the start of a sequence. 3. Click OK. 278 Starting a New Sequence To add filler anywhere in a sequence: 1. Select Clip > Load Filler. The system loads a 2-minute clip of filler into the Source/Record monitor. Fast Menu button Mark IN button Mark OUT button 2. Select the length of filler, as needed, by using the Mark IN and Mark OUT buttons. 3. Click the Fast Menu button. The Tool palette opens. 4. Click the Splice-in or the Overwrite button on the Tool palette to edit the black into the sequence. 279 Chapter 8 First Edits MetaSync Avid MetaSync gives editors the tools to synchronize metadata with traditional video and audio content. With MetaSync, you can insert pointers to metadata directly into the Timeline and easily modify the timing and duration of the enhanced material. The metadata, in turn, point to additional content, such as files from a scriptwriting program, closed captioning, HTML files, database records, machine controls, or remote commands. Other applications can then process this additional content for final production and distribution, opening new opportunities for content creation in the emerging areas of ITV (interactive television), DVD, broadband, and converging media. For more information, see the Avid MetaSync Setup and User’s Guide or the Help. Making the First Edit Making the first edit involves the following procedures: 280 • Beginning to Edit • Creating an Instant Rough Cut • Undoing or Redoing Edits • Monitoring Audio While Editing Making the First Edit Beginning to Edit To begin editing: 1. Load the first clip into a pop-up monitor. If you have not already marked IN and OUT points for the clip in advance or created a subclip, view and mark the clip as necessary. Source Track buttons Source Track Monitor buttons 2. Click buttons in the Timeline Track Selector panel to select the tracks you want to include in the edit. Only the tracks that have been recorded for the clip appear as source tracks in the Timeline. For more information on using the Track Selector panel, see “Using the Track Selector Panel” on page 318. For example, with a talking head, you might select tracks V1 (picture) and A2 (sound), if the voice was recorded on that track. You would deselect track A1, which might have unwanted wild sound picked up from a second microphone or no sound at all. As another example, if you are laying down a music track first, you would select track A1 or A2, depending upon where the music was recorded, and deselect V1. 3. Click the Splice-in button to add the edit to the sequence in the Source/Record monitor. The Source/Record monitor displays the end of the last frame of the new edit. (You can drag the position indicator in the Timeline or in the position bar under the Record monitor to review the clip.) The edit also generates a graphical display of the cut in the Timeline. 281 Chapter 8 First Edits Screen display of the first edit in a sequence The end of the last frame of the new edit Timeline generated by the edit Creating an Instant Rough Cut As an alternative to creating a new sequence by editing clips one at a time, you can quickly create a rough cut by selecting and loading multiple clips directly from the bin and then dragging them into the Timeline. n 282 To create a more accurate rough cut, view and mark clips in the bin in advance. See “Marking IN and OUT Points” on page 248. Making the First Edit To create a rough cut from a bin: 1. In the bin, sort the clips in the order in which you want them to appear in the sequence. 2. Select the tracks for the edit. n If no sequences are loaded in the Source/Record monitor, the Timeline has no features. 3. Do one of the following: t Ctrl+click or lasso the clips. t Select Edit > Select All if there are no other clips in the bin. 4. Drag the highlighted clips to the Timeline to splice the clips into place. The clips are spliced together to form a new sequence based on the order in which they were listed in the bin. Undoing or Redoing Edits You can undo or redo up to 32 previous actions listed in the Edit menu. To undo only the previous edit or function, do one of the following: t Select Edit > Undo. t Press Ctrl+Z. To redo only the previous edit or function, do one of the following: t Select Edit > Redo. t Press Ctrl+R. Monitoring Audio While Editing You can monitor audio levels while you edit by using the Audio tool. If you have the Audio tool open and you play footage that includes audio, the audio levels are tracked in the Audio tool. For more information on using the Audio tool, see “Using the Audio Tool” in the Help. 283 Chapter 8 First Edits Editing Additional Clips into the Sequence The primary edit functions are splice-in and overwrite. In most cases, you perform three-point edits in which you set three marks — two in the source material and one in the sequence, or the reverse. The fourth mark is determined automatically. The way you set marks depends upon the type of edit you perform. Performing a Splice-in Edit A splice-in edit inserts material from the Source/Record monitor into the sequence without replacing material already in the sequence. Existing material in the sequence is moved beyond the new material, lengthening the overall duration of the sequence. New Clip Insertion point Clip X Clip Y Clip X Clip Y Before Splice-in Clip Z Existing clips are moved down New Clip Clip Z After Splice-in To perform a splice-in edit: 1. Drag a clip into the Source/Record monitor. 2. Mark an IN point and an OUT point. 3. Mark an IN point in the sequence as follows: a. If the Source/Record monitor displays as a single monitor, switch to the Record monitor by clicking the Toggle Source/Record button until the word “Sequence” appears next to the title in the monitor. b. Move the position indicator in either the Timeline or the position bar of the Record monitor to the point where you want to splice the clip into the sequence. c. Click the Mark IN button, or press the Mark IN key on the keyboard. 284 Editing Additional Clips into the Sequence n If you do not mark an IN point, the system splices the new clip into the sequence at the current location of the position indicator. 4. To complete the edit, click the yellow Splice-in button under the Source monitor or press the V key. Performing an Overwrite Edit An overwrite edit replaces a section of the sequence with the material you select from the monitor. Unlike a splice-in edit, an overwrite edit replaces existing material and therefore does not lengthen the overall duration of the sequence unless the material used to overwrite goes beyond the end of the sequence. New Clip Material to be overwritten Clip X Clip X Clip Z Clip Y Clip Y New Clip Clip Z Before Overwrite After Overwrite To perform an overwrite edit: 1. In the monitor, mark an IN point or an OUT point, but not both, to show the start or end of the clip you want to use. 2. If the Source/Record monitor displays as a single monitor, switch to the Record monitor by clicking the Toggle Source/Record button until the word “Sequence” appears next to the title in the monitor. 3. In the Record monitor, mark both an IN point and an OUT point to select the material in the sequence you want to overwrite. You can also mark an OUT point and move the position indicator in the Timeline or position bar to the IN point. 4. Click the red Overwrite button under the Source monitor to complete the edit. 285 Chapter 8 First Edits Performing a Replace Edit To perform a replace edit: 1. Select a sync frame in the source clip by moving the position indicator to display that frame in the Source monitor or a pop-up monitor. The sync frame can be an IN point, an OUT point, or any frame inbetween that you want to sync to a frame in the existing shot in the sequence. 2. Select the sync frame in the sequence for the edited shot that you want to replace by moving the position indicator in either the Record monitor position bar or in the Timeline to that frame. 3. Click the Replace Edit button (blue) in the Edit tab of the Command palette to complete the edit. n Be careful to select the tracks you want, and check durations before performing the edit. If you are replacing a clip in an overlap edit, and the position indicator falls within the overlap, you might end up replacing the wrong material unless you select the entire segment you want to replace. Lifting, Extracting, and Copying Material Extract/Splice-in and Lift/Overwrite are Segment mode functions you can also use to remove and reposition segments. For more information, see “Segment Mode Editing” on page 310. 286 Lifting, extracting, and copying allow you to remove or reposition material quickly in your sequence. For example, you can move a clip from the end of your sequence to the beginning; or you can remove the material from the sequence altogether. Lifting, extracting, and copying place the removed material into the Clipboard. You can then paste the material elsewhere in the sequence or in another sequence altogether. Lifting, Extracting, and Copying Material Lifting Material The Lift function removes selected material from a track in the sequence and leaves black filler or silence to fill the gap. You can later move or fill this gap with other footage. When you lift material, the overall duration of the track (or sequence) remains the same. Lifted Clip X Clip W Black Filler Material is placed in the Clipboard. Clip Y Clip Z To lift material: 1. Mark IN and OUT points in the sequence at the start and end of the material that you want to lift. 2. Select the tracks containing the material. The system performs the function on selected tracks only. See “Using the Track Selector Panel” on page 318. 3. To complete the edit, click the Lift button or press the Z key. The Lift button is in the Edit tab of the Command palette. Extracting Material The Extract function removes selected material from a track in the sequence and closes the gap left by its removal. As a result, when you extract material, you shrink the duration of the track or sequence. Extracted Clip Y Clip X Clip Y Material is placed in the Clipboard. Clip Z Track is shortened. Clip X Clip Z Before Extract After Extract 287 Chapter 8 First Edits To extract material: 1. Mark IN and OUT points in the sequence at the start and end of the material that you want to extract. 2. Select the tracks containing the material. The system performs the function only on selected tracks if sync locks are not on. If sync locks are on, all material on all tracks is extracted. See “Using the Track Selector Panel” on page 318 and “Sync Locking Tracks” on page 327. 3. To complete the edit, click the Extract button or press the X key. The Extract button is in the Edit tab of the Command palette. Copying Material The Copy to Clipboard function makes a duplicate of selected material in the sequence and leaves the material intact. When you copy material, the sequence remains unaffected. The material can then be inserted into the sequence elsewhere or into another sequence. To copy material to the Clipboard: 1. Mark IN and OUT points in the sequence at the start and end of the material that you want to copy. 2. Select the tracks containing the material. The system performs the function on selected tracks only. See “Using the Track Selector Panel” on page 318. 3. Click the Copy to Clipboard button in the Edit tab of the Command palette or press the C key. The system copies the selected material to the Clipboard and leaves the sequence untouched. 288 Lifting, Extracting, and Copying Material Using the Clipboard The Avid Clipboard is a cut, copy, and paste tool adapted to the special needs of the editing environment. Placing a Sequence into the Clipboard To place a marked section of the sequence into the Clipboard at any time: t n Click the Lift, the Extract, or the Copy to Clipboard button. These buttons are located in the Edit tab of the Command palette; you can map them to buttons on the Tool palette or keys on the Keyboard palette. See “Mapping User-Selectable Buttons” on page 133. The Copy to Clipboard function is useful for moving or repeating material in a sequence without moving multiple segments in Segment mode or for rebuilding the section at another location. For example, you can: • Copy a portion of a sequence for pasting into another sequence. • Isolate and copy a portion of an audio track for looping music or repeating a sound effect. • Copy graphic elements for repeating at other locations in a format cut. Recovering Material from the Clipboard The Clipboard allows you to restore lifted or extracted segments quickly. This is especially useful if you have performed one or more edits since removing the material. In contrast, if you restore the material by using the Undo function, the system also undoes all edits performed in the meantime. The Clipboard provides the benefit of restoring the material while maintaining subsequent edits. To restore material from the Clipboard: 1. Open the Clipboard as a pop-up monitor by selecting Tools > Clipboard Monitor. 2. Click the Mark Clip button, or press the T key to mark the entire segment. 289 Chapter 8 First Edits 3. Locate the IN point in the sequence from which the segment was removed. Move the position indicator here, or mark an IN point. 4. Splice or overwrite the material into the sequence. Playing the New Sequence You can play a sequence at any time and view it in the Source/Record monitor. Playing a Sequence To play a sequence: 1. Make sure that the Video Track Monitor icon is located on the topmost video track to display all video tracks and effects during playback. 2. Make sure the Audio Track Monitor button for each audio track is selected to ensure proper playback of all audio tracks. 3. Go to the start of the sequence in the Source/Record monitor or Timeline by clicking the left side of the position bar to reposition the position indicator at the beginning or by pressing the Home key on the keyboard. 4. Use the position indicator, buttons, or keyboard to play or step (jog) through footage, viewing it in the Source/Record monitor. Starting a Playback Loop You can play back your sequence in a continuous loop by augmenting the Play IN to OUT command with the Alt key. You must mark IN and OUT points in the sequence to determine the range of the playback loop. n 290 You can also use this technique to isolate and continuously play back a small portion of the sequence during a difficult edit. Playing the New Sequence To start a playback loop: 1. Mark IN and OUT points in the sequence. To play back the entire sequence, mark the IN point at the beginning and the OUT point at the end. 2. Press and hold the Alt key, and press the Play IN to OUT key (6 on the keyboard). The playback loop begins and continues until you press the space bar or click anywhere with the mouse. n If there are no IN or OUT points in the sequence, pressing the 6 key moves the position indicator to the beginning of the sequence and plays IN to OUT in one step. Improving Playback Performance As you continue to edit, you might find the playback performance of the system diminishing as the sequence grows in length and layers. This can happen when you are using a great deal of RAM for playback of large and complex sequences. The following are a few tips for improving playback performance: • Check the number of media objects in use for your project in the Memory window, as described in “Viewing System Information” on page 104. If this number is more than 50,000 objects, reduce the number of media objects by doing one of the following: t Close bins that are not in use. t Reduce the number of clips in the open bins. t Unmount drives that are currently not in use. See “Mounting and Ejecting Drives” on page 55. You can remount the drives at any time by selecting File > Mount All. • Restart the computer once a day to refresh the system memory. • Split the sequence into two or more segments, if possible. 291 Chapter 8 First Edits Proceeding with Editing When you have finished a rough cut, you are ready to fine-tune the sequence. To learn about the Timeline and Segment mode editing techniques: t See Chapter 9. To make frame-accurate adjustments to your edits using Trim mode: t See Chapter 10. To edit with audio or to mix audio tracks in preparation for playback or output: t See Chapter 11. To edit with synced tracks: t See Chapter 12. To add effects to your sequence: t See the Avid Products Effects Guide. To output the finished sequence: t 292 See “Output Options” in the Help. Chapter 9 Using the Timeline The Avid editing application represents each edit and effect in a graphical Timeline structure to help you track and manipulate the elements of your sequence. In addition, the Timeline has its own set of editing tools that you can use to create and revise edits and transitions across multiple tracks. The audio and video tracks in the Timeline play in the Source/Record monitor. You can continually edit your sequence and review your changes in the Source/Record monitor until you are pleased with the result. These features are described in the following sections: • Customizing Timeline Views • Navigating in the Timeline • Editing in the Timeline • Printing the Timeline Customizing Timeline Views You can customize your Timeline to display a variety of information about your sequence as well as the clips and transitions it contains. You use the Timeline Fast Menu and the Timeline settings to change the display. Examples of customizing your Timeline include: • Visual detail: If you want to display more detailed information about clips with which you are working, you can enlarge the video tracks to display clip names and durations, and source and media names. Chapter 9 Using the Timeline • Audio detail: If you are doing advanced audio work with multiple tracks or are fine-tuning difficult audio edits, you can enlarge audio tracks to display waveform plots and audio levels. • Mapping buttons: You can map buttons to the Timeline top toolbar. For more information, see “Using the Timeline Top Toolbar” on page 254. Accessing the Timeline Settings The Timeline Settings options allow you to customize the Timeline. To access the Timeline settings: t Double-click Timeline in the Settings tab in the Project window. The Timeline Settings dialog box opens, showing the Display tab. For information on the options available in the Timeline Settings dialog box, see “Timeline Settings” in the Help. Using the Timeline Fast Menu You can customize the appearance of the Timeline by using various options from the Timeline Fast Menu. To select an item from the Timeline Fast Menu: t 294 Click the Fast Menu button and scroll through the menu to select or deselect an option. Selected options have check marks next to them. Customizing Timeline Views Table 19 lists the Timeline Fast Menu options. Table 19 Option Timeline Fast Menu Options Suboption Description Default Setup Sets the Timeline display back to the default. Clip Frames Switches on and off the display of clip head frames in the Timeline. Clip Names Switches on and off the display of clip names in the Timeline. Clip Durations Switches on and off the display of clip durations in the Timeline. Source Names Switches on and off the display of source material names in the Timeline. Media Names Switches on and off the display of original media names in the Timeline. Render Ranges Indicates unrendered effects; see the Avid Products Effects Guide. None Displays a red line on the portion of any partially rendered effect that is currently unrendered (but does not mark completely unrendered effects). Partial Only Displays a red line on the portion of any partially rendered effect that is currently unrendered and on all completely unrendered effects. All Displays a red line on all completely unrendered effects. Audio Clip Gain Displays audio clip gain information. See “Automation Gain Values and System Clip Gain Values” on page 376. Audio Auto Gain Displays audio automation clip gain information. See “Automation Gain Values and System Clip Gain Values” on page 376. 295 Chapter 9 Using the Timeline Table 19 Option Timeline Fast Menu Options (Continued) Suboption Description Sample Plot Switches on and off the display of sample plots for each audio track in the Timeline. It is easier to see this display if you expand the audio track in the Timeline. Clip Color Displays local and source colors assigned to clips. Offline When this option is selected, any clips in the Timeline with media offline are highlighted in red. Track Color Displays a Color palette from which you can select a color for the tracks displayed in the Timeline. More Detail Expands the Timeline horizontally around the position indicator Less Detail Shrinks the Timeline horizontally around the position indicator Show Every Frame Displays every frame in the Timeline if you chose Film from the Show Track menu Show Entire Sequence Shows the entire sequence within the Timeline Zoom Back Restores the Timeline to the previous view before zoom Zoom In Zooms the Timeline into a detailed view for a selected area Additional Procedures for Customizing the Timeline You can enlarge and reduce the sizes of the Timeline tracks, and you can change the colors of the tracks and background. These procedures include: 296 • Enlarging and Reducing Tracks • Changing the Timeline Track Color Customizing Timeline Views Enlarging and Reducing Tracks You can enlarge or reduce the height of one or more tracks to improve visibility and to display more information within the tracks. Use this feature to: • Reduce and view all the tracks in a multilayer sequence, and enlarge them when finished. • Enlarge all tracks to view waveform plots or other displays in multiple tracks. To enlarge or reduce the height of selected tracks: 1. Select the tracks in the Timeline that you want to resize. See “Selecting Tracks” on page 319. 2. Do one of the following: t Select Edit > Enlarge Track or Edit > Reduce Track. t Press Ctrl+L to enlarge the track, or press Ctrl+K to reduce the track. t Move the pointer over the Track Selector panel until it changes to a bar intersected by a double-headed arrow. Drag the edge up or down to make the track narrower or wider. This method applies to only one track selection at a time. Changing the Timeline Track Color To change the background color of the tracks in the Timeline: t Click the Timeline Fast Menu button, and select Track Color > color. If you want to select a custom color for the tracks, press the Alt key while performing this procedure. When you release the mouse button on the Color palette, the Windows Color dialog box opens. 297 Chapter 9 Using the Timeline Assigning Local Colors to Clips in the Timeline You can assign local colors to clips in the Timeline to indicate clips that should be grouped together. To assign a local clip color: 1. Click one of the Segment Mode buttons, and select a clip. 2. Click the Timeline Fast Menu button, and select Clip Color > Local. A check mark indicates that Local is active. 3. Select Edit > Set Local Clip Color > color. 4. Click the Segment button. The assigned local color appears in the clip in the Timeline. Displaying Local and Source Colors in the Timeline You can display source colors and local colors for clips in the Timeline. Source colors are assigned to clips in bins and local colors are assigned to clips in the Timeline. By default, the Timeline is set to display no colors. n Displaying source colors and local colors overrides any track color assigned from the Timeline Fast menu. Displaying Source Colors To display source colors in the Timeline: t Click the Timeline Fast Menu button, and select Clip Color > Source. The source colors assigned to clips in the bin appear in the Timeline. n 298 Clip colors assigned to sequences, groups, motion effects, and title clips do not appear as source colors in the Timeline. Customizing Timeline Views Displaying Local Colors To display local colors in the Timeline: t Click the Timeline Fast Menu button, and select Clip Color > Local. The local colors assigned to clips appear in the Timeline. n If both Source and Local are selected in the Clip Color submenu, the local color overrides the source color. Saving a Custom Timeline View After you customize the Timeline, you can save it and access the view as you switch between projects and workspaces. To save a custom Timeline view: 1. Click the View Menu button at the bottom of the Timeline, and select Save As. n If you have not yet saved a view, the button is labeled Untitled. The View Name dialog box opens. 2. Type a name for your Timeline view. 3. Click OK. Replacing a Timeline View If your saved views become extensive and there are views you no longer use, you can replace them. To replace saved views: 1. Press and hold the Alt key while you click the View Menu button to display the list of saved view names, each appended with the Replace command. 2. Select a saved view name that you want to replace from the list. 299 Chapter 9 Using the Timeline The current Timeline view is applied to the selected name, and that name is displayed in the Settings scroll list in the Project window. You can change the View Name in the Settings scroll list if you want. Restoring the Default Timeline View To restore the default view in the Timeline: t Click the Timeline Fast Menu button, and select Default Setup. Navigating in the Timeline The Timeline provides various controls for quickly moving through a sequence and adjusting your view of details displayed in the tracks while editing. You can use the position indicator, the Timeline scale bar, or the Timeline scroll bar to navigate within the Timeline. In addition, marked sections of the sequence are highlighted in the Timeline for visual reference. Position indicator Scale bar Scale box Scroll bar Scroll box Using the Position Indicator The position indicator in the Timeline marks your place in the sequence. It also determines how some of your commands are interpreted. When you drag the position indicator in the Timeline, the smaller position indicator within the Source/Record monitor’s position bar also moves. 300 Navigating in the Timeline Using the Timeline Scroll Bar The Timeline scroll bar appears on the right side of the Timeline bottom toolbar. The Timeline scroll bar functions like any standard scroll bar. You can drag the scroll box to reposition yourself within the Timeline, or click the arrows to scroll left or right. Displaying Detail in the Timeline The scale bar stretches and contracts the Timeline area centered around the position indicator. This allows you either to zoom in to focus on a specific area of your sequence or to zoom out to display your whole sequence. This feature is especially useful when you have a lengthy sequence with many edits. To zoom in on a section of the Timeline at the position indicator and then zoom back to your original display: 1. Click the scale box and drag it to the right. The following happens: - The Timeline expands horizontally. - The Timeline track shows more detail. - The position indicator splits into a solid blue line and a dotted blue line (or “shadow”), marking the beginning and end of the current frame. You can click either the line or the shadow to move exactly one frame forward or backward. 2. Click the scale box, and drag it back to the left. The Timeline shrinks to its original size. 301 Chapter 9 Using the Timeline Zooming In and Out The Zoom In and Zoom Back commands in the Timeline Fast menu stretch out the Timeline like an accordion to allow you to focus on detail, but with the following differences: • The Zoom In command does not expand the Timeline incrementally, but allows you to select a portion of the Timeline of any size to instantly expand to fill the window. • The Zoom Back command does not shrink the Timeline incrementally, but instantly restores it to its former size. • The Zoom In and Zoom Back commands are not dependent on the position indicator. You can select any portion of the Timeline to expand and contract. To zoom in on a section of the Timeline and then zoom back to your original display: 1. Choose Zoom In from the Timeline Fast menu. The pointer arrow changes to a selection bar. 2. Position the pointer at either the start or end of the place you want to zoom in on, and drag to select the chosen section. 3. When you release the mouse button, the material inside the Zoom In box expands to fill the Timeline window. 4. To return to the previous Timeline display, choose Zoom Back from the Timeline Fast menu. Focusing the Timeline The Focus button also allows you to zoom in on a section of the Timeline. It is located in the Timeline toolbar next to the Timeline Fast Menu button. Focus button 302 Navigating in the Timeline The Focus button allows you to center the position indicator quickly and expand the Timeline. The Focus button always expands the Timeline to a scale of 90 pixels per second. The position indicator is centered in the window. When you click the Focus button again, the Timeline returns to its previous size. To focus the Timeline: 1. Move the position indicator to the frame or transition you want to expand. 2. Click the Focus button. The region of the Timeline immediately surrounding the position indicator is centered and enlarged. 3. Click the Focus button again to return to the previous view. Displaying Source Material in the Timeline The Toggle Source/Record in Timeline button allows you to view multitrack source material quickly in the Timeline for selecting and marking specific tracks. By default, the Timeline displays only the available tracks for source material. When you click the button to display the source material, both the button and the position indicator turn green to indicate that you are viewing source material. Source tracks Button and position indicator change to green. Toggle Source/Record in Timeline button 303 Chapter 9 Using the Timeline This feature is particularly useful when you are editing with a sequence or subclip created from a sequence; you can also use it to look at the contents of any source clip in a Timeline display. n Heads and Tails view is disabled when you are displaying material from the Source monitor. Controlling Movement in the Timeline While working in the Timeline, you can use the Ctrl and Alt keys to control the movement of both the position indicator and any segments that you move in Segment mode. To snap to the head of transitions as you move through the Timeline sequence: t Press and hold the Ctrl key as you drag the position indicator in Segment mode. To snap to the tail of transitions: t Press Ctrl+Alt as you drag either the position indicator or any segments selected in Segment mode. To snap the head of selected segments to an edit point in the track above or below the current track: t Drag the segments in Segment mode. To align to an edit point the tail frame of the clip you are moving: t Press and hold the Alt key as you drag a segment selected in Segment mode. Viewing Video Quality Using the Video Quality Menu button in the Timeline bottom toolbar, you can play back media in several ways: • 304 Full Quality mode uses full-image resolution but can handle only limited effect complexity Navigating in the Timeline n • Draft Quality mode lets you view greater effect complexity in real time with a lower quality image • Best Performance plays effects the fastest with the lowest resolution. If your system is not connected to an Avid DNA device, the Video Quality Menu button shows only two choices, Best Quality and Best Performance. For more information about the Video Quality Menu button, see “Playing Back at Different Video Qualities” in the Help. Selecting and Deselecting Segments Segment editing is a unique feature of digital, nonlinear editing. Unlike traditional tape editing, segment editing allows you to instantly reposition entire segments as though you were physically “dragging” portions of your sequence across a tape. You can move audio and video tracks separately or together, and individual or multiple segments can be repositioned at the same time. To perform segment editing: 1. Select the segments either by clicking a Segment Mode pointer and making selections or by lassoing segments with the mouse. You can select one or several segments or tracks, as described in “Selecting Segments with the Segment Mode Pointer” on page 305 and “Selecting One or More Segments by Lassoing” on page 306. 2. Move the segments by dragging with the mouse. Use either the Extract/Splice-in button or the Lift/Overwrite button to move the segment to a new position. 3. Use additional segment editing techniques, if you want, to edit clips directly from a bin, to quickly delete segments, or to mark material in the Timeline. Selecting Segments with the Segment Mode Pointer When you enter Segment mode, the pointer becomes a hand. Outside the Timeline tracks, the pointer changes back to the standard arrow or I-beam, allowing you to perform other functions while in Segment mode. 305 Chapter 9 Using the Timeline To select segments with the pointer: 1. Click one of the Segment Mode buttons located in the Timeline bottom toolbar. The arrow changes to a hand. 2. Click a segment in any track to select it. Shift+click additional segments to select a group. Selecting One or More Segments by Lassoing To select segments by lassoing: 1. Do one of the following: t Click one of the Segment Mode buttons located in the Timeline bottom toolbar. t Press and hold the Alt key. 2. Draw a lasso beginning in the area above the tracks in the Timeline. Drag to select more than one segment. Begin Lasso box Segment End The segments are selected and Extract/Splice-in mode is activated. To switch to Lift/Overwrite mode: t n 306 Click the Lift/Overwrite button after selecting the segments. Position the pointer above the tracks before lassoing. If you click within the tracks in Segment mode, you simply select the segment. Navigating in the Timeline Deselecting Segments You can deselect one or more selected segments. To deselect an entire track: t Click the Track button in the Track Selector panel. For example, if you lasso segments on V1, V2, and A1, you can click the V2 and A1 track buttons to leave only the segment on the middle track, V1, selected. To deselect one or more segments: t Use the Segment Mode pointer to Shift+click specific segments on any track, leaving the remaining tracks selected. Finding Black Holes and Flash Frames The following two commands help you quickly find parts of your sequence that you might want to delete from the final sequence: • Find Black Hole • Find Flash Frame Black holes are segments of the sequence that consist of one or more frames of filler. Flash frames are clips that have an extremely short duration, for example, fewer than 30 frames. To find a black hole: 1. Click the Timeline to make it active. 2. Select the tracks you want to search. 3. Move the position indicator to the beginning of the sequence or before the part of the sequence you want to search. 4. Select Clip > Find Black Hole. The position indicator moves to the first segment that contains filler. You can then edit or delete the filler if necessary. 307 Chapter 9 Using the Timeline To find the next segment that contains filler: t Select Clip > Find Black Hole again. To find flash frames: 1. Check or set the maximum frame length that you want the system to detect by doing the following: a. Double-click Timeline in the Settings tab in the Project window. The Timeline Settings dialog box opens. b. Click the Edit tab. c. In the option Find Flash Frames Shorter Than, indicate the maximum number of frames you want the system to detect. The default is 10, which tells the system to detect clips with 9 frames or fewer. d. Click OK. 2. Click the Timeline to make it active. 3. Select the tracks you want to search. 4. Move the position indicator to the beginning of the sequence or before the part of the sequence you want to search. 5. Select Clip > Find Flash Frame. The position indicator moves to the first flash frame. To find the next flash frame: t 308 Select Clip > Find Flash Frame again. Editing in the Timeline Editing in the Timeline The following sections provide details on the editing functions you can perform in the Timeline: • Segment Mode Editing • Bin Editing into the Timeline • Bin Editing Directly into a Sequence • Using the Top and Tail Commands • Setting the Duration for Filler at the Start of a Sequence • Cutting, Copying, and Pasting in the Timeline • Effects Editing • Nesting • Using the Track Selector Panel • Selecting Tracks • Monitoring Tracks • Cycling Through a Selection of Tracks • Performing an Alternate Edit • Locking Tracks • Patching Tracks • Sync Locking Tracks • Deleting Tracks • Adding an Edit • Removing Match-Frame Edits • Backtiming Edits 309 Chapter 9 Using the Timeline Segment Mode Editing There are two methods for editing segments or adding clips: • Extract/Splice-in, indicated by a yellow arrow • Lift/Overwrite, indicated by a red arrow Consider the following when editing segments: • Transition effects on either side of a moved selection are deleted. Transition effects inside the selection are preserved. • When you are finished making an edit, Segment mode continues to affect edits you make in Trim mode, unless you click the active Segment Mode button to deactivate it. Consider the following when selecting tracks: • You cannot simultaneously move segments separated along the same track; however, you can move segments separated on different tracks. • You cannot overlap the source and destination tracks. For example, you can move audio segments from A3 and A4 to A1 and A2, but you cannot move them from A3 and A4 to A2 and A3 (A3 overlaps). • With a group, you can click any one of the selected segments to drag the entire group to a new position. • You can select black filler as a segment. Maintaining Sync in Segment Mode When you use Lift/Overwrite in Segment mode, filler is added to the sequence to maintain sync. When you move segments in the Timeline using Extract/Splice-in, the sync is broken. To maintain sync when you use Extract/Splice-in, select the Segment Drag Sync Locks option in the Edit tab of the Timeline Settings dialog box. After you move a segment in the Timeline with Extract/Splice-in, this option maintains sync by adding filler to the following locations: 310 • Where the segment was moved from in the sequence • On all other sync-locked tracks that correspond to the new location of the segment you moved Editing in the Timeline You can move either an audio segment or a video segment. To move a segment and keep sync: 1. Double-click Timeline in the Settings scroll list of the Project window. The Timeline Settings dialog box opens. 2. Select the Segment Drag Sync Locks option in the Edit tab. 3. Click OK. 4. In the Track Selector panel, click the Sync Lock button for the video and audio tracks that you want to keep in sync. 5. Click the Extract/Splice-in button. 6. Click an audio or video segment, and drag it to the new location. Extracting/Splicing-in Segments Use Extract/Splice-in to move the selected segments in the Timeline without affecting the adjacent material. The total duration of the sequence is unaffected. Like the standard Splice-in function, the Extract/Splice-in edit inserts the segment into the new position. However, as an additional function, it also extracts (removes) the segment from its previous position and closes the gap. For example, if you lasso segments on V1, V2, and A1, you can click the V2 and A1 track buttons to leave only the segment on the middle track (V1) selected. Before Splice-in Clip W (selected clip) After Splice-in Clip W Clip Y n Clip Y Clip Z Surrounding clips are unchanged. (selected clip) Clip Z For information on maintaining sync in the sequence when using Extract/Splice-in, see “Maintaining Sync in Segment Mode” on page 310. 311 Chapter 9 Using the Timeline To perform an Extract/Splice-in edit: 1. Click the Extract/Splice-in button in the Timeline bottom toolbar. 2. Select the segment you want to move. 3. Click the segment, and drag it to its new position. n For more control, Ctrl+click the segment and drag it to its new position. This allows you to place segments anywhere within sequences, not just at the heads or tails of transitions. 4. Release the mouse button. The system extracts the selected segment from its old position, closes the gap left by its removal, and then splices the material back into the sequence at the newly selected location. 5. Click the Extract/Splice-in button again if you want to leave Segment mode. n To cancel a segment edit in progress, drag the edit out of the Timeline and release the mouse button. Alternatively, select Edit > Undo. Lifting/Overwriting Segments Use Lift/Overwrite to replace existing material at the new position, while leaving blank space in the previous position. The total duration of the sequence is unaffected and the material in the sequence remains in sync. Like the standard Overwrite function, the Lift/Overwrite edit deletes and replaces underlying material at the new position, effectively creating new edits. It also lifts the segments from the previous position, leaving black or silence of the same duration on the middle track (V1) selected. Before Overwrite Clip W (selected clip) After Overwrite Clip W Black filler 312 Clip Y Clip Y Clip Z (selected clip) Clip Z Underlying materials are overwritten. Editing in the Timeline To perform a Lift/Overwrite edit: 1. Click the Lift/Overwrite button in the Timeline bottom toolbar. 2. Select the segment you want to move. 3. Click the segment, and drag it to its new position. n For more control, Ctrl+click the segment and drag it to its new position. This allows you to place segments anywhere within sequences, not just at the heads or tails of transitions. 4. Release the mouse button. The system lifts the segment from its old position, leaving black filler, and then overwrites the material into the sequence at the new location. 5. Click the Lift/Overwrite button again if you want to leave Segment mode, or continue to lift and overwrite segments. n To cancel a segment edit in progress, drag the segment out of the Timeline and release the mouse button. Alternatively, select Edit > Undo. Deleting Segments with Segment Mode in Segment mode, you can delete whole segments in the Timeline without having to first mark IN and OUT points. You can also select multiple segments for deletion in separate tracks anywhere along the Timeline. To delete segments quickly: 1. Click one of the Segment Mode buttons: - Extract/Splice-in (yellow) deletes the segments and closes the remaining gaps. The total duration of the sequence is shortened, and any synchronized tracks lose sync. - Lift/Overwrite (red) deletes the segments but leaves blank space or silence in their place. The total duration of the sequence remains the same, and sync is maintained. 2. Select one or multiple segments. 3. Press the Delete key. The segments are deleted. 313 Chapter 9 Using the Timeline n If the segment has an effect, the system deletes the effect first. Bin Editing into the Timeline Bin editing allows you to bypass the process of loading clips into a Source/Record monitor, setting marks, and clicking the Splice-in or the Overwrite button. You can use Segment mode to edit clips directly from a bin into the sequence in the Timeline. To perform a direct edit from a bin into your Timeline: 1. For a more accurate edit, mark IN and OUT points for each clip or create subclips, as described in “Marking and Subcataloging Footage” on page 247. Otherwise, the entire clip is edited into the sequence. 2. Click one of the Segment Mode buttons: - Lift/Overwrite (red arrow) acts as an overwrite edit, causing the clip to overwrite material of the same length in the sequence, while maintaining the same duration of the sequence. - Extract/Splice-in (yellow arrow) acts as a splice edit, inserting the clip into the sequence, moving existing material down, and lengthening the total duration. 3. Drag a clip from the bin into the Timeline. You can edit only one clip at a time. 4. When you find the right location for the clip, release the mouse button. The Timeline reflects the new edit. n 314 Once you have completed the edit, you remain in Segment mode until you click the active Segment Mode button again to deactivate it. Editing in the Timeline Bin Editing Directly into a Sequence You can use keyboard shortcut keys to edit clips directly from a bin into the sequence in the Timeline. To perform a direct edit from a bin into a sequence: 1. Activate bin editing: a. Double-click Bin in the Settings tab in the Project window. b. Select “Enable edit from bin (Splice, Overwrite).” c. Click OK. 2. Mark an IN point or OUT point in the Timeline, or move the position indicator to the place where you want the clip to appear. 3. Select a clip in the bin. The entire clip is edited into the sequence, unless you marked IN and OUT points. 4. Press the V key to perform a splice edit, which inserts the clip into the sequence and moves existing material down, thereby lengthening the total duration. Press the B key to perform an overwrite edit, which causes the clip to overwrite material of the same length in the sequence, while maintaining the same duration of the sequence. The Timeline reflects the new edit. Using the Top and Tail Commands The Top and Tail commands allow you to perform quick edits to segments in the Timeline. Use the Top button in the Edit tab of the Command palette to extract footage from the start of the clip or segment up to the position indicator. This action is the equivalent of the T-R-X keyboard command sequence: Mark Clip, Mark OUT, Extract. The Top button appears in the Edit tab of the Command palette. 315 Chapter 9 Using the Timeline Use the Tail button in the Edit tab of the Command palette to extract footage from the position indicator to the end of the clip or segment. This action is the equivalent of the T-E-X keyboard command sequence: Mark Clip, Mark IN, Extract. The Tail button appears in the Edit tab of the Command palette. For information about how Mark Clip works, see “Marking an Entire Clip or Segment” on page 251. To edit using Top and Tail commands: 1. Load the sequence you want to edit into the Timeline. 2. Select the track or tracks you want to edit and deselect all other tracks. 3. Move the position indicator to the location where you want to perform an edit. 4. Do one of the following: t Click the Top button to extract the footage from the start of the segment to the position indicator. t Click the Tail button to extract the footage from the position indicator to the end of the segment. Setting the Duration for Filler at the Start of a Sequence To set the duration of filler used at the start of a sequence: 1. Double-click Timeline in the Settings tab in the Project window. The Timeline Settings dialog box opens. 2. Click the Edit tab. 3. In the option Start Filler Duration, type the amount of filler you want to appear by default when you select Clip > Add Filler at Start. 4. Click OK. n 316 For instructions on how to use filler, see “Adding Filler” on page 278. Editing in the Timeline Cutting, Copying, and Pasting in the Timeline You can use the traditional shortcut keys for cutting, copying, and pasting segments selected in the Timeline. To cut or copy and paste: 1. Select the segment by using one of the Segment Mode buttons. 2. Do one of the following: t To copy, select Edit > Copy or press Ctrl+C. t To cut, select Edit > Cut or press Ctrl+X. 3. Move the position indicator to the new IN point. 4. To paste the segment in the Timeline, select Edit > Paste or press Ctrl+V. Effects Editing Effects editing techniques fall into the following basic categories: n • Motion effects, such as freeze frame and slow-motion or fast-motion effects, involve applying frame-motion parameters to selected footage, usually on a single video track. • Transition effects, such as dissolves and wipes, involve transitioning from one edited clip to another on the same video track. • Segment effects, such as picture-in-picture, keys, or color effects, are applied to whole segments. They commonly require multiple layers of video. For more information about effects, see the Avid Products Effects Guide. 317 Chapter 9 Using the Timeline Nesting When editing effects, you can use a procedure known as nesting. This involves stepping into existing tracks to reveal added layers for combining multiple images and digital video effects. When the effect is applied, you can step out to view and render the effect as one segment on the track. n For more information on nesting techniques and effects editing, see the Avid Products Effects Guide. Using the Track Selector Panel As your project progresses, you might need to add and edit with additional audio or video tracks. You use multiple tracks of video primarily for effects. You can edit up to 24 tracks of video and 24 tracks of audio. While working with multiple tracks, you can use the Track Selector panel to select, manipulate, delete, lock, patch, and monitor your tracks. You can use multiple tracks to layer audio effects and sound or to add video titles and other effects. n Multiple video tracks do not immediately play back at the same time until you apply an appropriate effect that composites the layers. Multiple audio layers, however, do play back immediately if correctly monitored. Source Track Monitor buttons Source Track buttons Sync Lock and Lock buttons Record Track buttons Record Track Monitor buttons Video Track Monitor button with Monitor icon Audio Track Monitor button with gold Speaker icon Audio Track Monitor button with black Speaker icon Sync Lock All button 318 Timecode button Editing in the Timeline The source side on the right side of the panel displays only those tracks available for the clip currently loaded. For example, a clip that has audio recorded only for track A1 does not display an A2 track in the Track Selector panel. The record side on the left side of the panel displays only those tracks currently in use for the sequence. However, if you edit source material with a track selected that does not yet exist on the record side, by default the track appears on the record side after the edit takes place. Selecting Tracks Consider the following when you select tracks on either the record side or the source side of the Track Selector panel: • You can edit selected tracks on the source side directly into the sequence, assuming you have selected parallel tracks on the record side. • You cannot edit deselected tracks on the source side into the sequence, regardless of record track selections. • You cannot edit deselected tracks on the record side into the sequence, regardless of source track selections. For example, you might select the source and record tracks for V1, A1, and A2 to edit the picture and audio from the source clip into the sequence. Select only V1 source and record tracks to edit the picture without the sound, or select only A1 and A2 source and record tracks to edit the sound without the picture. Monitoring Tracks To determine the monitoring of tracks: t Click the monitor column of either the source-side or record-side tracks to activate or deactivate the monitor buttons. Video and Audio Track Monitor buttons behave differently in some circumstances. 319 Chapter 9 Using the Timeline Monitoring Video The Video Track Monitor button determines whether you see video during playback. You can turn it off at any time to monitor only audio during editing. When there are multiple video tracks, all tracks below the monitored track are active during playback. When you edit with multiple tracks, you can activate the monitor on a lower track to monitor only the video on that track. This feature is especially useful when you have multiple layers of video effects and need to see one track without additional layers. You can also monitor a solo track, as described in “Monitoring a Solo Track” on page 322. n If you reposition the Video Track Monitor icon, be sure to return it to the topmost track to view, render, or output all the tracks together. Unmonitored tracks are not included in playback. To monitor video tracks: t Click the Video Track Monitor button for the track you want to monitor. Monitoring Audio There are two types of monitor icons that appear in the monitor column for audio tracks: a black Speaker icon and a gold Speaker icon. A Speaker icon of either type indicates that the track is monitored for playback and output. However, only the track with the gold icon is monitored for audio scrubbing. Consider the following: 320 • The system pans odd-numbered tracks to the left speaker and evennumbered tracks to the right speaker by default. • If your sequence includes more than eight audio tracks, you can select any eight tracks to monitor at one time by clicking the Audio Track Monitor button for each audio track you want to monitor. The Audio Track Monitor button changes to purple with either a black or gold Speaker icon when the audio track is selected for monitoring playback and output. Editing in the Timeline • To hear more than eight tracks at once, you must mix down some of them to a maximum of eight. For more information, see “Mixing Down Audio Tracks” on page 438. • By default, all monitored audio tracks are selected for scrubbing. To isolate specific audio tracks for scrubbing, see “Soloing Audio Tracks in the Timeline” on page 354. • A gold Speaker icon on the Audio Track Monitor button indicates that the track will not be dropped when the play speed increases during scrubbing. By default, the two topmost Audio Track Monitor buttons display the gold Speaker icon. For more information about setting an audio track to ensure it is not dropped during scrubbing, see “Selecting Tracks for Scrubbing” on page 355. • The Audio Track Monitor button changes to green with a black Speaker icon when selected for soloing. For more information, see “Monitoring a Solo Track” on page 322. • You can customize the output of audio tracks, as described in “Using the Audio Mix Tool” on page 365. To isolate a selected track or turn off all tracks: t Deselect the Monitor button for any or all tracks. You can simultaneously monitor as many as eight audio tracks. To activate audio scrub for a particular track: t Alt+click the Monitor button for that track. The Audio Track Monitor icon appears gold. To monitor audio tracks: t Click the Audio Track Monitor button for the track you want to monitor. 321 Chapter 9 Using the Timeline Monitoring a Solo Track You can monitor a single video or audio track during editing. Solo monitoring has several advantages: • You can view any individual layer of a composited effect. • You can isolate an individual audio track with a single mouse click (without manually deselecting the other audio tracks). • You can eliminate slow cueing and playback when working with a complex sequence by monitoring a specific track. To select a track for solo monitoring: t Press and hold the Ctrl key, and click in the monitor column in the Track Selector panel for the selected video or audio track. The Track Monitor button changes to green to indicate solo monitoring. To deselect solo monitoring: t Click the Track Monitor button again. Cycling Through a Selection of Tracks To cycle through the selection of tracks in the Track Selector panel: 1. Click the Cycle Picture/Sound button in the Edit tab of the Command palette. Each time you click the Cycle Picture/Sound button, the system cycles through the selection as follows: a. Video tracks b. All tracks c. Audio tracks d. No tracks 2. Continue to click the button to repeat the cycle. n 322 You can map the Cycle Picture/Sound button to any button on the Tool palette or any key on the Keyboard palette. For information on mapping buttons, see “Mapping User-Selectable Buttons” on page 133. Editing in the Timeline Performing an Alternate Edit Using Alternate Edit mode allows you to overwrite a selected clip in a sequence with several clips located in a special bin called Alternate Edits. This is done by placing the position indicator on a clip in the Timeline and clicking the Alternate Edit button. Each time you click the button, the clip where the position indicator is located is replaced with a clip from the Alternate Edits bin. The order in which the clips appear in the Alternate Edits bin is the same order used for the overwrites in the sequence. However, if the clip you are replacing in the sequence is also in the Alternate Edits bin, the selection defaults to the next clip in the bin. To perform an alternate edit: 1. Load a sequence in the Timeline. 2. Create a bin called Alternate Edits. 3. Place clips or subclips in the Alternate Edits bin you are considering for the sequence. n Check the duration of the clip in the sequence. The clips or subclips in the Alternate Edits bin must be as long or longer than the clip in the sequence you are replacing. The clips swapped into the sequence start at the beginning of the clip or subclip unless you mark an IN or an OUT point. When OUT points are used, the sequence backfills the duration on the clip being replaced, starting from the OUT point. 323 Chapter 9 Using the Timeline 4. Move the position indicator in the Timeline to the clip you want to replace. 5. Select Tools > Command Palette. 6. Click the Play tab. 7. Click the Alternate Edit button. The system replaces the clip and performs an Edit Review command. (For information on Edit Review, see “Reviewing an Edit with the Edit Review Button” on page 344.) n The replacement clip prerolls in the sequence, using the preroll time specified in the Trim Settings dialog box. Each time you click the Alternate Edit button, a clip from the Alternate Edits bin overwrites the selected clip. 8. (Option) Perform successive alternate edits as follows: a. Stop playing the sequence when the position indicator is on the clip being replaced, or move the position indicator to the clip being replaced. b. Click the Alternate Edit button. Repeat this process to cycle through all the clips in the Alternate Edits bin. 324 Editing in the Timeline Locking Tracks You can lock selected tracks to prevent further editing from being performed on them. The Track Selector panel displays the Sync Lock icon (slash mark) for sync-locked tracks, and the lock icon (padlock) for locked tracks. Sync Lock icon Lock icon Locking tracks to prevent further editing is especially useful in the following circumstances: • For video editing, you can lock tracks when you have completed a set of complex, multilayer edits and want to avoid making accidental changes while you work on other adjacent tracks. • For audio editing, you can lock audio tracks containing sync dialog that should be maintained while you edit adjacent video tracks or audio tracks. • For projects involving multiple editors, you can lock tracks to prevent unnecessary or accidental changes. To lock tracks: 1. Select the tracks you want to lock (source, record, or both). 2. Do one of the following: t Right-click in the Timeline, and select Lock Tracks. t Select Clip > Lock Tracks. The Lock icon indicates that the selected tracks are locked, and no further editing can occur on the locked tracks until you select Clip > Unlock Tracks. 325 Chapter 9 Using the Timeline To unlock tracks: 1. Select the tracks you want to unlock. 2. Do one of the following: t Right-click in the Timeline, and select Unlock Tracks. t Select Clip > Unlock Tracks. The Lock icon disappears and the tracks are unlocked. Patching Tracks When working with multiple tracks, you might encounter a circumstance where you must edit source audio or video onto a track other than the parallel track displayed in the Track Selector panel. To edit the source material onto another record track above or below it, you must patch the source track to the targeted record track. You can perform only one patch per edit, but there is no limit on the number of times you can patch from the same source track. Audio can patch only to audio, and video only to video. To perform a patch: t Drag from a source track (audio or video) to the targeted record track (a white arrow appears during the patch). During patch After patch An audio patch from a source track to a record track To undo a patch: t 326 Manually repatch to the previous track. New source track order identifies the patch Editing in the Timeline The selected source track moves beside the record track to which it is patched as soon as you draw the arrow and release the mouse. The patched track remains highlighted in preparation for your edit. You can proceed to select any other tracks required for the edit. c When you are patching from one video track to another, the Video Track Monitor icon moves to where you patch the track. Be sure to return the icon to the topmost track, when necessary, to play back and output all video tracks. Sync Locking Tracks The Sync Lock feature allows you to maintain synchronization among several tracks while adding or removing frames in Trim mode. For example, if you insert an edit into one track that is sync locked to a second track, the system automatically inserts filler in the second track to maintain sync between them. There are several unique aspects to sync locking: • Sync locking applies to single-roller trims only; dual-roller trims do not break sync. • You can sync lock any number of tracks in any combination. The tracks do not require matching timecode or common sources and can include multiple video tracks as well as audio tracks. • Sync locking affects entire tracks. This means that parallel segments in other sync-locked tracks are affected when you trim anywhere in the sequence. Sync locking affects Trim mode. This feature is especially useful when you are working with multiple tracks and want to maintain sync between two or more tracks while trimming. To sync lock the tracks: t Click in the center column between track selectors to activate the Sync Lock icon for each synchronized track. 327 Chapter 9 Using the Timeline To resume editing on individual tracks: t Click again to remove the Sync Lock icon. Deleting Tracks To delete one or more tracks from the sequence: 1. Click the Record Track buttons for the tracks, and press the Delete key. The Delete Track dialog box opens. 2. Click OK. The tracks are deleted. To restore a deleted track: t Select Edit > Undo. Adding an Edit The Add Edit function places an artificial edit point between the frames of a clip. The edit appears in the Timeline as a transition between two clips; when you play the clip, the footage appears unchanged because the frames are continuous. Add edit placed between frames 1 2 3 4 5 6 7 Footage plays back continuously. This form of edit is also known as a match frame. In traditional analog editing, match framing is used to accomplish specific tasks, such as creating a dissolve between two clips. In the Avid application, however, add edits (or match frames) function differently. Use match frames primarily to divide and isolate portions of a clip or sequence in order to 328 Editing in the Timeline modify that portion without affecting the rest of the footage. Once you make the adjustment (for example, adding an effect), playback of the clip is no longer seamless because the two portions of the clip are different. You can add an edit to a single audio or video track, or you can place the add edit across several tracks at once. To add a match-frame edit: 1. Move the position indicator to the selected frame. 2. Select the tracks where you want to add the edit. 3. Click the Add Edit button on the Tool palette. See “Opening the Tool Palette” on page 253. The edit appears in the sequence with an equal sign (=) to indicate a match-frame edit. Removing Match-Frame Edits To remove match-frame edits, do one of the following: t Select Edit > Undo. If you made other edits since you performed the Add Edit function, when you use the Undo command, you will lose those additional edits. t n Enter Trim mode at the match-frame edit point, and then press the Delete key. The second method is the only way to remove match-frame edits after you have used the 32 levels of Undo, or if you want to remove match-frame edits on a subsequent day. 329 Chapter 9 Using the Timeline Backtiming Edits Backtiming an edit is effectively the reverse of the process you normally use for marking footage. Instead of marking from the IN points forward, you mark according to the OUT points. For example, you might have a track of audio (music or voice) that ends at a specific point, and you want to synchronize a video clip to end on a particular clip. You can backtime the edit to match the end points of the tracks. Consider the following: • You need only three marks to perform a backtimed edit when four edits of unequal duration exist in the sequence. The IN and OUT points set in the Timeline always take precedence. • If you do not mark an IN point in the sequence, the system uses the position indicator as the IN point. • If you do not mark an OUT point in the clip and no OUT point is set in the sequence, the system uses the end of the clip as the OUT point. • If you mark OUT points in both the Source/Record monitor and in the Timeline, the system uses the OUT point in the Timeline. To backtime an edit: 1. Mark an OUT point in the Timeline where you want the edit to end. Also, mark an IN point where the edit is to start. 2. Select the appropriate tracks. 3. Open a clip in a pop-up monitor. 4. Mark an OUT point in the pop-up monitor to synchronize to the OUT point in the sequence. 5. Click the Overwrite button, or press the Alt key and drag the clip from the pop-up monitor to the Timeline. The source material is added to the sequence, with the synchronized ending. 330 Printing the Timeline Printing the Timeline To print the Timeline: 1. Click the Timeline to make it active. 2. Select File > Print Timeline. The Print dialog box opens. 3. Select the printing options. 4. Click OK. The system prints the current view of the Timeline. 331 Chapter 9 Using the Timeline 332 Chapter 10 Working in Trim Mode Basic editing in the Timeline initially produces a rough cut, which can be loosely defined as a series of straight-cut edits with many rough edges and few effects. After creating a rough cut, you can enter Trim mode and finetune the transitions between each clip or between whole segments. You can also trim edits as you build a sequence, rather than create a rough cut first. The following sections describe the Trim mode procedures: • Customizing Trim Mode • Using Basic Trim Procedures • Creating Overlap Edits • Extending an Edit • Maintaining Sync While Trimming Chapter 10 Working in Trim Mode Customizing Trim Mode You can customize Trim mode by changing the Transition Play Loop settings for preroll, postroll, and intermission. To customize the Transition Play Loop settings: 1. Double-click Trim in the Settings tab in the Project window. The Trim Settings dialog box opens. 2. Configure the Trim settings you want. You set and alter the lengths of the preroll, postroll, and intermission intervals by clicking the appropriate text box and typing a new value. For more information on Trim settings options, see “Trim Settings” in the Help Using Basic Trim Procedures You can enter Trim mode in several different ways, depending on the type of trim you expect to perform. Once in Trim mode, you can: • Select trim sides. • Perform and review the trim. Entering Trim Mode To enter Trim mode: t Click the Trim Mode button in the Other tab of the Command palette or on the Timeline top toolbar. By default, the system enters Trim mode and selects the transition nearest the position indicator for dual-roller trimming. 334 Using Basic Trim Procedures This method is useful for selecting straight-cut transitions on one track or across video and audio tracks. By default, only the transitions in the tracks highlighted in the Track Selector panel are selected for trimming. If the transitions are not straight cuts (overlap cuts or Ledits), the system highlights the topmost track, nearest the position indicator. n You can map the Trim Mode button to any button on the Tool palette or any key on the Keyboard palette. For information on mapping buttons, see “Mapping User-Selectable Buttons” on page 133. Exiting Trim Mode To exit Trim mode, use one of the following methods: t Press the Trim Mode key on the keyboard, or click the Trim Mode button in the Other tab of the Command palette. t Click the Step Forward button or the Step Backward button under the Source/Record monitor. 335 Chapter 10 Working in Trim Mode t Click a specific location in the Timecode (TC1) track at the bottom of the Track Selector panel. The position indicator moves to that location. Selecting Trim Sides You can trim a transition on either the outgoing side (A-side or tail), the incoming side (B-side or head), or both sides (dual-roller). To select sides of a transition to trim, do one of the following: A-side A and B B-side t Click the outgoing (A-side) or incoming (B-side) monitor to define which side of the transition to trim. The pointer changes to a singleroller A-side, single-roller B-side, or dual-roller icon, depending on the position. t Click in between the two frames displayed in the Source/Record monitor to trim both sides. t Use the Trim buttons on the Trim tab in the Command palette (or map the Trim buttons onto one of the monitor palettes while in Trim mode) to select side A, side B, or both. t Use the Cycle Trim Sides button to cycle between selection of the A-side, B-side, or both. Selecting Additional Transitions Select tracks on the record side to add transitions. While in Trim mode, you can select additional transitions for trimming in different contexts. To select additional transitions on contiguous tracks for trimming on the same side: t Click the corresponding Record Track buttons in the Track Selector panel. Likewise, you can deselect tracks in the Track Selector panel to remove transitions on those tracks from the trim procedure. 336 Using Basic Trim Procedures To select additional transitions for single-roller trimming in varying locations on different tracks: t Shift+click the transitions in the Timeline. This method is useful when you are working with staggered transitions across multiple tracks. It also allows you to select both A-side and Bside transitions for simultaneous trimming in opposite directions (asymmetrical trim). This is not possible with dual-roller trims. A-side B-side As you move the pointer back and forth across a transition, the roller icon changes from an A-side roller (facing left) to a B-side roller (facing right) to indicate the type of selection. You do not see the dual-roller icon in the Timeline. To select both sides, you must first select one side, and then Shift+click to select the other side. To quickly add multiple transitions to the currently selected transition: t Press and hold the Shift key, and lasso the additional transitions. You can select and trim two heads or tails simultaneously, in any combination, for each track in the sequence. All selected transitions are trimmed the same number of frames. This allows you to save time and, in some cases, to maintain sync by performing a single-trim procedure across multiple tracks and transitions. Performing a Basic Trim After you select your transitions and trim sides, you can perform a basic trim. To perform a trim, use one of the following procedures: 1 frame t Use the Trim buttons to trim forward or backward by 1-frame or 10frame increments, or by 1-frame or 8-frame increments (24p projects). t Use the J-K-L keys to trim forward or backward in the sequence. 10 frames 337 Chapter 10 Working in Trim Mode t Use the numeric keypad on the right side of the keyboard, as follows: - To move the transition a specific number of frames, type a plus sign (+) or minus sign (–) and the number of frames (from 1 to 99) you want to move forward or backward. Then press Enter. If the number of frames is larger than 99, type an f after the number to indicate frame count. For example, to enter 200 frames, type 200f, and press Enter. - t To move the transition to an exact timecode, type a timecode number larger than 99, including frames. For example, type 102 to enter 1 second and 2 frames (1:02). Use controls in the Timeline by clicking a roller at the selected transition and dragging forward or backward in the sequence. To have greater control, do one of the following: t Press the Alt key as you drag one frame at a time. t Press the Ctrl key to snap to other transition points. As you trim, all selected transitions in the Timeline move in unison. The Trim counter displays the frame count backward or forward for one or both trim sides, and the monitors display the new incoming or outgoing frames. Trimming with the J-K-L Keys The J-K-L keys on the keyboard allow you to play, step (jog), and shuttle through footage at varying speeds. In Trim mode, you can use the J-K-L keys to play, step, shuttle and trim frames at the same time. To trim with the J-K-L keys: 1. Double-click Trim in the Settings scroll list in the Project window, and then click the Features tab. 2. Select J-K-L Trim. n 338 To use the J-K-L keys in Trim mode to only play, step, and shuttle, without trimming, deselect the J-K-L Trim option in the Trim Settings dialog box. Using Basic Trim Procedures Trimming On-the-Fly In Trim mode, you can use the J-K-L keys on the keyboard to play through outgoing or incoming material and to mark trim points. For convenience, this method isolates the trim controls to just three keys. To trim on-the-fly: 1. Select one or more transitions for single-roller or dual-roller trimming. See “Performing a Basic Trim” on page 337. 2. Use the J-K-L keys to step (jog), play, or shuttle through the footage at varying speeds: t Press and hold the K key while pressing J or L to step slowly backward or forward through the footage. When you find the frame where you want to relocate the transition, release the K key to complete the trim. t Press the J or L keys once to play at normal speed, or more than once to shuttle at higher speeds. When you see the frame where you want to relocate the transition, press the space bar or the K key to complete the trim. The monitors and the Timeline are updated to reflect the trim. n When trimming with the J-K-L keys, you cannot completely trim away a segment. The system always leaves one frame. To remove the one frame, use another trim method. See “Performing a Basic Trim” on page 337. Trimming During a Playback Loop An alternative method for trimming is to view the transition continuously in a playback loop and use the keyboard to adjust the transition in 1-frame or 10-frame (8-frame for 24p) increments until you achieve the trim you want. You can perform this procedure in any of the Trim modes, using single-roller or dual-roller trims. 339 Chapter 10 Working in Trim Mode To trim during a playback loop: 1. Click the Trim Mode button to enter Trim mode, and select transitions for trimming. 2. Click the Play Loop button to repeatedly play the selected transitions. n 1 frame To make adjustments to the playback loop for preroll, postroll, or intermission intervals, see “Reviewing the Trim Edit” on page 344. 3. Press a keyboard equivalent to perform a Trim function. Also, if you are having difficulty determining which side of the transition to trim (for example, during a difficult audio edit), use the Go to IN and Go to OUT keys to review only one side. The system performs the trim before the next playback loop; therefore, you can view the trimmed transition during playback and then make further changes until you are satisfied with the result. 10 frames 4. When you are finished, exit the playback loop: t Click the Play Loop button t Pressing the space bar Trimming Video Tracks In Trim mode, when you click the A-side or B-side of a transition, all trim rollers are set to the selected side. To set only the trim rollers on the video tracks: t Press the Alt key and click either the A-side or B-side. The trim rollers appear only on the video tracks of the selected side. To save the position of the trim rollers: t 340 Press the Alt key when you return to Trim mode using the Trim Mode button. Using Basic Trim Procedures Slipping or Sliding Clips or Segments Slip and slide procedures are two unique Trim mode techniques that allow you to make frame-accurate adjustments to a selected clip. They occur without affecting the overall duration of the sequence or the sync relationships between multiple tracks. Procedures for performing slip and slide trimming are described in this section. Slip and slide trimming is especially useful during the later stages of the edit. These procedures help you make fine adjustments to whole segments within a well-constructed sequence while maintaining the overall timing and sync of elements across tracks. Selecting Segments for Slip or Slide Trimming To select segments for either slip or slide trimming, do one of the following: t In Segment mode, select a segment for slip trimming. Then enter Trim mode by clicking the Trim Mode button. t In Trim mode, Alt+double-click a segment to select it for slide trimming. You can also select two or more segments on different tracks for simultaneous slip or slide trimming. To do so, Shift+click the segments. Then press the Shift key as you enter Trim mode. t In Trim mode, press the Shift key and select both the head and tail of a clip for slipping. Alternatively, select the outgoing tail frame of the preceding clip and the incoming head frame of the following clip in the sequence to prepare the clip for sliding. You can also use this method to select two or more contiguous segments on the same track and additional segments on other tracks for slipping or sliding as a group. n You cannot perform both slipping and sliding functions simultaneously. You can slip and slide the video and audio for a clip together. Alternatively, you can slip and slide a single segment of video or audio independently from the rest of the clip. 341 Chapter 10 Working in Trim Mode The type of trim you perform (slip or slide) determines which frames are updated, as follows: • In slip trimming, the two inner monitors for the head and tail frames of the clip change because only the contents of the clip are adjusted. The frames that precede and follow the clip are not affected. Surrounding material remains fixed. Before slip 1 Slip 1 frame to the right. 2 3 4 4 5 Frames After slip 2 • 3 In slide trimming, the two outer monitors for the outgoing (A-side) and incoming (B-side) frames change because the clip remains fixed while the footage before and after it is trimmed. Surrounding material is selected. Before slide 1 2 3 Slide 1 frame to the right. 1 4 2 3 4 2 3 4 Frames After slide 1 2 3 4 5 Slipping or Sliding Segments in a Four-Frame Display To slip and slide segments in a four-frame display: n You must display the dual Source/Record monitors to use four-frame display. 1. Click the Trim Mode button to enter Trim mode. 2. Place the position indicator on the segment you want to slip or slide. 3. Right-click in the Timeline, and then select Select Slip Trim or Select Slide Trim. The four-frame display appears. 342 Using Basic Trim Procedures Performing the Slip or Slide Trim To slip or slide a clip or segment: 1. After selecting the segments, as described in “Selecting Segments for Slip or Slide Trimming” on page 341, do one of the following: t Click any roller in the Timeline, drag the selected material to the left or right, and release. t Use the numeric keypad to enter specific frame-count or timecode values, and press Enter. t Use the Trim keys to shift the selection by 1-frame or 10-frame (8frame for 24p) increments. Table 20 describes the Trim keys. Table 20 Key Functions in Slip or Slide Trim Key Slips / 10 frames forward (8 frames for 24p) m 10 frames backward (8 frames for 24p) period (.) 1 frame forward comma (,) 1 frame backward 2. Monitor the progress of the trim by using the monitors, the Trim counters, and the Timeline. When you reach the end of available material while slipping a segment, the trim stops. Similarly, when you reach the next transition while sliding a clip along a track, the trim stops. 3. Exit Slip mode or Slide mode either by clicking another transition for trimming, by clicking the Trim Mode button on the Tool palette, or by pressing the Escape key to exit Trim mode. 343 Chapter 10 Working in Trim Mode Reviewing the Trim Edit You can review an edit by using the Edit Review button or the Play Loop button. Reviewing an Edit with the Edit Review Button The Edit Review command allows you to review an edit or other change that you have just made to a transition.You can set how far the position indicator backs up in the Preroll option in the Trim Settings dialog box (see “Customizing Trim Mode” on page 334). The Edit Review button appears in the Play tab of the Command palette. When you use the Edit Review command, the Avid application exits Trim mode. To review footage starting from the previous transition: 1. Park the position indicator at the transition you want to review. 2. Click the Edit Review button. The position indicator backs up past the previous transition and begins to play. n If you have a sequence with multiple selected tracks, the Edit Review command backs up past the first set of cuts that line up on all the selected tracks. 3. Stop the review loop by clicking the Edit Review button again. Reviewing an Edit with the Play Loop Button To review the most recent trim edit or to play the currently selected transition while in Trim mode: 1. Click the Play Loop button. The system enters a playback loop. This repeatedly begins at a preroll point before the transition and ends at a postroll point, pausing briefly before beginning playback again. 2. Stop the playback loop by clicking the Play Loop button again. 344 Creating Overlap Edits 3. To exit Trim mode, click the timecode track in the Timeline or click the Toggle Source/Record button. Creating Overlap Edits You can use an overlap edit (or L-edit) to smooth a transition by giving the viewer the illusion that the audio or video is shared between two separate but adjacent clips. Audio overlap example V1 A1 A2 Clip A Clip B Clip C Before trimming V1 A1 A2 Clip A Clip B Clip C After trimming Clip B audio is extended. Clip C audio is trimmed in. To create an overlap edit: 1. Perform a straight-cut edit between two clips, including audio and video tracks. - If the timing of the video edit is crucial, mark edit points according to video. - If the timing of the audio transition is crucial, edit to audio. 2. Perform a dual-roller trim on either the video track or the audio tracks, but not both. - If the video transition occurs at the correct place, but you want the audio from one clip to linger into the other (or the reverse), trim the audio tracks accordingly. - If the audio transition occurs at the correct place, but you want the video to transition either before or after the audio cut, trim the video track accordingly. 345 Chapter 10 Working in Trim Mode Extending an Edit Use the Extend Edit function to perform dual-sided (A-side and B-side) trims on selected tracks. By using Extend Edit, you can quickly create a split or overlap edit without entering Trim mode. You can also specify the exact frame to trim by using the position indicator. (If you enter Trim mode, the position indicator moves to the nearest transition by default.) You can extend edits backward or forward in the Timeline. In either case, like a dual-roller trim, the Extend Edit function always maintains sync relationships. To perform an extend edit: 1. Select the tracks you want to extend. 2. Find the point in the sequence to which you want to trim. If the trim point is before the edit, mark an IN point. If it is after the edit, mark an OUT point. 3. Select Tools > Command Palette. 4. Click the Trim tab. 5. Select Active Palette. 6. Click the Extend Edit button. The adjustment appears in the Timeline. n You can map the Extend Edit button to any button on the Tool palette or any key on the Keyboard palette. For information on mapping buttons, see “Mapping User-Selectable Buttons” on page 133. Maintaining Sync While Trimming The Avid editing application provides two features to ensure that you do not break sync unintentionally between two or more video and audio tracks when performing single-roller trims. 346 • You can add black filler to maintain the overall duration of the track. • You can trim with tracks sync locked. Maintaining Sync While Trimming Adding Black While Trimming You can add black filler on either the A-side or the B-side of a transition while maintaining the overall duration of the track and the sync relationships. The system adds a black segment to fill the duration of trimmed frames. To add black while trimming: 1. Enter Trim mode. 2. Select the transition. 3. Press and hold the Alt key while dragging the A-side or B-side trim roller. A black segment is added without changing the duration of the sequence. No black is added, and sync breaks appear in the Timeline. Trimming without adding black Black fills the trim duration, and sync is maintained. Adding black while trimming 347 Chapter 10 Working in Trim Mode After you have added black filler to a video track, you can replace the filler with footage by performing a replace edit. For more information, see “Performing a Replace Edit” on page 286. Trimming with Sync-Locked Tracks Sync-locked tracks aid only single-roller trim functions in Trim mode because dual-roller trims do not cause sync breaks. To trim with sync-locked tracks: 1. While in Trim mode, click next to the tracks you want to keep in sync. The Sync Lock icon appears, and the location of the position indicator determines the sync point across tracks. Sync Lock icon Sync Lock All button n Timecode button You can also click the Sync Lock All button next to the Timecode button to switch sync lock on and off for all tracks. 2. Perform single-roller trims as necessary, with the following results: - When you trim the A-side of a transition forward, all other segments locked in sync move forward with the trim. If the transitions are staggered, this might split one or more of the segments at the sync point established by the position indicator, leaving fill. If you trim the B-side of the transition in the same direction, the additional sync-locked segments slide back in the sequence to maintain sync until they encounter another segment in the same track. At this point, you can trim no further and the system emits a warning sound. 348 Maintaining Sync While Trimming - When you trim back the A-side of a transition, additional segments locked in sync move back as well. If the segments are staggered and one of the additional sync-locked segments encounters another segment on the same track, you can trim no further and the system emits a warning sound. If you trim the B-side of the transition in the same direction, all other segments locked in sync move forward to stay in sync. If the transitions are staggered, this action might split one or more of the sync-locked segments at the sync point established by the position indicator. Filler is added where the split occurs. 349 Chapter 10 Working in Trim Mode 350 Chapter 11 Working with Audio You edit audio by using many of the same techniques and tools you use to edit video, including editing, Segment mode, and Trim mode functions. The Avid application also provides several unique features that facilitate audio editing, such as audio scrub, waveform displays, and tools for adjusting and mixing audio levels and pan between speakers. In addition, you can adjust the high, low, and midrange frequency ranges of segments by using the Audio Equalization (EQ) tool. • Audio Tools • Accessing Audio Effect Tools • Audio Editing Aids • Using the Audio Mix Tool • Using Audio Gain Automation • Using the Audio EQ Tool • Digidesign AudioSuite Plug-Ins • Recording Voice-Over Narration • Using Automatic Voice-Over • Fine-Tuning Audio Transitions • Mixing Down Audio Tracks • Changing the Sample Rate • Identifying the Sample Rate by Color Chapter 11 Working with Audio Audio Tools The Avid application provides a collection of tools for managing and finetuning audio volume, pan, equalization, and transitions. The general purpose of each tool is as follows: 352 • Audio tool: Use this tool primarily for adjusting and calibrating global input and output levels when you record from analog sources or from output to tape. For more information, see “Using the Audio Tool” in the Help and “Calibrating for Audio Output” in the Help. • Audio Mix tool: Use this tool primarily for adjusting pan and volume levels on clips or whole tracks within a sequence. For more information, see “Using the Audio Mix Tool” on page 365. • Audio Gain Automation tool: Use this tool to fine-tune your audio tracks. The tool provides control over volume keyframes and ramps within a clip. For more information, see “Using Audio Gain Automation” on page 375. • Audio EQ tool: Use this tool for adjusting the sound characteristics of audio clips in the sequence based on three-band control over high, low, and midrange frequencies. For more information, see “Using the Audio EQ Tool” on page 392. • Digidesign AudioSuite Plug-In tool: Use this tool to access thirdparty audio plug-ins. For more information, see “Digidesign AudioSuite Plug-Ins” on page 407. • Audio Punch-In tool: Use this tool to record up to two channels of audio directly into the Timeline for voice-over narration. For more information, see “Recording Voice-Over Narration” on page 420. Accessing Audio Effect Tools Accessing Audio Effect Tools You can access the following tools from any of the audio effect tools: • Audio Mix (for adjusting pan and volume) • Automation Gain • AudioSuite • Audio EQ To access one of the audio effect tools: t Select Tools > tool. To switch to another tool: t Click the Effect Mode Selector pop-up menu, and select the new tool. Effect Mode Selector pop-up menu To keep more than one tool open at the same time: t Select Tools > tool, or press and hold the Alt key while selecting a new tool from the Effect Mode Selector pop-up menu. The following section describes several features that help you locate transitions and monitor audio samples while editing or adjusting sound with the tools. 353 Chapter 11 Working with Audio Audio Editing Aids The Avid application provides audio track soloing, audio scrub features, and waveform plots specifically designed for frame-accurate cueing, marking, and editing of audio. You can use these features any time during editing or while making adjustments with the audio tools. Soloing Audio Tracks in the Timeline You can solo multiple tracks in the Timeline. This feature allows you to: • Listen to several tracks at once without turning other audio tracks off or down. • Isolate audio tracks for audio scrubbing without having to deselect monitoring of all other audio tracks. To solo an audio track: t Ctrl+click the Audio Track Monitor button for the track that you want to solo. The Audio Track Monitor icon changes to green. To turn off soloing for the track: t Click the Audio Track Monitor button again. To turn off the solo feature for all tracks: t Ctrl+Alt+click an Audio Track Monitor button for a solo track. Using Audio Scrub The term audio scrub originated in the film industry. It describes the process of “scrubbing” a magnetic audiotape across the playback heads to monitor a portion of sound. This process isolates portions of audio to help you accurately mark edit points or analyze transitions for careful trimming. 354 Audio Editing Aids Smooth Scrub Versus Digital Scrub You have two options for scrubbing audio in either the sequence or the source material: • Smooth audio scrub: This feature mimics the variable-pitch playback of traditional analog tape. • Digital audio scrub: This feature takes advantage of the digital environment by sampling incoming frames, outgoing frames, or both at normal pitch and playback rate. Each type of scrub has its advantages: • Smooth scrub makes it easier to examine sound at varying speeds. • Digital scrub allows you to focus quickly on individual bits of incoming or outgoing audio for frame-accurate edits and adjustments. Selecting Tracks for Scrubbing By default, all monitored audio tracks are selected for scrubbing. However, as the play speed increases during audio scrubbing, some monitored audio tracks are dropped. You can select up to two tracks to ensure they play during scrubbing, even if the system has to drop some tracks. Table 21 shows how many tracks can be scrubbed at the varying speeds of play. Table 21 Number of Tracks and Scrub Speeds When you play footage forward or backward at: You can scrub: Normal speed Up to 4 tracks Two times normal speed Up to 4 tracks Three times normal speed 2 tracks Greater than three times normal speed 0 tracks 355 Chapter 11 Working with Audio To ensure an audio track is monitored during scrubbing: t Alt+click the Audio Track Monitor button in the Track Selector panel for the selected track. Audio Track Monitor buttons with gold Speaker icons The Audio Track Monitor button is purple with a gold Speaker icon to indicate which tracks will be played if the system has to drop tracks during scrubbing. By default, the two topmost Audio Track Monitor buttons display the gold Speaker icon. You can isolate specific audio tracks for scrubbing, without having to deselect monitoring of all other audio tracks, by soloing the audio tracks. See “Soloing Audio Tracks in the Timeline” on page 354. Performing Smooth Audio Scrub You can use three-button play with the J-K-L keys to perform smooth audio scrubbing of selected tracks of audio at variable speeds. You cannot activate digital audio scrub with three-button play. You can monitor while stepping (jogging) or while shuttling at fixed rates up to three times normal speed. The audio cuts out at greater than three times the normal speed and comes back in after the speed drops below three times. To monitor audio with three-button play: 1. Select the correct track, and adjust the playback volume as necessary. 2. Play the audio by using the three-button variable speed playback procedures described in “Shuttling with the J-K-L Keys” on page 242. 356 Audio Editing Aids Using Digital Audio Scrub Digital audio scrub enables you to sample selected frames of incoming or outgoing audio as you move through the footage, without a change in pitch or speed. The following are unique characteristics of digital scrub: • The frames of audio you hear are always at your point of destination. For example, if you step forward 10 frames, you hear a selected number of audio frames from a point behind the position indicator (outgoing frames) to a point in front of the position indicator (incoming frames) as it reaches the new destination point. • The audio is always sampled in a forward playback direction; whether you step backward or forward through the material, you hear the same audio sampling at each destination frame. Digital scrub example This entire section is sampled. Step 10 frames Selected track Outgoing frames (behind position indicator) Incoming frames (ahead of position indicator) Adjusting Digital Scrub Parameters The default parameters for the number of frames you hear as you scrub are zero frames of outgoing audio (behind the position indicator) and one frame of incoming audio (ahead of the position indicator). To isolate frames for marking or trimming, the default parameters are sufficient. You can increase these settings to include more frames of audio on either side — for example, when you want to sample whole words or parts of words as you scrub to find edit points within a phrase. You can also reverse the settings to sample frames behind the position indicator (outgoing frames) as you scrub. You should avoid increasing the number of sampled frames on both sides at once because this can make it difficult to isolate an edit point or trim point based on the location of the position indicator. 357 Chapter 11 Working with Audio To adjust the parameters for digital scrub: 1. Double-click Audio in the Settings tab in the Project window. The Audio Settings window appears. 2. Click in a text box, and type a new number of outgoing or incoming frames in the Source Scrub area, the Timeline Scrub area, or both. The new parameters are now in effect. Performing the Digital Scrub Procedure To locate an audio edit point in audio by using digital scrub: 1. Solo an audio track for scrubbing, and adjust the output volume, if necessary. 2. Press the Caps Lock key to activate digital audio scrub. n You can also activate digital audio scrub by pressing and holding the Shift key while you drag the position indicator or click the Step buttons. 3. Move through the material in one of the following ways to hear the scrub: 358 t Drag the position indicator. t Click the Step (Jog) buttons, located in the Move tab of the Command palette, to step through in fixed increments: 1 frame backward, 1 frame forward, 10 frames backward (8 frames for 24p), or 10 frames forward (8 frames for 24p). Audio Editing Aids When you have found the correct frame, mark the location, trim the transition, or perform any other function you choose. If you are sampling incoming frames (with the default scrub parameters, for example), the system places the position indicator at the head of the last sampled audio point. If you are sampling outgoing frames, the system places the position indicator at the tail of the last sampled audio point. Adjusting Default Pan Settings The way your footage was recorded in the field and was recorded with your Avid system will affect the way sound pans between the speakers. By default, the system pans audio tracks 1 and 3 to the left speaker output and pans audio tracks 2 and 4 to the right speaker output. For information on using the Audio Mix tool to adjust pan for individual clips in a sequence, see “Using the Audio Mix Tool” on page 365. You can set global pan settings before or during editing by using the Audio Settings window and by selecting All Tracks Centered. For information on using the Audio Mix tool to adjust pan for individual clips in a sequence, see “Using the Audio Mix Tool” on page 365. To open the Audio Settings window: 1. Double-click Audio in the Settings tab in the Project window. The Audio Settings window appears. 359 Chapter 11 Working with Audio By default, the audio tracks for clips alternate with track 1 on the left speaker and track 2 on the right speaker for monitoring and output. The option All Tracks Centered instructs the system to center the pan of all tracks between the two speakers for monitoring and output. Dealing with Low Latency Audio in Your Sequence When you are working with the audio tools (Audio EQ tool, Automation Gain, and Audio Mix tool) your audio might experience a performance delay when playing or recording a clip. Depending on your system and the audio sample rate when you adjust the audio controls in each of these tools, there can be a delay from the time you adjust the control until the time the audio is heard through the speaker. NewsCutter allows you to reduce the audio latency by adjusting the number of samples that are preloaded when you play a clip or sequence. This would preload information into the sequence prior to Loop Play or Record and allow audio and the use of audio controls to sync up. Adjusting for Audio Latency To adjust for low audio latency in your clip or sequence: 1. With a sequence in the Timeline, open an audio tool (Audio EQ tool, Automation Gain, or Audio Mix tool). 2. In the audio tool, press the Audio Play Loop button to play the sequence. 3. Use the sliders to adjust the audio. If the audio delays while you drag the sliders and you don’t hear it through the speaker immediately, you can adjust this delay. 360 Audio Editing Aids 4. Double-click Audio In the Settings tab in the Project window. The Audio Settings window appears. 5. Click Audio Tools Response, and select a response speed from the pop-up menu that corresponds to the speed of your system. Faster systems might be able to handle faster response speeds. n Be cautious when you adjust the audio response. Changing from the default might lead to audio underruns, crackling, or other effects. 6. Press the Audio Play Loop button again. You might have to choose another response speed from the Audio Tools Response pop-up menu to determine what works for your sequence. 361 Chapter 11 Working with Audio Displaying Waveform Plots You can use sample waveform plots to help you visually locate points in an audio track for editing or trimming. To display audio waveforms: 1. If you are searching for a point in a known section of the tracks, zoom in and show more detail in the sequence to isolate a section of the audio. With less audio to display, the system draws the waveform plot faster. 2. Click the Timeline Fast Menu button, and select Sample Plot. The sample plot displays the entire amplitude of the audio waveform. This is the same as the sample voltage values you would see on an analog oscilloscope waveform. Waveform sample plot n Press Ctrl+period at any time during the redraw of the waveform plot to stop the redraw. 3. (Option) Maximize the visibility of your waveform display by using any of the following procedures: 362 t Continue to expand or shrink your view of the Timeline by using the scale bar, effectively spreading out the waveform plots to show detailed variations in the audio levels. t To enlarge the height of selected audio tracks and subsequently the waveform displays, press Ctrl+L. t To reduce the height of selected audio tracks and subsequently the waveform displays, press Ctrl+K. Audio Editing Aids t To enlarge the size of the sample plot image without enlarging its track, press Ctrl+Alt+L. This procedure is useful when you view detail in quiet passages. t To reduce the size of the sample plot image without reducing its track, press Ctrl+Alt+K. This procedure is useful when you view detail in loud passages. n You can select Show Marked Waveforms in the Timeline Settings dialog box to narrow the view of the tracks in the Timeline. This option provides faster displaying of the Timeline because the waveform is displayed only between the IN point and the OUT point. 4. Move through the audio shown in the waveform by using any of the playback methods. You hear sound as you track the audio visually. When the position indicator is at the point you want in the waveform, you can mark, trim, or perform any other function. n Audio waveform plots can slow your navigation through the Timeline. Therefore, you might want to use them selectively. To do this, you can create a custom Timeline view, as described in “Customizing Timeline Views” on page 293. Once you have created a customized waveform view, you can select it from the Timeline View pop-up menu when needed, and return to another view when you are done. 363 Chapter 11 Working with Audio Adjusting Volume Control You can adjust your speaker or headphone volume without leaving the application To adjust the volume control: 1. From the Timeline, click and hold the Master Volume button. Master Volume button Audio Meter menu button If you do not see the Master Volume button, click the Audio Meter menu button, and then select Show Audio Meters. The Master Volume button is displayed with the Audio Meters. The Volume Control slider appears. 2. Continue to click and hold, and drag the volume control to the audio level you prefer. 3. Release the mouse button. n Adjusting the volume control affects the volume only while you are in the NewsCutter application. Once you exit the application, the volume control defaults to how it was set on your desktop. To mute volume t From the Timeline, click the Master Volume button. A line appears through the button, and no audio is heard through your speakers or headphone. 364 Using the Audio Mix Tool Using the Audio Mix Tool For additional information on audio levels for digital cut output, see “Output Options” in the Help. The default volume for master clips is set to zero (that is, with no attenuation) when you first capture the media. The pan option in the Audio Settings window determines how the system plays back the default pan. If you set the Default Pan to “Alternating Left - Right,” odd tracks are sent to the left channel and even tracks are sent to the right channel. For more information, see “Adjusting Default Pan Settings” on page 359. The Audio Mix tool allows you to: • Adjust pan and volume for an individual clip, a whole track, several tracks at once, or a whole sequence. • Adjust the volume, pan, or both for one track at a time. • Adjust the volume, pan, or both for multiple tracks simultaneously by ganging them together. The system uses these adjustments for all playback, including output to a digital cut. n The Audio Mix tool adjusts entire clips only. You can adjust volume levels within a clip in the Timeline by using Audio Gain Automation. For more information, see “Using Audio Gain Automation” on page 375. To open the Audio Mix tool, do one of the following: t Select Tools > Audio Mix. t Click the Effect Mode Selector pop-up menu, and select Audio Mix. 365 Chapter 11 Working with Audio Render Effect button Audio Loop Play button Fast Menu button Display/Hide Sliders button Effect Mode Selector pop-up menu Number of Mix Panes button Bypass Clip Gain button Which Set of Tracks to Display in Mix Panes button Volume Level display Track Selection menu button Gang button Level slider Pan level and slider Resizing the Audio Mix Tool You can use the Number of Mix Panes button to change the display from 8 tracks to 4. When you select 4 tracks, a menu appears that allows you to display the first 4 or last 4 tracks that are enabled. You can simplify the Audio Mix Tool display by clicking the Display/Hide Sliders button to switch between hiding and displaying the Volume Level sliders. With the tool collapsed, you can continue to adjust levels by selecting a track and typing values by using the numeric keypad on the keyboard, or by typing a value in the Volume Level display. 366 Using the Audio Mix Tool Adjusting One Audio Track at a Time To adjust one audio track at a time in the Audio Mix tool: 1. Load a clip or sequence, and activate the appropriate monitor. If the Source/Record monitor displays as a single monitor, do one of the following: t To adjust a track in a source clip, make sure the Source monitor is active by clicking the Toggle Source/Record button until “Source” appears next to the title in the monitor and the button changes to green. t To adjust a track in a sequence, make sure the Record monitor is active by clicking the Toggle Source/Record button until “Sequence” appears next to the title in the monitor. 2. Select the track or portion of a track to be adjusted: t To adjust the track in a single edited clip in a sequence, move the position indicator to the clip. t To adjust an isolated section of audio on a track, mark IN and OUT points. Adjusting a clip with IN points and OUT points adjusts the entire clip. t To adjust levels from an IN point through the end of the track, mark an IN point only. One mark also adjusts the entire track from the beginning of the clip that includes the mark. t To adjust levels globally throughout the track, make no marks. 3. Select Tools > Audio Mix to open the Audio Mix tool. n n The Audio Mix tool contains eight panes, one for each audio track that you can monitor and adjust. By default, only the first four tracks (A1–A4) are displayed when the Audio Mix tool opens. The Audio Mix tool can display only tracks that exist in the sequence and are monitored, or tracks that were recorded with the source clip. Only monitored tracks appear in the Audio Mix tool. If a track does not appear, check the sequence to make sure the track is monitored. 367 Chapter 11 Working with Audio 4. Select the audio track to be adjusted by doing one of the following: n t (Option) Click the Which Set of Tracks to Display in Mix Panes button to display tracks A5–A8, or click the Number of Mix Panes button to display all eight tracks. t Click the Track Selection Menu button for the appropriate audio track. t Alt+click the Track Selection Menu button, and then select a track. To verify or change the output channels, use the Audio tool (select Tools > Audio Tool). 5. With the Audio Mix tool active, use any playback method (such as the J-K-L keys on the keyboard) to play, shuttle, or step through the audio to check for necessary volume or pan adjustments. The keyboard can control either the Source or Record monitor, depending on which monitor was active when you opened the Audio Mix tool. Switch your selection by clicking the Toggle Source/Record button. 6. Decide whether to raise or lower the volume or pan left or right, which adjusts the volume or pan for a single clip. See “Changing an Audio Level” on page 369. Volume Level display Click Gang buttons to gang multiple tracks. Level slider Pan Value display 7. Adjust pan values. See “Adjusting Pan Values” on page 369. 368 Using the Audio Mix Tool 8. Apply the adjustments to a selected region of the track by using the Audio Mix Fast menu located in the top bar of the tool. See “Applying Pan Value Adjustments” on page 370. 9. Play through the audio again, using the J-K-L keys. 10. Repeat steps 6 through 9 until you are satisfied with the pan and volume levels. The system uses the new settings whenever you play back or record the sequence. Changing an Audio Level To change an audio level value in the audio track panel, do one of the following: t Click a number along the vertical edge of the Level slider. t Click the Level slider, type a value, and press Enter. Values are cumulative until you press Enter. For example, if you want to enter the value 12, type it. However, if you type 1 and then want to change the value to 2, press Enter before typing the 2. t Click the Level slider, and then drag the slider to a new position. t Click the Volume Level display, type a value, and press Enter. t Alt+click the Level slider to reset the value to 0 dB. Adjusting Pan Values To adjust the pan values in the audio track panel, do one of the following: t Click the Pan Value display to reveal the pop-up slider, and then drag the slider to a new position. t Alt+click the Pan Value display for MID. If the sequence is playing, notice that play stops when you make an adjustment (the Audio Mix tool does not provide real-time audio control). You can adjust volume while playing the clip. For more information, see “Adjusting Volume While Playing an Audio Mix Effect” on page 373. 369 Chapter 11 Working with Audio Applying Pan Value Adjustments To apply the Pan Value adjustments: t Click the Audio Mix Fast Menu button, and select one of the commands: - The Set commands (Set Pan on Track, Set Level on Track) apply the same pan or volume levels currently set in the Audio Mix tool to all segments in the marked regions of the tracks. - The Adjust Pan/Vols on Track command opens a dialog box for making incremental adjustments to all current settings across segments in the marked regions of selected tracks. - For example, when you type –1 in the Gain Adjustment text box, the various audio level settings across all segments of the marked region of selected tracks will be lowered by exactly 1 dB when you click OK. - The Remove Clip Gain on Track and Remove Pan on Track commands remove clip gain or pan values from the marked regions of selected tracks. - The Remove Pan/Vols on Track command deletes all audio mix adjustments that have been applied to segments in the marked regions of selected tracks. Each audio clip is restored to its previous pan and volume settings. The options in the Fast Menu appear dimmed until you select a track by clicking the Track Selection menu button. (To apply the adjustments to multiple tracks, click additional Track Selection menu buttons.) The options vary depending on the types of marks you set within the clip or sequence, as follows: 370 • With IN and OUT points: Commands apply adjustments to selected tracks between the points. • With an IN point (no OUT point): Commands apply adjustments to full clips from the IN point to the end of selected tracks. • With no points: Commands apply globally (across entire tracks). Using the Audio Mix Tool n The Clip Gain values set by the Audio Mix tool are the values for the entire segment; for example, you cannot set a subsection of a segment without affecting the entire segment. To set gain for a portion of a segment, use Audio Gain Automation. For more information, see “Using Audio Gain Automation” on page 375. Ganging and Adjusting Multiple Tracks You can gang multiple tracks in the Audio Mix tool to maintain the same relative settings between tracks when you make adjustments. This is useful in a variety of circumstances. For example, you can gang tracks to raise the overall volume of a portion of a sequence while maintaining variations in level adjustment among tracks. To gang and adjust multiple tracks: 1. Click the Gang buttons of the required panels. To deselect a Gang button, click it a second time. 2. Adjust either volume or pan for one of the tracks by using any of the techniques described in “Adjusting One Audio Track at a Time” on page 367, and the other tracks will maintain the same relative levels. When you gang two or more tracks, you gang both the Level and the Pan sliders. To set all ganged sliders to the same value for volume: t Click the number along the vertical edge of the Volume Level slider, or type a value in one of the Volume Level displays and then press Enter. To set all ganged sliders to the same value for pan: t Click the Pan Value display, and type a value. Rendering an Audio Effect The Render Effect button allows you to render an audio effect without closing the Audio Mix tool. For example, if you change the level of a clip that contains a rendered audio dissolve, the effect becomes unrendered. You can use the Render Effect button to rerender the audio dissolves 371 Chapter 11 Working with Audio directly from the Audio Mix tool. Then, you can play it back immediately to hear the effect of the level change with the dissolve in place. For more information about rendering, see the Avid Products Effects Guide. Modifying Pan Values There are two basic ways to work with pan values: • Create or modify an audio pan/vol effect. This method creates an effect that is stored with the sequence. • Modify the way that the system interprets pan values during playback. Creating or Modifying an Audio Pan/Vol Effect To create or modify an audio pan/vol effect, do one of the following: n t Use the Pan sliders at the bottom of the Audio Mix tool. See “Adjusting Default Pan Settings” on page 359 and step 6 of “Adjusting One Audio Track at a Time” on page 367. t Use the pan-related commands in the Audio Mix Tool Fast Menu. See “Applying Pan Value Adjustments” on page 370. Stereo (available in the Output tab in the Audio Project Settings window) is the only Audio Mix mode that supports pan/vol effects. Modifying How the System Interprets Pan To modify the way the system interprets pan during playback: 372 t Set the default pan values in the Audio Settings window. t Click the Mix Mode Selection Menu button in the Output tab in the Audio Project Settings window, and select one of the following modes: - Stereo uses the default pan settings and allows you to create pan effects. - Mono pans all tracks to center during output. This mode ignores pan effects. - Direct Out plays back the tracks with their default pan settings. This mode ignores pan/vol effects. Using the Audio Mix Tool Bypassing Existing Volume Settings You can have the system ignore the volume settings established with the Audio Mix tool when playing back or recording a sequence. To turn off current volume adjustments, do one of the following: t Click the Bypass button in the Audio Mix tool. t Click the Clip Gain button in the Bypass panel in the Output tab in the Audio Project Settings window (see “Adjusting Output on TwoChannel Audio Systems” in the Help). The volume controls disappear. To restore the previous settings: t Click the Bypass or the Clip Gain button again. Adjusting Volume While Playing an Audio Mix Effect You can use the Audio Loop Play button to change the volume on an existing Audio Mix effect while you play the clip. The Audio Loop Play button appears on several of the audio effect tools and is also a mappable button on the Command palette (see “Button Mapping” on page 132). You can perform the following operations while the system plays the loop: • Adjust audio effects. • Use the Peak Hold pop-up menu in the Audio tool to change between Peak Hold and Infinite Hold. • Use the Reset Peak button in the Audio tool. There are limitations on adjusting volume; you can also improve response time. See “Limitations on Adjusting Volume” on page 374 and “Improving Response Time” on page 375. For more information on the Audio tool, see “Using the Audio Tool” in the Help. 373 Chapter 11 Working with Audio To adjust volume while playing an Audio Mix effect: 1. Do one of the following: t Select an existing Audio Mix effect. t Identify an area of the clip with IN and OUT points. t Move the position indicator to an audio clip. 2. Click the Audio Loop Play button in the Audio Mix tool. The system repeatedly loops through the selected area as follows: - If you have IN and OUT points in your sequence, the command loops over the selected area. - If there are no IN or OUT points, the command loops over the smallest selected audio track identified by the position indicator. - If you have only an IN point or only an OUT point, the system uses the location of the position indicator as the second point. For example, if there is an IN point and no OUT point, the system loops from the IN point to the end of the (smallest selected) audio segment under the position indicator. 3. Adjust the volume as necessary. 4. Click the Audio Loop Play button to stop. Your changes are saved automatically as part of an Audio Mix effect. Limitations on Adjusting Volume If there is no Audio Mix effect on the clip before you start, you will not hear any changes until you click the Audio Loop Play button to stop and replay the effect. As you adjust the volume values on an existing Audio Mix effect, you might not hear the results immediately. It takes a few seconds for the Avid editing system to apply the changes to the clip. The response time for this feature is considerably longer than it is when changing EQ parameters while using Audio Loop Play. You might need to click the Audio Loop Play button to complete the edit and then play the effect to hear the result. 374 Using Audio Gain Automation Improving Response Time To improve the response time, do any of the following: n t Monitor as few audio tracks as possible. t Deselect the video track, if practical. t Use IN and OUT points to select a narrow interval to adjust. For additional ways to change the volume while playing an Audio Mix effect, see “Recording Automation Gain Information” on page 388. Using Audio Gain Automation Audio Gain Automation (also known as audio volume rubberbanding) allows you to change the volume of a segment by adding and manipulating gain keyframes in the Timeline. The following illustration shows an expanded audio track containing gain keyframe information. Gain values in decibels Graphic representation of keyframes and gain ramps in the Timeline The Avid application uses a linear ramp to change the volume from one gain keyframe to the next. 375 Chapter 11 Working with Audio Automation Gain Values and System Clip Gain Values When you add a keyframe to a clip with Clip Gain already on, the keyframe is placed at 0 dB. Values set by the volume Level sliders in the Audio Mix tool are referred to as system clip gain values. Audio gain keyframes are additive to the system clip gain values. This allows you to adjust the values separately. You typically adjust clip gain values first, as shown in the following workflow. Clip Gain Adjust overall volume. Audio Effect Processing Apply effects. Automation Gain Fine-tune volume. For example, assume that you have copied an audio file from a CD-ROM. You want to equalize (EQ) the audio but the overall volume is too loud. In this case, you would do the following: 1. Use the Audio Mix tool to lower the overall volume. See “Using the Audio Mix Tool” on page 365. 2. Apply an EQ effect and any other audio effects. See “Using the Audio EQ Tool” on page 392. 3. Use Audio Gain Automation to fine-tune the volume of different sections of the audio in the sequence. See “Using Audio Gain Automation” on page 375. You can view the clip gain and the automation gain values in the Timeline at the same time. To turn on the display of clip gain values, automation gain values, or both: t 376 Click the Timeline Fast Menu button, and select Audio Auto Gain or Audio Clip Gain. Using Audio Gain Automation n NewsCutter XP versions earlier than Version 2.0 do not support additive clip gain and automation gain. If you transfer a sequence containing additive clip gain and automation gain to a system running a version earlier than Version 2.0, you cannot hear the additive clip gain. Also, if you save the transferred sequence on the system running the earlier version, the system does not save the additive clip gain. If you need to transfer sequences from Version 2.0 to earlier releases and then bring the sequences back to Version 2.0, remove any additive clip gain before you transfer the sequence. To remove the clip gain, click the Audio Mix Tool Fast Menu, and select Remove Clip Gain on Track. Adjusting Volume in the Timeline To use Audio Gain Automation to adjust volume: 1. Select an audio track for adjusting volume. 2. Click the Timeline Fast Menu button, and select Audio Auto Gain. n n If there is audio volume data on a clip and you do not select Audio Auto Gain from the Timeline Fast Menu, the system displays a pink triangle on the clip to indicate that audio volume data is present but not displayed. You can enable Clip Gain, Audio Auto Gain, and Sample Plot in the Timeline Fast Menu to display audio information superimposed over waveform plots in the Timeline. 3. (Option) Expand the audio track by doing one of the following: t Press and hold Ctrl+L. t Press and hold the Ctrl key while dragging in the Track Selector panel. When the pointer changes to a cross, drag the cross to expand or shrink the track as shown in the following illustration. 377 Chapter 11 Working with Audio The following illustration shows the expanded audio track with volume data. 4. Click the Add Keyframe button in the FX tab of the Command palette to add keyframes along the Timeline. A keyframe is added to each enabled track. A straight line appears in the selected audio track. The line shows the current gain level for that track in the Audio Mix tool. n You adjust gain in the Automation Gain tool by dragging keyframes in the Timeline or by placing the position indicator on a keyframe and adjusting the slider. After you add the first keyframe to a segment, you can adjust the gain for the entire clip. When you move the keyframe up or down, the corresponding volume Level slider in the Automation Gain tool also moves. 378 Using Audio Gain Automation Deleting Audio Gain Keyframes in the Timeline To delete a single audio keyframe in the Timeline: 1. Move the pointer over the keyframe. 2. When the pointer changes to the hand pointer, press the Delete key. If there are identical keyframes in other active tracks, the system deletes them also. To delete groups of keyframes: 1. Mark an IN point and an OUT point, or mark the entire segment. 2. Delete any keyframe in the marked area. All keyframes between the IN and OUT points are deleted. Moving Audio Gain Keyframes in the Timeline To move audio gain keyframes in the Timeline, do one of the following: t n Click a keyframe and drag it up or down to increase or decrease the gain at that point. If there is a point at the same position on another enabled track, it moves also. To snap to the decibel lines, press and hold the Ctrl key while you drag the point. 379 Chapter 11 Working with Audio t Move a keyframe horizontally to move the start or end of a ramp. Move the pointer to a keyframe. When the pointer changes to the hand pointer, press and hold the Alt key, click the keyframe, and drag it. t Move several keyframes vertically on a track at the same time by marking IN and OUT points to select the area you want. When you move one keyframe up or down within the marked area, all keyframes within the marked area move in relation to each other. This works for all enabled audio tracks. This procedure is similar to ganging sliders on an audio mixing board or in the Audio Mix tool. Using an External Fader or Mixer to Adjust Volume Your Avid editing system supports the following external fader controllers or mixer: n An external fader controller or mixer is optional. It is not required to perform Audio Gain Automation recording. • JL Cooper FaderMaster Professional (FaderMaster Pro™) MIDI automation controller • JL Cooper MCS-3000X MIDI automation controller • Yamaha® 01V digital mixing console For information on connecting and using fader controllers and mixers, see “Configuring an External Fader Controller or Mixer” in the Help. For information on using these external fader controllers or the mixer, see “Recording Automation Gain Information” on page 388. 380 Using Audio Gain Automation Adjusting the Volume of Individual Keyframes To edit the volume for individual keyframes by using an external fader controller or mixer: Position indicator lights 1. Check the color of the position indicator lights. If the external fader controller or mixer is on and is correctly attached to the system, at least one of the position indicator lights on each enabled track is blue. 2. Click an audio gain keyframe. - On the MCS-3000X and the Yamaha 01V, the faders automatically adjust to the volume setting. - On the FaderMaster Pro, adjust the sliders on the fader controller until both lights for each enabled track are on. This indicates that the slider on the fader controller matches the current volume in the Timeline. For more information, see “Position Indicator Lights” on page 385. 3. Move the corresponding fader to adjust the volume for the keyframe. For information on connecting a fader controller or mixer, see “Configuring an External Fader Controller or Mixer” in the Help. 381 Chapter 11 Working with Audio The Automation Gain Tool Before this section discusses recording volume in the Timeline, it describes the Automation Gain tool in detail. The following illustration shows the Automation Gain tool. Render Effect button Cancel button Audio Loop Play button Fast Menu button Record Status light Record button Preroll and Postroll text boxes Bypass button Which Set of Tracks to Display in Mix Panes button Number of Mix Panes button Track Solo button Gang buttons External fader controller or mixer position indicators Level sliders Some portions of the Automation Gain tool are similar to the Audio Mix tool. The following features are similar to the Audio Mix tool: • 382 Bypass Auto Gain button: This button allows you to temporarily turn off the Automation Gain effect. This button is the same as the Bypass Clip Gain button in the Output tab in the Audio Project Settings window. Using Audio Gain Automation • Number of Mix Panes and Which Set of Tracks to Display in Mix Panes buttons: These buttons allow you to display four or eight panes and to select which enabled tracks are displayed. They are similar to the display options in the Audio Mix tool. For more information, see “Resizing the Audio Mix Tool” on page 366. • Render Effect button: This button is particularly useful for rendering audio effects. For example, if you change the level of a clip that contains a rendered audio dissolve, the effect becomes unrendered. You can use the Render Effect button to rerender the audio dissolve directly from the Automation Gain tool. Then you can play back the clip immediately to hear the effect of the level change with the dissolve in place. • Audio Loop Play button: This button allows you to adjust audio effects while looping over a portion of audio. This button is also available on the Command palette. For more information, see “Adjusting Volume While Playing an Audio Mix Effect” on page 373. • Record button: Starts and stops the recording. • Cancel button: Stops a recording without saving the recorded data. • Record Status light: Is black when there is no activity, green during a preroll, red during recording, and blue during a postroll. • Gang buttons: You can adjust the volume, pan, or both for multiple tracks simultaneously by ganging them together. The gang button changes to yellow, however, if you try to gang a track that is not selected. • Preroll text box: Allows you to provide a visual cue before the recording begins. The Avid system backs up the position indicator for the prescribed number of seconds. • Postroll text box: Allows you to provide the same kind of visual cue at the end of the recording. The remainder of the features described in this section are specific to the Automation Gain tool. 383 Chapter 11 Working with Audio Track Solo Button The Track Solo button (Speaker icon) lets you mute and solo individual audio tracks during Audio Gain Automation recording. Button Color Description Purple (default) The audio track is on. Gray The audio track is muted. Green The track is soloed. You can solo more than one track at a time. To switch between solo and on: t Click the Track Solo button. To switch between on and mute: t Alt+click the Track Solo button. When you turn off solo, the button returns to its previous state (mute or on). To change the previous state of a button: t c 384 Alt+click the button. While the Automation Gain tool is active, the Avid application overrides any other mappings of the number keys 1 to 8 at the top of the keyboard. Number keys on the right side of the keyboard are not affected. Using Audio Gain Automation You can also use the buttons above each fader on the external fader controller or mixer to solo or mute an individual audio track as follows: • FaderMaster Pro: Has one button that you can use to solo or mute an individual audio track during Audio Gain Automation recording: t Press the button above the fader once to switch between solo and on. t Press the button above the fader twice quickly to switch between mute and on. • MCS-3000X: Has separate buttons for solo and mute. Mute buttons are on the bottom row and Solo buttons are above the Mute buttons. For more information, see “MCS-3000X Buttons” in the Help. • Yamaha 01V: Supports solo only if you are not using the unit for audio mixing as well as Audio Gain Automation recording. For more information, see “Using the Yamaha 01V Digital Mixing Console” in the Help. Position Indicator Lights Position indicator lights The position indicator lights provide information about the current location of the faders on the external fader controller or mixer. Colors Description Both lights are blue. The fader matches the current Timeline volume. Only top light is blue. The fader is higher than the Timeline volume. 385 Chapter 11 Working with Audio Colors Description Only bottom light is blue. The fader is lower than the Timeline volume. Both lights are gray. Either there is no fader controller or mixer attached to the system or the system does not recognize the fader controller or mixer. If the system does not recognize the fader controller or mixer, check the connection as described in your controller or mixer documentation. The position indicator lights are especially useful for the FaderMaster Pro because it is important to position the faders close to the track volume before you start recording. Otherwise, you might create an unwanted jump in the volume when you move the faders during a recording. n The Avid system does not record values from a fader on the FaderMaster Pro until you move the fader. Then it reads the current position of the fader and adjusts the volume accordingly. In many cases, it is not possible to exactly match the Timeline value. You do not have to reposition the faders on the MCS 3000-X and the Yamaha 01V because the units automatically reset the faders to match the volume data in the Timeline. Selecting Tracks in the Automation Gain Tool To apply adjustments to a selected region of the track: 1. Select the tracks. 2. Click the Automation Gain Tool Fast Menu located in the upper right portion of the tool, and select an option. The options in the Fast Menu appear dimmed until you select a track by clicking the Track Selection Menu button. To apply the adjustments to multiple tracks: t 386 Click additional Track Selection Menu buttons. Using Audio Gain Automation To access the Track Selection Menu button options and select either a track or None: t Press and hold the Alt key while clicking the Track Selection Menu button. Automation Gain Tool Fast Menu To make the Automation Gain Tool Fast Menu active for a given track: t Click the Track Selection Menu button for that track in the Automation Gain tool. The options in the Fast Menu appear dimmed until you select a track by clicking the Track Selection Menu button. (To apply the adjustments to multiple tracks, click additional Track Selection Menu buttons.) The options vary, depending on the types of points you set within the clip or sequence, as follows: • With IN and OUT points: Adjustments applied to selected tracks between the points • With an IN point (no OUT point): Adjustments applied to full clips from the IN point to the end of selected tracks • With an OUT point (no IN point): Adjustments applied to full clips from the beginning of selected tracks to the OUT point • With no points: Globally applied (across entire tracks) To apply the adjustments: t Select one of the following commands: - Set Pan on Track: Applies the same pan or volume levels currently set in the Audio Mix tool to all segments in the marked regions of the tracks. - Filter Automation Gain on Track: Removes approximately 50 percent of the keyframes in the marked region. If you press and hold the Alt key while selecting the menu item, the system removes all keyframes in the selected area, except for the minimum and maximum peaks. The system tries to save major gestures while removing redundant points and points on a linear ramp. This is useful for deleting extra keyframes after a recording. 387 Chapter 11 Working with Audio - Adjust Pan/Vols on Track: Opens a dialog box for making incremental adjustments to all current settings across segments in the marked regions of selected tracks. For example, if you type –1 in the Gain Adjustment text box, the various audio level settings across all segments of the marked region of selected tracks will be lowered by exactly 1 dB when you click OK. - Remove Automation Gain on Track: Removes all the audio keyframes within the marked region. - Remove Pan on Track: Deletes all pan adjustments that have been applied to segments in the marked regions of selected tracks. Each audio clip is restored to its previous pan settings. - Remove Pan/Vols on Track: Deletes all audio mix adjustments that have been applied to segments in the marked regions of selected tracks. Each audio clip is restored to its previous pan and volume settings. Recording Automation Gain Information You can record your actions while playing the clip as you move sliders to adjust the volume. The Avid system creates the corresponding keyframes and saves them as part of a pan/volume audio effect. After you finish the recording, you can move, add, and delete keyframes to achieve the results you want. To record automation gain information, do one of the following: 388 t Use the Level sliders in the Automation Gain tool to adjust volume while you play the clip. t Attach an optional fader controller or mixer to the system and use the faders on the unit to adjust volume. Using Audio Gain Automation Using the Automation Gain Tool Sliders This procedure describes how to record audio gain information without using an external fader controller or mixer. To record audio gain information by using the Automation Gain Tool sliders: 1. Select an audio track in the Timeline for adjusting volume. n Automation gain is applied only to Timeline tracks that are selected. 2. Click the Timeline Fast Menu button, and select Audio Auto Gain. n If there is Automation Gain volume data on a clip and you do not select Auto Gain from the Timeline Fast Menu, the system displays a pink triangle on the clip to indicate that audio volume data is present but not displayed. 3. (Option) Expand the audio track by doing one of the following: t Press Ctrl+L. t Press and hold the Ctrl key while dragging in the Track Selector panel. 4. Move the position indicator to the section of audio that you want to adjust, and mark IN to OUT points. 5. In the Track Selector panel, select the tracks to which you want to record automation gain. 6. Click the Record button, or press the B key, to start recording your actions. 7. Listen to the audio, and adjust the Level sliders in the Automation Gain tool as necessary. n Ganged faders are yellow for tracks that are not selected in the Timeline; tracks with yellow gang buttons are not ganged during automation gain recording. 389 Chapter 11 Working with Audio 8. Click the Record button again to stop recording. The Avid system adds volume keyframes to the audio in the Timeline. Because it records every movement of the sliders, there are usually more keyframes than you need. 9. Decrease the number of keyframes: a. Click the Track Selection menu button for the track to enable the Fast Menu. b. Click the Automation Gain Tool Fast Menu, and select Filter Automation Gain on Track — In/Out. 10. Repeat step 9 until you have decreased the number of keyframes to an acceptable level. You should remove as many excess keyframes as possible while still maintaining the volume changes. You can move, add, and delete keyframes individually or as groups to further adjust the volume. For details on how to adjust the keyframes, see “Adjusting Volume in the Timeline” on page 377. Using a Keyboard Shortcut You can map the Fast Forward and Rewind buttons to your keyboard to speed your editing of audio keyframes. To use the Fast Forward and Rewind keys when editing audio keyframes: 1. Select Tools > Command Palette, and then click the Move tab. 2. Map the Fast Forward and Rewind buttons to the Keyboard palette. See “Mapping User-Selectable Buttons” on page 133. 3. Click the Track Selection menu buttons in the Automation Gain tool to select the appropriate tracks. 4. Press the Fast Forward key or the Rewind key. The position indicator moves to the next or previous audio keyframe. n 390 The Automation Gain tool must be active when you use the Fast Forward key or the Rewind key. Using Audio Gain Automation Using an External Fader Controller or Mixer To record audio gain information by using an external fader controller or mixer: 1. Attach the fader controller or mixer to your system. The position indicator lights change to blue when the fader controller or mixer is on and correctly attached to the system. 2. Move the position indicator to the section of audio that you want to adjust, and mark IN to OUT points. Position indicator lights 3. (FaderMaster Pro only) Note the colors of the position indicator lights for the track you want to adjust. Move the fader until both lights are blue. If you cannot adjust it to the exact position where both lights are blue, get it as close as you can. 4. Set Preroll and Postroll values, if necessary. 5. Click the Record button to start recording your actions. 6. Depending on the fader controller or mixer, listen to the audio and do the following: n n t FaderMaster Pro: When you want to start recording volume information, move the corresponding fader. The system does not begin recording until you move a fader. t MCS-3000X: When you want to start recording volume information, either touch or move the corresponding fader. The MCS-3000X faders are touch sensitive. t Yamaha 01V: When you want to start recording volume information, click the fader’s On button and move the fader. If the Yamaha 01V fader is not moving, you can move it without first clicking the On button. For more information, see “Using the Yamaha 01V Digital Mixing Console” in the Help. When you record over previously recorded audio volume keyframes, the MCS-3000X and the Yamaha 01V automatically display the changing values. This allows you to make quick adjustments to existing automation gain recordings. 7. Click the Record button again to stop recording. 391 Chapter 11 Working with Audio 8. Click the Audio Loop Play button to play the clip and test your results. 9. To decrease the number of keyframes, click the Automation Gain Tool Fast Menu, and select Filter Automation Gain on Track — In/Out. (Click the Track Selection menu button for a track to enable Filter Automation.) n If you delete too many keyframes, use the Undo command to restore them. 10. Repeat step 9 until you have decreased the number of keyframes to an acceptable level. You should remove as many excess keyframes as possible while still maintaining the volume changes. Using the Audio EQ Tool The Audio Equalization (EQ) tool supports real-time, segment-based frequency equalization on individual clips. This feature allows you to adjust the high, low, and midrange frequency ranges of an audio clip. You can also save a variety of audio EQ effects and apply them in different circumstances, as described in this section. 392 Using the Audio EQ Tool To access the Audio EQ tool, do one of the following: t Select Tools > Audio EQ. t If one of the Audio tools is already open, click the Effect Mode Selector pop-up menu, and select EQ. The Audio EQ tool opens. Render Effect button Audio Loop Play button Fast Menu button Effect icon Effect Mode Selector pop-up menu Display/Hide EQ Graph button Track Selection menu button Enable/Disable EQ Effect button EQ Parameter display Bypass RT EQ button Low shelf Parametric midrange Three bands of controls High shelf EQ Range slider EQ Parameter graph 393 Chapter 11 Working with Audio Audio EQ Tool Features This section describes the basic buttons and menus in the Audio EQ tool as well as the EQ-specific items in the tool. Basic EQ Tool Features The following components appear along the top portion of the Audio EQ tool: • Effect Mode Selector pop-up menu: Allows you to choose among the Audio EQ, Audio Gain Automation, Audio Mix, and AudioSuite Plug-in tools. • Audio Loop Play button: Allows you to make adjustments to an EQ effect while you play the effect. This button is also a mappable button on the Command palette. For more information about using this button, see “Adjusting Volume While Playing an Audio Mix Effect” on page 373. • Render Effect button: Allows you to render an effect without leaving the Audio EQ tool. • Effect icon: Allows you to create an EQ template. Drag the icon to an open bin to create the template. • Fast Menu button: Allows you to perform the following tasks: • n Set EQ for enabled tracks. - Remove EQ for one or more tracks. - Apply an effect template (see “Using Audio EQ Templates” on page 403). Track Selection Menu button: Allows you to select which tracks are enabled for the EQ effect. When you select an item from this menu, the system selects or deselects the corresponding track in the Timeline. If you enable more than one track in the Timeline, the tracks are designated by plus signs (+). They indicate that the effect will be applied to more than one track. • 394 - Display/Hide EQ Graph button: Allows you to display or hide the Parametric Curve display. Using the Audio EQ Tool • Bypass RT EQ button: Allows you to instruct the system to ignore all the EQ effects. This button is also available in the Audio Mix and Automation Gain tools. If you select this feature in one tool, it is selected in the other tools as well. • Enable/Disable EQ Effect button: Allows you to temporarily turn off the Automation Gain effect. This button is the same as the Bypass Clip Gain button in the Output tab in the Audio Project Settings window. EQ-Specific Features The Audio EQ tool provides three bands of control: • The first band, the low shelf, has four turnover points (50 Hz, 80 Hz, 120 Hz, and 240 Hz). A turnover point is the point at which the curve starts to return to 0. A shelf affects all frequency values within the range of the shelf. The low shelf affects all frequencies from 20 Hz to the low shelf turnover point. • The second band is the parametric midrange. This band has two bandwidth values, 1/4 octave and 2 octaves. These values control the width of the curve. • The third band, the high shelf, has four turnover points (6 kHz, 8 kHz, 12 kHz, and 15 kHz). The high shelf affects all frequencies from the high shelf turnover point to 20 kHz. The horizontal center line of the graph is 0 (zero). As you move the curve below the zero line, the corresponding frequencies are deemphasized. Above the zero line, the corresponding frequencies are emphasized. The parametric midrange allows a smooth transition from deemphasized frequencies to emphasized frequencies. The IN button (Enable/Disable EQ Effect) allows you to turn off an individual EQ effect (the currently selected effect). The button is yellow when the EQ effect is on (inline) and gray when the EQ effect is off. 395 Chapter 11 Working with Audio When you apply Audio EQ effects, consider the following: • Audio EQ can be applied only to entire segments. You cannot isolate portions of a segment for an Audio EQ effect by using IN to OUT points. You must use add edits (match frames) to mark off a smaller segment. • You can use IN to OUT points to select a range of complete segments for applying an Audio EQ effect. Segments that fall within the marks, either in part or whole, will have the effect applied to them. The following illustration shows the Audio EQ tool with the frequency response curve displayed, and identifies the related areas of the tool. EQ Parameter display Bandwidth around the center point of the parametric curve: 1/4 octave (narrow) or 2 octaves (wide) Current values of the EQ parameters Turnover point where low shelf curve starts moving back toward 0 Turnover point where high shelf curve starts moving back toward 0 Center point of the parametric midrange curve High shelf 0 line Low shelf Parametric midrange The Audio EQ tool allows you to emphasize or de-emphasize audio frequencies. The height of the curve in the bottom pane shows the amount of emphasis or de-emphasis (also called boost or cut) that is being applied. The range is from +15 dB to –20 dB. 396 Using the Audio EQ Tool Applying Audio EQ Effects To adjust audio EQ for a track: 1. Load the sequence containing the audio track. 2. (Option) Isolate a portion of an audio segment by placing add edits. 3. (Option) Mark a range of audio segments by adding IN to OUT points in the track. 4. Open the Audio EQ tool. 5. Select the audio track to be adjusted from the Track Selection pop-up menu in the Audio EQ tool. The Track Selector panel in the Timeline is updated to reflect your selection. n If multiple tracks are enabled in the Timeline, then plus signs (+) appear next to the enabled tracks in the Audio EQ tool. 6. Click the Audio Loop Play button to play the currently selected audio clip within the current IN to OUT range. To stop playing the loop, click the button again or click anywhere in the Timeline. 7. Use one of the following methods to change a value in the Audio EQ tool: t Click a number along the vertical edge of the Low Shelf, Parametric Midrange, or High Shelf sliders. t Click the Low Shelf, Parametric Midrange, or High Shelf slider, and type a value. Values are cumulative until you press Enter. For example, if you want to enter the value 12, type it. However, if you enter 1 and then want to change the value to 2, press Enter before typing the 2. t Click a slider, and then drag the slider to a new position. t Click the EQ Parameter display, and type a value. t Set a value of 0 dB by clicking the slider and entering 0, or by clicking 0 along the vertical edge of the Low Shelf, Parametric Midrange, or High Shelf sliders. 397 Chapter 11 Working with Audio 8. Apply the adjustments to the track by using the Set EQ command from the Audio EQ Tool Fast Menu. The command works as follows on the selected tracks: - With IN and OUT points: Apply the EQ effect to selected tracks between the points. - With an IN point (no OUT point): Apply the EQ effect to full clips from the IN point to the end of selected tracks. - With no points: Apply the EQ effect globally (across entire tracks). The Fast Menu also allows you to remove EQ effects from one track or all enabled tracks and provides access to a number of predefined EQ templates. For a description of predefined audio templates, see “Using Audio EQ Templates” on page 403. For example, the following illustration shows a segment with one EQ effect applied to the third audio clip in tracks A1 and A2. If you select Set EQ In/Out, the current EQ effect is also applied to all the other audio clips on tracks A1 and A2. Before Set EQ In/Out After Set EQ In/Out – EQ effect is added to all the other audio clips. 398 Using the Audio EQ Tool If there is no EQ setting on the currently selected clip, selecting Set EQ In/Out deletes the EQ settings on all clips within the IN to OUT range. For example, because there is no EQ setting on the last audio clip in the following example, Set EQ In/Out deletes the EQ effect from all the other audio clips. Before Set EQ In/Out After Set EQ In/Out – EQ effect is deleted from all other audio clips. Set EQ In/Out applies only to the audio track currently selected by the Audio EQ tool. You can change your selected region by eliminating or adding marks in the Timeline, or by selecting a different track. 9. Play through the audio again, using the Audio Loop Play button. 10. Repeat steps 6 through 9 until you are satisfied with the EQ adjustments. 399 Chapter 11 Working with Audio Saving Audio EQ Effects The Avid editing application treats an EQ setting as an effect. You can save EQ settings in a bin just as you save any other effect template. This makes it easy to save EQ settings and apply them whenever you need them. The following illustration shows an EQ Effect icon in a bin and in the Timeline. EQ Effect icon in a bin EQ Effect icon in the Timeline To save EQ settings in a bin: t Drag the effect icon in the Audio EQ tool to a bin. To copy the settings to another audio clip: t Drag the effect icon in the Audio EQ tool to another audio clip in the Timeline. For more information on using effect templates, see the Avid Products Effects Guide. 400 Using the Audio EQ Tool Removing Audio EQ Effects To remove an Audio EQ effect: 1. Move the position indicator to the effect in an active track. 2. Do one of the following: t Click the Remove Effect button on the Tool palette. See “Using the Tool Palette” on page 252. t From Trim or Effect mode, press the Delete key. You can also use the commands from the Audio EQ Tool Fast Menu. Audio EQ Examples The following examples present two different ways to use the Audio EQ tool to remove excess bass from an audio track. In these examples, assume that a bass drum in the sound track is very pronounced and the Audio EQ tool is used to deemphasize it. Also assume that there are voices on the same track as the music. The human voice covers a wide range of frequencies, and the challenge is to preserve the bass frequencies of the voices while deemphasizing the bass drum sound. Consider that the goal of the adjustments is the final sound. You should use small adjustments to preserve as much of the original sound track as possible. Do not be overly concerned about specific parameter values. Low Shelf Example This example adjusts the low shelf to deemphasize the bass. By dropping the low shelf to –20 dB, we are able to deemphasize it. However, there are voices on this track, and dropping the low shelf also removes some bass from the voices. To compensate for the loss of bass: 1. Use the 2-octave midrange setting to create a wide midrange. 2. Move the midpoint of the parametric curve to 88 Hz. 3. Boost the midrange of the parametric curve to +7.7 dB. 401 Chapter 11 Working with Audio Small Octave Range Example This example isolates the particular frequency that we want to deemphasize. In this example, we do not use the low shelf, we use the parametric midrange instead of the low shelf to isolate the frequency. To isolate the frequency: 1. Use the 1/4-octave influence range and a large negative decibel value. 2. Set the midrange EQ parameter to –15 dB, and keep both the high shelf and low shelf set to zero. 3. Use the EQ Range slider to move the midpoint of the parametric curve along the frequency range while you play the audio track until it isolates the bass frequency. In this case, the bass frequency that we want to deemphasize is approximately 80 Hz. Use the EQ Range slider to move the center point of the parametric curve and locate a specific frequency. 402 Using the Audio EQ Tool Using Audio EQ Templates Your Avid application provides a set of predefined audio EQ templates. These templates address a number of common audio problems such as removing tape hiss or boosting the low frequency on a music track. The templates are accessible from the Fast Menu in the Audio EQ tool. You can also add your own custom EQ templates to the Fast Menu. The Fast Menu in the Audio EQ tool provides access to a number of predefined EQ templates, as shown in the following illustration. The EQ templates are designed to fix problems that you often encounter with audio clips. For example, Tape Hiss Filter rolls off frequencies above 4 kHz. NTSC Hum Buster cuts the bass on frequencies that often cause hum on NTSC systems. Applying an EQ Template To apply an EQ template from the Audio EQ Tool Fast Menu: 1. Move the position indicator to the audio clip in the Timeline. 2. Click the Audio EQ Tool Fast Menu button, and select the template. The Avid application places the EQ effect on the audio clip. 403 Chapter 11 Working with Audio The following illustration shows the contents of the Audio EQ tool when you select the Female Voice with Presence template in the Timeline. As explained in the tool, you cannot change the parameters of a predefined EQ template. n To see the parameter values of one of the EQ templates that cannot be edited, view the Console window after you apply the effect. To open the Console window, select Tools > Console. Creating Your Own Templates If you create an EQ effect, you can use it again as a template in another sequence or on another track. To create your own EQ effect template: 1. Drag the effect icon from the Audio EQ tool to a bin. The system creates an EQ effect in the bin. 2. Rename the template by clicking the text and typing a new name. 404 Using the Audio EQ Tool Adding an EQ Template to the Fast Menu You can add your own EQ templates to the Audio EQ Tool Fast Menu. You do this by storing your EQ template in the same bin as the predefined templates. The Avid application stores the predefined EQ templates in a bin named Site_EQs_Bin, located in one of the following folders: drive:\Program Files\Avid\NewsCutter Adrenaline FX\ SupportingFiles\Site_Effects drive:\Program Files\Avid\Avid NewsCutter XP\ SupportingFiles\Site_Effects To add an EQ template to Site_EQs_Bin: 1. Open the bin containing your EQ templates. 2. Select File > Open Bin. A dialog box opens. 3. Open the bin named Site_EQs_Bin.avb as follows: a. Open one of the following folders: drive:\Program Files\Avid\NewsCutter Adrenaline FX\ SupportingFiles\Site_Effects drive:\Program Files\Avid\Avid NewsCutter XP\ SupportingFiles\Site_Effects b. Click the Files of Type pop-up menu at the bottom of the dialog box, and select All Files. The Site_EQs_Bin.avb file appears. c. Double-click the Site_EQs_Bin.avb file. 4. Drag one of your EQ templates to Site_EQs_Bin. 5. If you have not already done so, name the template by clicking the text and typing a name. 405 Chapter 11 Working with Audio 6. Close the bin. n The system does not save the effect to the bin until you close the bin. 7. Click the Audio EQ Tool Fast Menu button, and look for your new template. Adjusting EQ While Playing an Audio Effect You can use the Audio Loop Play button to create or change an EQ effect while a clip is playing. Audio Loop Play button Use the same procedure as described in “Adjusting Volume While Playing an Audio Mix Effect” on page 373. If there is no existing EQ effect on the clip before you start, you will not hear any changes until you click the Audio Loop Play button to stop and replay the effect. As you adjust the EQ values on an existing EQ effect, you might not hear the results immediately. It takes a few seconds for the changes to be applied to the clip. To improve the response time, do one of the following: 406 t Monitor as few audio tracks as possible. t Deselect the video track, if practical. t Use IN and OUT points to choose a narrow interval to adjust. Digidesign AudioSuite Plug-Ins Digidesign AudioSuite Plug-Ins The Avid application supports AudioSuite, the Digidesign® host-based, file-based plug-in specification. Users have access to audio-processing plug-ins developed by Digidesign and by Digidesign third-party developers. These plug-ins perform pitch processing, artifact removal, audio reversal, and many other processes. For information on plug-ins that are not supported by your system, see “Plug-in Limitations” on page 419. Installing AudioSuite Plug-Ins The Avid application installation software automatically creates a DAE™ (Digidesign Audio Engine™) folder in the following location: drive:\Program Files\Digidesign\DAE The DAE folder contains the following: • A DAE Prefs folder The plug-in vendor might install settings in this folder. • A DAE Plug-Ins folder containing the following: - A set of basic plug-ins from Digidesign. - A file named AvidAppPlugIn.dpm. The Avid system requires this file; do not delete it. - A file named AvidAppPlugIn.dpm.rsr. The Avid system requires this file; do not delete it. - Several basic plug-ins are installed automatically. For a description of the plug-ins, see “Using AudioSuite Plug-Ins” in the Avid NewsCutter Products Online Library CD-ROM or the Help. When you purchase additional plug-ins, the third-party vendor will provide instructions on how to load the plug-ins. Some vendors might require you to drag the plug-in to the Plug-Ins folder. Other vendors might perform the task automatically for you via an installation program. 407 Chapter 11 Working with Audio Using Digidesign AudioSuite Plug-Ins To use AudioSuite plug-ins, do one of the following: t Apply a plug-in to a clip in the Timeline. The end result is a rendered effect. t Use the controls in the AudioSuite window to create a new master clip. This method allows you to process more than one channel at a time and to create new media that is longer or shorter in duration than the source media. For more information, see “Creating New Master Clips” on page 412. Plug-In Selection pop-up menu Target Drive pop-up menu Status display By default, the AudioSuite window displays the controls for applying a plug-in to a clip in the Timeline. When you drop a master clip onto the window, the window expands to display additional parameters for working with master clips. The following illustration shows the expanded view. Additional parameters for working on master clips Status display 408 Digidesign AudioSuite Plug-Ins Applying an AudioSuite Plug-in to a Clip in the Timeline The following illustration shows the default layout of the AudioSuite window. Render Effect button Fast Menu button Audio Loop Play button Effect icon Display/Hide Master Clip Controls button Effect Mode Selector pop-up menu Plug-in Selection pop-up menu Target Drive pop-up menu Track Selection Menu button Activate Current Plug-in button Status display To apply an AudioSuite plug-in to a clip in the Timeline: 1. Open the AudioSuite window by doing one of the following: t Select Tools > AudioSuite. t If an audio tool is already open, click the Effect Mode Selector pop-up menu, and select AudioSuite. 2. Use the Track Selection menu button to select the tracks that you want to modify. When you select an item from this menu, the system selects or deselects the corresponding track in the Timeline. n To select multiple tracks, press the Shift key while you select additional tracks from the Track Selection pop-up menu. The tracks are designated by plus signs (+), which indicate that the effect will be applied to more than one track. 3. Click the Plug-in Selection pop-up menu, and select a plug-in. The Avid application automatically applies the plug-in effect to the track or tracks in the Timeline. 4. Click the Activate Current Plug-in button. A dialog box associated with the plug-in appears. 409 Chapter 11 Working with Audio 5. Make any necessary adjustments, and click the Preview button to preview the effect. For more information, see “Using a Plug-in Dialog Box” on page 410. 6. To save the effect, click OK. To close the dialog box without saving the effect, click Cancel. 7. (Option) To save the effect as a template, drag the effect icon to a bin. n If you want to use plug-ins that operate on stereo pairs or that change the length of the audio clip, use the methods described in “Creating New Master Clips” on page 412. Using a Plug-in Dialog Box The contents of the plug-in dialog boxes vary, but the top six buttons are always visible. If a particular button is not available, it appears dimmed. The following illustration shows the Digidesign Normalize plug-in. These six buttons appear on all AudioSuite Plug-in dialog boxes. The buttons are: • OK: Saves the effect and closes the dialog box. • Cancel: Closes the dialog box and does not save the effect. • Preview: Plays back the currently selected audio clip with processing. Some plug-ins can preview in real time and some cannot. If the plug-in cannot preview in real time, the application plays back the processed audio in 2-second intervals. The application processes 2 seconds of audio, plays it, processes the next 2 seconds, plays it, and so on. • 410 Render: Renders the effect and creates a new audio media file. Digidesign AudioSuite Plug-Ins • Bypass: Plays the selected audio without processing. This is useful for comparing the audio with and without processing applied. • Find Peak: Performs an analysis pass on the audio. Depending on the plug-in, the text and function of this button might change. Some plug-ins require an analysis pass on the audio data before they can process the information. If so, they perform the first pass automatically. Other plug-ins do not require a first pass but can achieve more accurate results if you allow them to perform a first pass. If the plug-in supports the optional pass, this button will be available. Otherwise, it appears dimmed. AudioSuite Plug-in Fast Menu The Fast Menu allows you to perform the following tasks: • Apply an existing AudioSuite template (see “Using AudioSuite Effect Templates” on page 417). • Set, render, or remove AudioSuite plug-ins. The menu text differs, depending on whether you have IN to OUT points in the sequence. The following commands appear in the menu: • Global: There are no IN points on the segment. The command affects all plug-ins on the enabled tracks. • IN/OUT: There are IN to OUT points in the segment. The command affects plug-ins on the enabled tracks within the marked region. • From IN: There is an IN point and no corresponding OUT point. The command affects all plug-ins on enabled tracks, starting with the IN point. Rendering Plug-in Effects You need to render all AudioSuite plug-ins before you can play back the effect. If you do not render the effect manually, the application automatically renders the effect before it creates an audio mixdown or audio dissolve containing the effect. For more information, see “Troubleshooting AudioSuite Plug-Ins” on page 419. 411 Chapter 11 Working with Audio Creating New Master Clips You can use AudioSuite plug-ins to create new master clips. This allows you to use multiple input and output channels and to change the length of the media. You can perform the following operations on the media you create: • Apply AudioSuite plug-ins to more than one track (also referred to as a channel or stream) at the same time. For example, a plug-in might allow you to process two separate tracks as a stereo pair. This enables you to use plug-ins that perform linked compression, reverb, and other effects that allow multichannel input. • Create new media that is longer or shorter in duration than the source media. This allows you to use effects that perform time compression and expansion. For example, you can use a Time Compression Expansion plug-in to change the length of the audio file, or you can lengthen the file to add a reverb trail. • Apply one mono AudioSuite effect to multiple inputs of a master clip in a multiple-mono fashion. AudioSuite Controls for Creating New Master Clips When you drag a master clip into the AudioSuite window, the window automatically expands to display additional controls. You can also click the Display/Hide Master Clip Controls button to display or hide the additional parameters. 412 Digidesign AudioSuite Plug-Ins The following illustration identifies the controls that appear when you expand the AudioSuite window. Plug-in Selection pop-up menu Activate Current Plug-in button Target Drive pop-up menu Track Selection Menu button Toggle Master Clip Mode button Clip Selection pop-up menu Mark IN to OUT indicators Input Source Track selectors Processing Mode Selection pop-up menu Target Bin for New Master Clip pop-up menu Find Source from Effect button Load in Pop-up Monitor button Status display Load Result check box Handle Length for End of Master Clip text box The AudioSuite controls are as follows: • Activate Current Plug-in button: This button opens the dialog box for the selected plug-in. • Track Selection menu button: This menu is not active in Master Clip Processing mode. • Clip Selection pop-up menu: This menu allows you to select the active clip. It lists the current active clip and other clips you dragged into the AudioSuite window. The window controls change to reflect the active clip. • Input Source Track selectors: These buttons allow you to select the input source tracks for the effect. The system automatically selects a preview track and displays a blue Speaker icon on the track. To change the preview track, Alt+click the appropriate source track. If the source track that is set as the current preview track is deselected, the system selects the lowest available track. 413 Chapter 11 Working with Audio n 414 • Processing Mode Selection pop-up menu: This menu displays the current processing mode of the AudioSuite effect on a given clip. For more information, see “Mono, Stereo, and Multichannel Processing” on page 415. • Target Bin for New Master Clip pop-up menu: This menu allows you to select the target bin. The system will place the new media and a corresponding AudioSuite effect template in the bin. The template allows you to modify the effect at a later time. • Plug-in Selection pop-up menu: This menu lists the available AudioSuite plug-ins. Selecting a plug-in automatically applies the audio effect to the track or tracks in the Timeline. • Target Drive pop-up menu: This menu displays the drives available to the system for saving the effect. • Toggle Master Clip Mode button: This button activates the Master Clip Processing mode. The button is yellow when master clip processing mode is active. • Mark IN to OUT indicators: These lights change to green when a mark IN or mark OUT exists on the current master clip. • Find Source from Effect button: This button finds the master clip associated with an AudioSuite template. When you drop an AudioSuite effect template into the AudioSuite window, the system activates this button. Click the button to load the master clip into the AudioSuite window as the active master clip. The template you drop in the window must reference an existing master clip. • Load in Pop-up Monitor button: This button loads the current source master clip into the pop-up monitor. This is useful if you want to add or change IN to OUT points on the clip. • Load Result check box: This check box enables you to instruct the system to automatically load the resulting master clip into the pop-up monitor. • Handle Length for End of Master Clip text box: This text box allows you to add filler at the end of a master clip. The value represents the number of seconds to add. For example, use this feature to add Digidesign AudioSuite Plug-Ins filler at the end of a master clip when you use a reverb effect to add a reverb trail to the end of the clip. Select the value before you run the plug-in. • Status display: This display provides information about the current state of the DAE application and the currently applied effect. For stereo and multichannel processing plug-ins, the Status display identifies the maximum number of tracks that can be processed. If more than the maximum are initially selected, the system automatically disables tracks until it reaches the plug-in’s maximum number. Mono, Stereo, and Multichannel Processing AudioSuite plug-ins allow you to select the following types of processing: n • Mono processing only: This option is available for plug-ins that operate on only one audio track at a time. The other option (Stereo) appears dimmed. The plug-in applies the effect to each source track individually, in a serial manner. • Mono and stereo processing: These options are available for plug-ins that can treat two tracks as a stereo pair. This allows the system to apply the audio effect simultaneously to each track. For example, time compression plug-ins typically operate on a stereo pair. You can select mono if you want the plug-in to operate on each track individually, in a serial manner. • Mono and multichannel processing: These options are available for plug-ins that can process multiple tracks simultaneously. For example, the Normalize plug-in allows you to adjust the volume separately for each track or to adjust the volume for all tracks at the same time. In the latter case, the system examines all enabled tracks for the loudest volume and then adjusts all tracks relative to that value. You can think of stereo processing as a special case of multichannel processing. For mono processing, the system creates a new master clip with the same number of tracks that you selected in the AudioSuite window. 415 Chapter 11 Working with Audio For stereo and multichannel processing, the plug-in creates a master clip with the number of tracks equal to the number of output streams from the plug-in. For example, a plug-in that operates on stereo pairs creates a twochannel master clip. A plug-in such as Normalize, which operates on multiple channels, creates a master clip with as many tracks as were selected in the AudioSuite window. The Status display at the bottom of the AudioSuite Plug-in window indicates how many tracks the plug-in can process. If more tracks are enabled than can be processed, the plug-in automatically selects the correct number of tracks. You can change the track selection based on your needs. Most AudioSuite plug-ins automatically select the appropriate processing mode and label the values in the Processing Mode Selection pop-up menu. For example, the Normalize plug-in offers two choices: Peak On Each Track and Peaks From All Tracks. The default is Peaks From All Tracks. You select the processing mode from a menu in the AudioSuite window as described in “Creating New Master Clips by Using Plug-Ins” on page 416. Creating New Master Clips by Using Plug-Ins To create new master clips by using the AudioSuite plug-ins: 1. Drag one (or more) master clips or subclips into the AudioSuite window. The system automatically enters Master Clip Processing mode and expands the AudioSuite window, if necessary. You can click the Display/Hide Master Clip Controls button to display or hide the controls for processing a master clip. To enter or exit Master Clip Processing mode, click the Toggle Master Clip Mode button. The button is yellow when Master Clip Processing mode is active. 2. If you dropped more than one master clip into the AudioSuite window, click the Clip Selection pop-up menu, and select a clip. 3. Click the Input Source Track selectors, and select the input sources. 4. (Option) Change the preview source track; Alt+click the Input Source Track selector. 416 Digidesign AudioSuite Plug-Ins 5. (Option) Type a value in the Handle Length for End of Master Clip text box to lengthen the clip by a specific amount. For example, type 2 if you plan to add a 2-second reverb trail. n If you are using Time Compression Expansion plug-ins, the plug-ins will automatically lengthen or shorten the clip. 6. Click the Plug-in Selection pop-up menu, and select a plug-in. 7. Click the Activate Current Plug-in button to open the plug-in’s dialog box. For more information, see “Using a Plug-in Dialog Box” on page 410. 8. Make any changes, and click the Preview button to preview the effect. 9. Either render the plug-in from the Plug-in dialog box or return to the AudioSuite window. For more information on rendering, see “Rendering Plug-in Effects” on page 411. When you click the Render Effect button, the system creates a new master clip in the target bin. The system names the new master clip by combining the original clip name with the effect name, for example, Test Audio clip_Normalize. The system also creates an AudioSuite effect template in the bin as described in “Using AudioSuite Effect Templates” on page 417. Using AudioSuite Effect Templates When you create a new master clip, the system also creates an AudioSuite effect template in the bin. This effect template contains a reference to the original master clip to which the effect was applied. The system names the template by combining the original clip name with the effect name, for example, Test Audio clip - AudioSuite Plug-In Effect: Normalize. The template is useful if you want to modify the effect after it is created. To use a template to modify a master clip: 1. Drag an AudioSuite plug-in template into the AudioSuite window. The Find Source From Effect button becomes active. 417 Chapter 11 Working with Audio 2. Click the Find Source From Effect button to load the master clip into the AudioSuite window. If a corresponding master clip exists, the system loads the master clip with its associated plug-in values. 3. Modify the effect as described in “AudioSuite Controls for Creating New Master Clips” on page 412. To add a template to the AudioSuite Fast Menu: 1. Open the bin containing your AudioSuite templates. 2. Select File > Open Bin. A dialog box opens. 3. Open the bin named Site_AudioSuite_Bin.avb as follows: a. Open one of the following folders: drive:\Program Files\Avid\NewsCutter Adrenaline FX\ SupportingFiles\Site_Effects. drive:\Program Files\Avid\Avid NewsCutter XP\ SupportingFiles\Site_Effects. b. Click the Files of Type pop-up menu at the bottom of the dialog box, and select All Files. The Site_AudioSuite_Bin.avb file appears. c. Double-click the Site_AudioSuite_Bin.avb file. 4. Drag one of your AudioSuite templates to Site_AudioSuite_Bin. 5. If you have not already done so, name the template by clicking the text and typing a name. 6. Close the bin. n The system does not save the effect to the bin until you close the bin. 7. Click the AudioSuite Fast Menu button, and look for your new template. 418 Digidesign AudioSuite Plug-Ins Plug-in Limitations The following limitations apply to the AudioSuite plug-ins: • Some plug-ins that perform analysis passes on the audio data are not supported. This includes plug-ins that use playlist information to cache analysis data. • If you want to use plug-ins that change the length of an audio clip or that operate on multiple inputs at the same time, use the method described in “Creating New Master Clips” on page 412. Applying an effect to a clip in the Timeline does not work for these operations. Troubleshooting AudioSuite Plug-Ins The following sections describe problems you might encounter when using the AudioSuite plug-ins: • Canceling a Render Operation • Addressing Errors When Rendering a Plug-in Effect Canceling a Render Operation To cancel a render operation: t n Press Ctrl+period. Be careful not to press these keys multiple times. If you press Ctrl+period after the render operation has been stopped (from previously pressing Ctrl+period), the application closes the window after it cancels the render operation. Addressing Errors When Rendering a Plug-in Effect If the DAE application is not running when you start to render a plug-in effect, the system displays an error message stating that the DAE connection does not exist. The dialog box gives you the following options: • Cancel stops the rendering process. This allows you to open the AudioSuite window and then start rendering again. 419 Chapter 11 Working with Audio • Bypass continues the rendering process but doesn’t render the plug-in effect. In most cases, you should click Cancel and open the AudioSuite window. If the plug-in is not installed when you go to render a plug-in effect, the system displays an error message and tells you which plug-in is not installed. At that time, you can cancel or bypass the rendering process. Recording Voice-Over Narration The NewsCutter application provides you with two ways to record voiceover narration: by using the Capture tool and by using the Audio Punch-In tool. The Capture tool allows you to record up to two channels of audio directly into the Timeline for voice-over narration. Audio punch-in allows you to record audio directly into the Timeline for voice-over narration. These features save you the extra steps of recording the narration to tape first, recording, and then editing the audio clip into the sequence. The narrator can also watch the sequence and hear playback of edited sound tracks while recording. To view the audio input sources available on your system, see the Input Source menu in the Input tab in the Audio Project Settings window. n 420 Voice-over narration is initiated by the Voice-over button in the Capture tool. If the Voice-over button does not appear when the Capture tool opens, select “Enable voice-over” in the Edit tab of the Capture Settings dialog box. See “Edit Capture Settings” in the Help. Recording Voice-Over Narration Creating the Voice-Over with the Capture Tool To capture the voice-over: 1. Mark the IN and OUT points in the Timeline. 2. Select Tools > Capture. The Capture tool opens. Voice-over button Audio Input pop-up menu 3. Click the Voice-over button in the Capture tool. 4. Click the Audio Input pop-up menu, and select the appropriate input. 5. In the Timeline, patch the source track to the record track you want. For more information on patching, see “Patching Tracks” on page 326. 6. Click the Record button. 421 Chapter 11 Working with Audio 7. Stop the recording as follows: t If you started with both IN and OUT points in the Timeline, the system automatically stops recording when it reaches the OUT point (or after it adds the appropriate audio handle after the OUT point). t If you added only an IN point, click the Record button a second time to stop the recording. The following illustrations show the results of adding a voice-over. The system automatically names the voice-over. You can change the name as you would for any clip (for example, change the name in the bin). Voice-over adding a new track Voice-over replacing a portion of a track 422 Recording Voice-Over Narration Creating the Voice-Over with the Audio Punch-In Tool The steps below are general guidelines for recording audio punch-ins, regardless of your scenario. You should determine when to add the IN and OUT points, when to use the Play In/Out button, and when to use the Record button, based on your needs. To use the Audio Punch-In tool: 1. Load a sequence into the Timeline. 2. Select Tools > Audio Punch-In. The Audio Punch-In tool opens. Record button Play In/Out button Stop button Input Source pop-up menu Input Channels buttons Timeline Track pop-up menus 3. Select the input source and input channels that correspond to your hardware setup, and set other values in the window as appropriate. To select the input channels you want, click and hold the appropriate Input Channels button. 4. Click the Timeline Track pop-up menus, and select an output track. Select either New Track or an existing track. This allows you to specify where the Avid system places the audio voice-over in the Timeline. You can replace part (or all) of an existing track, or you can create a new track for the voice-over. 423 Chapter 11 Working with Audio 5. Click the Play In/Out button or press the V key. Loop play begins over the entire sequence. If you set an IN point and an OUT point, loop play begins from the IN point to the OUT point. The Play In/Out button blinks bright green while playing. 6. When you are ready to start the voice-over, click the Record button or press the B key. The Record button blinks bright red while recording, and the Play In/Out button is a steady green. The Audio Meter Channel button in the Audio tool becomes an I and changes to orange. 7. Continue to click the Record button to record additional voice-overs. During the audio punch-in process, you have the ability to record over the duration of the sequence or from the IN point to the OUT point. 8. Click the Stop button, or press the space bar to stop play and recording. Your recorded voice-over is saved and the position indicator stops to get ready for your next voice-over. n To go to the IN point at any time, click the Go to Mark IN button. The system creates one master clip, regardless of how many punch-ins you perform. 424 Recording Voice-Over Narration The following illustrations show the results of adding a voice-over. The system automatically names the voice-over. You can change the name as you would for any clip (for example, change the name in the bin). Voice-over adding a new track Voice-over replacing a portion of a track n There are three Undo functions that can be performed during one session. The first undo removes the most recent punch-in, the second undo removes the second-to-last punch-in, and the third undo removes all the punch-ins. To cancel an audio punch-in at any time: t Click the Cancel button, or press the Esc or the period (.) key. 425 Chapter 11 Working with Audio Scenarios for Using the Audio Punch-In Tool There are several ways to punch-in audio as outlined by the following scenarios: Scenario 1 – Set only an OUT point. The position indicator is used as the IN point. Set a preroll time. Click the Play In/Out button to loop continuously through the sequence. Click the Record button when you find what you want to punch-in, and then click the Record button again to end recording. Scenario 2 – Set an IN point and an OUT point around the material you want to record. Set a preroll time. Click the Record button to start the preroll. When the system arrives at the OUT point, recording ends. The last region including the OUT point is recorded. Repeat recording over the same region until you are satisfied with the results. Scenario 3 – With no IN point or OUT point set, click the Record button continuously throughout your sequence. Click the Record button to start recording, and then click the Record button again to end recording. Continue this process to record multiple punch-ins. Using the MCS3 with the Audio Punch-In Tool When the Audio Punch-In tool is the active window, the Play, Record, Stop, and Go to Mark IN buttons on the JL Cooper Media Control Station 3 (MCS3) are available for recording an audio punch-in. You can also map the buttons from the Command palette to a key on the keyboard or to a button on the MCS3. 426 n The Record button works in either the Capture tool or the Audio Punch-In tool, depending on which tool is active. n The Record button is in the Play tab of the Command palette and is located in the lower right corner (with the dot) on the MCS3. Recording Voice-Over Narration Go to Mark IN button Record button For more information on mapping buttons and for information on the MCS3, see “Understanding Button Mapping” on page 150 and “Mapping MCS3 Buttons” in the Help. Using a GPI Device with the Audio Punch-In Tool Your Avid system can send signals to a V-LAN® VLXi® deck controller and a general-purpose interface (GPI) device that trigger GPI actions. These signals are sent when playback begins and ends, and also when recording with the Audio Punch-In tool begins and ends. If you have a V-LAN VLXi deck controller and a GPI device connected to your Avid system and they are configured correctly, you can use the GPI to control additional external hardware while you are working with the Audio Punch-In tool. For example, you might want to control an indicator light in a recording studio to provide a visual cue for performers or a control light outside the studio that indicates when recording is in progress. 427 Chapter 11 Working with Audio To make use of this feature, you must: • Understand when the Avid system sends GPI trigger signals. For more information, see “Understanding GPI Trigger Signals” on page 428. • Connect a V-LAN VLXi deck controller and a VLXi-GT GPI to your Avid system. For more information, see your V-LAN VLXi documentation. • Configure the V-LAN VLXi deck controller and the GPI, and then create GPI settings for your specific needs. For more information, see “Configuring Decks” in the Help. Understanding GPI Trigger Signals Your Avid system sends three different GPI trigger signals under the following circumstances: Trigger Signal Sent When Play Out Playback begins. Recording with the Audio Punch-In tool ends but playback continues because a postroll value is set in the Audio Punch-In tool (that is, the signal is sent when the Stop button in the Audio Punch-In tool changes to blue). Record Out Recording with the Audio Punch-In tool begins. Stop Out Playback stops. For more information on using the Audio Punch-In tool, see “Recording Voice-Over Narration” on page 420. 428 Recording Voice-Over Narration GPI Signal Sequence When Using the Audio Punch-In Tool Without Preroll or Postroll When you use the Audio Punch-In tool without any preroll or postroll, the sequence of signals is as follows: 1. Record Out is sent when recording begins. 2. Stop Out is sent when recording (and playback) ends. GPI Signal Sequence When Using the Audio Punch-In Tool with Preroll and Postroll When you use the Audio Punch-In tool with preroll and postroll, the sequence of signals is as follows: 1. Play Out is sent when preroll begins (the position indicator begins moving in the Timeline, and the Play In/Out button in the Audio Punch-In tool blinks green). 2. Record Out is sent when recording begins (the Record button in the Audio Punch-In tool blinks red). 3. Play Out is sent when recording ends and postroll begins (the Stop button in the Audio Punch-In tool changes to blue). 4. Stop Out is sent when postroll ends (the position indicator stops moving). 5. Steps 2 and 3 will repeat if you perform additional recordings. Example of Linking GPI Actions to Trigger Signals For information on GPI actions, see “Creating a GPI Trigger” in the Help. You can configure the GPI to respond to each signal sent by the Avid system in a specific manner. For a simple indicator light, you might create a GPI setting linking the Record Out signal from the Avid system to the GPI Set action (to turn the light on) and a setting linking the Stop Out signal from the Avid system to the GPI Reset action (to turn the light off). If you are working with preroll and postroll values, you might also link the Play Out signal to the GPI’s Pulse action to flash the light on and off repeatedly during the preroll and postroll periods. (Since the Pulse action 429 Chapter 11 Working with Audio does not switch between on and off very rapidly, your preroll and postroll durations might need to be quite long to allow for the light to flash enough times to be meaningful.) For more information on configuring the GPI, see “Creating a GPI Trigger” in the Help. Voice-Over Media Files The Avid application automatically names the voice-over and stores it as an audio clip, as shown in the following illustration. Voice-over clip Monitoring the Recording The channel used for audio input cannot be used for audio output. It is best to use Mono Mix mode while performing an audio punch-in. This allows tracks normally panned to the input channel to be monitored during the recording. Only the material being recorded over is silenced. 430 Using Automatic Voice-Over Monitoring Previously Recorded Tracks While Recording a VoiceOver Narration You can monitor previously recorded audio tracks while you record a voice-over narration with the Capture tool. To monitor other audio tracks: 1. Select Tools > Audio Tool. The Audio tool opens. 2. Click the Mixed Mode Selection pop-up menu, and select Direct Out. 3. Select Tools > Capture. The Capture tool opens. 4. Follow the procedure for “Creating the Voice-Over with the Capture Tool” on page 421. 5. As you record, monitor the previously recorded audio tracks along with your current recording from the meters in the Audio tool and from the sound on the speakers. Using Automatic Voice-Over The Automatic Voice-Over feature (Auto VO) allows you to automatically remove certain segments from a sequence based upon their relationship to a selected audio track. You can do either of the following: t Extract all the segments whose audio appears on the selected track. t Extract all other segments from the sequence, leaving only those segments whose audio appears on the selected track. The system creates a new sequence with a .vo file name extension that contains only the material remaining after the Auto VO process. The original sequence is retained and is unaffected. Auto VO might be useful whenever you have organized the audio tracks in your sequence so that audio from one type of material is isolated on one audio track. For example, a common approach in broadcast news is to 431 Chapter 11 Working with Audio create a sequence that intersperses interview material with B-roll (background or location) footage. The audio from the interview is edited onto one audio track while the audio from the B-roll footage is edited onto another audio track, as in the following illustration. B-roll footage Interview footage You can use Auto VO to quickly create a new sequence that consists only of the background material or only of the interview material. You can then use the new sequence as a starting point for a revised version of the story, for example, in a follow-up newscast. To create an edited sequence by using Auto VO: 1. Open the bin that contains the sequence you want to edit. 2. Select the sequence in the bin. 3. Select Bin > Auto VO. The Auto VO dialog box opens. 4. From the Using track pop-up menu, select the audio track that you want to control the edit. 432 Fine-Tuning Audio Transitions 5. Select one of the following: - Extract segments, to remove all segments with audio on the track selected in step 4 - Keep segments, to retain all segments with audio on the track selected in step 4 and remove all other segments 6. Click OK. The system creates a new sequence in the bin and names it by adding a .vo file name extension to the original sequence name. Sequence with segments extracted with Auto VO Sequence with segments kept with Auto VO Fine-Tuning Audio Transitions When you are making audio level and pan adjustments, the Avid application looks at either an individual clip in the Source/Record monitor, a segment in the sequence, or entire tracks. To change level or pan settings in an area not defined by a discrete clip or group of clips, use the Add Edit function to define your own custom area. 433 Chapter 11 Working with Audio To isolate clip portions for adjustment: 1. Find the start of the area where you want to change the pan or level, leaving your position indicator on that frame as a marker. 2. Select the appropriate track in the Track Selector panel. 3. Click the Add Edit button under the Source/Record monitor. This places an edit where the position indicator is located. 4. Find the end of the area where you want to change the pan or level, leaving your position indicator on that frame as a marker. 5. Select the appropriate track. 6. Click the Add Edit button. 7. Use the process described in “Using the Audio Mix Tool” on page 365 to change the level or pan within this new segment. Fading and Dipping Audio In traditional analog editing, you manually change volume levels to smooth audio transitions between elements in an edited sequence by: • Fading audio up or down • Dipping audio to a lower level • Crossfading between audio elements on two separate channels In the Avid editing application, these effects are more accurately termed audio dissolves because they occur instantly when you apply the same dissolve effect that you use for video tracks. Fading Audio To fade or crossfade audio, you can use the procedures described in “Using Audio Gain Automation” on page 375, or you can use the procedure described in this section. Fading and crossfading audio are easy effects to achieve. The procedure that differs most from analog editing is crossfading. In the analog world, unless you are using a mixer, you must lay down audio on two separate 434 Fine-Tuning Audio Transitions channels and fade one down, and then fade up the second on an overlapping section. With the Avid application, you simply apply the same dissolve effect used for video tracks. The effect created, therefore, is more accurately termed an audio dissolve. To apply a fade or crossfade: 1. Move the position indicator to a transition. 2. Click the Fast Menu button under the Source/Record monitor. The Tool palette opens. 3. Click the Quick Transition button. The Quick Transition dialog box opens. 4. Click the Add pop-up menu, and select Dissolve. n Do not select another effect from the Add pop-up menu; dissolve is the only effort that works with audio tracks. 5. Select a duration for the dissolve, measured in frames (30 frames equals 1 second of NTSC footage; 25 frames equals 1 second of PAL footage). 435 Chapter 11 Working with Audio 6. Adjust the dissolve relative to the cut point by clicking the Position pop-up menu, and selecting the location for the dissolve: n - Select Ending at Cut to fade the audio on the A-side to 0, ending at the cut point. - Select Centered on Cut to create a crossfade. - Select Custom to create a crossfade. Custom allows you to begin the dissolve off-center — that is, closer to the transition and ending later into the B-side, or the reverse. - Select Starting at Cut to fade the audio up from the B-side, starting at the cut point. - (Option) Click inside the effect in the graphic display, and drag it to position the effect relative to the cut point. The system automatically selects the Custom option in the Position pop-up menu when you click in the graphical display. 7. Select a duration for the dissolve by doing one of the following: t Type a duration, measured in frames (30 frames equals 1 second of NTSC footage; 25 frames equals 1 second of PAL footage), in the Duration text box. t Click either the left or right edge of the Dissolve Effect icon, and drag it to change the duration. The graphic display changes — the size of the effect icon gets smaller or larger, and the numbers in the Duration and Start text boxes change — to reflect the new duration. 8. If you selected Custom, type a number in the Start text box to specify how many frames before the cut point you want the effect to begin. Otherwise, leave the default value in the text box. 9. (Option) Click the Target Drive pop-up menu, and select a media drive other than the default. 10. Click Add to place the effect at the transition point without rendering. Click Add and Render to do both at once. The effect is completed. 436 Fine-Tuning Audio Transitions n n In most cases, you can click Add and Render for immediate real-time playback of the audio effect (rendering of audio dissolves is usually instantaneous). For more information about the Quick Transition dialog box, see the Avid Products Effects Guide. Dipping Audio To dip audio from a higher level to a lower one — for example, when bringing music down and under a voice-over track — you can use the procedures described in “Using Audio Gain Automation” on page 375, or use the procedure described in this section. To apply a dip in audio: 1. Play back the section of the sequence where the dip will take place to determine the start point for the dip, and apply an add edit to the audio track. For information on add edit, see “Adding an Edit” on page 328. 2. Repeat the action in step 1 for the end point where the audio dips back up. 3. Move the position indicator to the new segment of audio, and open the Audio Mix tool. 4. Adjust the track to the volume level you want, as described in “Using the Audio Mix Tool” on page 365. 5. Apply a Quick Transition to both Add Edit points, using the techniques described in “Fading Audio” on page 434. Be sure to select Centered on Cut or Custom Start from the Position pop-up menu. After rendering, the audio dips smoothly from the higher levels of the adjacent segments of the track to the lower level applied to the middle segment. 437 Chapter 11 Working with Audio Mixing Down Audio Tracks When you work with multiple audio tracks while editing your material, you might need to mix down the final audio to two tracks. To mix down several edited audio tracks to one or two audio tracks: 1. Load a sequence into the Source/Record monitor. 2. Click the Track buttons in the Track Selector panel to select the audio tracks you want to mix down. 3. Mark an IN point and an OUT point at the start and end of the material you want to mix down. If you do not mark the section of audio you want to mix down, the system mixes down all the selected audio tracks. 4. Select Clip > Audio Mixdown. The Audio Mixdown dialog box opens. The top of the dialog box displays the source audio tracks and the start and end timecodes for the section of audio you selected to mix down. Selected section of audio Destination tracks 438 Changing the Sample Rate 5. Do one of the following: t Select Mono, and select the target track to which you want to mix down the audio. t Select Stereo, and select two target tracks for the mixed-down audio. 6. Select a bin and a drive. The drive is the media drive where the system stores the media files for the mixed-down audio. 7. Click OK. The audio is mixed down, and the new master clip appears in the bin. Changing the Sample Rate You can change the sample rate for sequences and audio clips from within the Change Sample Rate dialog box. Since you can combine clips of different sample rates in the same sequence, this feature is useful when you need to ensure that the entire sequence has the same sample rate for a digital cut or export. To change the sample rate for a sequence or an audio clip: 1. Select one or more sequences or audio clips in the bin. 2. Select Bin > Change Sample Rate. The Change Sample Rate dialog box opens. 439 Chapter 11 Working with Audio 3. Click the Sample Rate pop-up menu, and select 32 kHz, 44.1 kHz, or 48 kHz. The broadcast standard for most high-end video postproduction houses is 48 kHz. Select the rate based on the requirements of your facility. For information on setting the sample rate for a project, see “Adjusting Audio Project Settings” in the Help. 4. Click the Quality pop-up menu, and select High, Medium, or Low conversion quality. 5. Select Delete Original Media to have the system automatically delete the original media after the conversion process is complete. 6. Select a destination drive to identify the drive for the new media files. Make sure that you select a destination drive with enough storage space for the generated media files and the ability to play back media. Identifying the Sample Rate by Color If you have a sequence with several different sample rates, you can identify a specific sample rate by color. To apply a color coding to a sample rate: 1. Load a sequence with multiple sample rates into the Timeline. 2. Click the Timeline Fast Menu button, and select Sample Plot. 3. In the Project window, click the Settings tab. The Settings scroll list appears. 4. Double-click Audio Project. The Audio Project Settings window opens. 5. Click the Main tab. 440 Identifying the Sample Rate by Color 6. Click the Show Mismatched Sample Rates as Different Color pop-up menu, and select Yes. 7. Click the Show Mismatched Sample Rates as Different Color pop-up menu, and select Yes. Depending on what sample rate you chose for your project, the color black will be displayed on those clips. For example, if you selected 48 kHz from the Sample Rate pop-up menu in the Main tab in the Audio Project Settings window, the sample plot of these clips (48 kHz) will be displayed as black, and the sample plot of all other clips with different sample rates (32 kHz and 44.1 kHz) will be displayed as white. 44.1 kHz 32 kHz 48 kHz 48 kHz 441 Chapter 11 Working with Audio 442 Chapter 12 Syncing Methods The Avid application provides special tools that help you establish and maintain sync relationships between various clips. This includes managing sync between unrelated clips or clips with the same timecode, matchframing footage, and ganging footage. These topics are discussed in the following sections: • Autosyncing Clips • Managing Sync Breaks • Managing Sync with Multiple Tracks Autosyncing Clips For more information on tracking sync breaks, see “Managing Sync Breaks” on page 445. When you capture footage that includes both audio and video, the system automatically establishes sync when it creates clips in the bin. Autosyncing applies to audio and video clips that have been captured separately, usually from two separate sources. Autosyncing creates a new subclip that displays sync breaks in the Timeline as though the audio and video were captured simultaneously. Sync break displayed in the Timeline Chapter 12 Syncing Methods Autosyncing is often used for 24p and 25p projects in which picture and sound were captured separately. These clips are often synced based on common film timecode, sound timecode, or auxiliary timecode. You can also autosync any audio and video clips based on a user-defined IN point or OUT point relationship that you establish with marks. For example, you can use the slate as a common visual and audio reference for autosyncing the clips. Use the following guidelines when autosyncing: • You can autosync audio clips with video clips only. To link two or more video clips or audio clips, use the Grouping option. • You can create only one autosynced subclip at a time. You cannot autosync numerous pairs of audio and video clips simultaneously. • If the audio and video clips do not have matching source or auxiliary timecode, you must establish common sync frames. To do this, mark IN points (or OUT points) on both clips before autosyncing. When you autosync using this method, the whole clip is taken into the subclip. • If you are autosyncing clips of different lengths, the longer clip is truncated to the length of the shorter clip; video clips override audio clips. • If you autosync according to common timecodes that are staggered (one clip starts later than the other), the later starting timecode becomes the start of the new subclip. The clip with the earlier starting timecode is trimmed accordingly. To create an autosynced subclip: 1. Highlight the two clips in the bin. 2. Select Bin > AutoSync™. The Sync Selection dialog box opens. 3. Select an option, based on the following: - 444 Film TC/Sound TC, if you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working on a 24p or 25p project. Managing Sync Breaks - Inpoints, if you are syncing according to IN points set in both clips. - Outpoints, if you are syncing according to OUT points set in both clips. - Source Timecode, if the two clips have matching timecode. - Auxiliary TC1–TC5, if the two clips have matching timecode in the same Auxiliary Timecode column. Select an Auxiliary TC, 1 through 5, from the pop-up menu. 4. Click OK. The subclip is created and named by default after the video clip with the file name extension .sync.n, where n is the incremental number of subclips created with the same name. You can change the name according to preference. You can load an autosynced subclip into the Source monitor and immediately edit it into a sequence. Managing Sync Breaks Sync breaks occur when a frame-accurate relationship between two clips or between the audio and video tracks within a single clip is offset during editing. Often this happens unintentionally when you perform one of the following actions: • Selecting only one track in a synced relationship (for example, audio only or video only) and performing edit functions that lengthen the duration, such as Splice-in, Extract/Splice-in, or adding frames in Trim mode • Selecting only one synced track and performing edit functions that shorten the duration, such as Extract, Extract/Splice-in, or removing frames in Trim mode Your Avid system provides several features for avoiding, tracking, and removing sync breaks, as described in the following sections. 445 Chapter 12 Syncing Methods Editing to Avoid Sync Breaks One way to avoid breaking sync is to maintain the duration of the track when you add or remove material, as follows: • When adding material to a track, use the Overwrite function instead of Splice-in, whenever possible. For details on overwrite edits, see “Performing an Overwrite Edit” on page 285. • When removing material from a track, use Lift instead of Extract. (The Lift function leaves filler of the same duration when you remove footage.) For details on lifting and extracting, see “Lifting, Extracting, and Copying Material” on page 286. • When performing Segment mode edits, use the Lift/Overwrite function instead of Extract/Splice-in whenever possible. (Lift/Overwrite leaves filler behind and overwrites material at the new destination, maintaining sync in both cases.) For more information on segment mode edits, see “Segment Mode Editing” on page 310. • In Trim mode, you can sync lock tracks to avoid breaking sync, or you can use the Alt key for adding black during trims, as described in “Maintaining Sync While Trimming” on page 346. You can also perform dual-roller trims (that maintain duration) instead of singleroller trims. There are many cases in which you cannot avoid splicing or extracting material, or performing single-roller trims that break sync. Fixing Sync Breaks In general, sync breaks are displayed only when the out-of-sync tracks overlap and the audio no longer matches the video. If an overlapping portion of one of the tracks is deleted, replaced, moved, or trimmed, then the sync break disappears. You fix sync breaks in one of several ways, based on the type of break and the needs of your sequence. 446 Managing Sync Breaks Fixing Sync in Trim Mode To restore frames to sync in Trim mode: t Perform one or more single-roller trims on the out-of-sync tracks. Trim the exact number of sync-break frames displayed in the Timeline to reverse the break. Consider the following: • Sync lock any additional tracks that are synced to the track you are trimming. Otherwise, you might restore sync in one track and break it in the others. See “Using Sync Lock” on page 448. • Do not perform a dual-roller trim; this does not remove the sync break. • Do not perform the trim on the OUT point (A-side transition) of the out-of-sync segment. This does not remove the sync break. Always perform the trim on the IN point (B-side transition) of the out-of-sync segment. Fixing Sync in Segment Mode To restore frames to sync in Segment mode: t Select and move the entire out-of-sync segment. You can move the segment forward or backward in the opposite direction of the break to reverse it. Consider the following: • Use the Lift/Overwrite function to leave filler behind and maintain any other sync relationships that might be affected by the move. • Use the Lift/Overwrite function to delete the entire segment and leave filler to eliminate the break. • Use the Add Edit function to isolate a portion of the clip for moving or deleting. See “Adding an Edit” on page 328. • Move the out-of-sync track, if possible, beyond the overlapping range with the synced material to eliminate the sync break. 447 Chapter 12 Syncing Methods Managing Sync with Multiple Tracks The sync breaks display in the Timeline makes it easy to manage sync between video and one or two audio tracks. You can use additional techniques to manage sync when you work with four or more tracks. The techniques include using the Sync Lock feature, syncing with tail leader, syncing with locators, and using add edits. Using Sync Lock The Sync Lock feature allows you to maintain sync among several tracks while you adding, moving, trimming, or removing material in a sequence. For example, if you insert an edit into one track that is sync locked to a second track, the system automatically inserts filler in the second track to maintain sync between the two. Sync Lock icon Sync Lock All button You activate sync locking by clicking the Sync Lock button in the Track Selector panel to display the Sync Lock icon. You can also switch all sync locks on or off by clicking the Sync Lock All button. There are several unique aspects to sync locking: • 448 In Segment mode, sync locking is controlled by the Segment Drag Sync Locks option in the Edit tab of the Timeline Settings dialog box and the Sync Lock icons. For more information on sync locking tracks in Segment mode, see “Maintaining Sync in Segment Mode” on page 310. Managing Sync with Multiple Tracks • In Trim mode, sync locking applies only to single-roller trims because dual-roller trims do not break sync. For more information on sync locking tracks in Trim mode, see “Maintaining Sync While Trimming” on page 346. • You can sync lock any number of tracks in any combination. The tracks do not require matching timecode or common sources and can include multiple video tracks as well as audio tracks. • Sync locking affects entire tracks. This means that parallel segments in other sync-locked tracks are affected when you add, move, trim, or remove material anywhere in the sequence. Syncing with Tail Leader You can add tail leader to the audio or video material to provide a useful visual reference in the Timeline for tracking and fixing sync breaks across any number of tracks. Tail leaders lined up for multiple video (vid) and audio (aud) tracks Film editors traditionally use standard head and tail leaders for this purpose. You can create your own leader according to any specification, as described in “Creating Leader” on page 189. With tail leader added to synchronized tracks, you can go to the end of the sequence after making a complicated edit and see whether the leaders are lined up. If they are out of line, this indicates a sync break that you can measure and eliminate as follows. To restore sync by using tail leaders: 1. Move the position indicator to the black segment that follows the outof-sync leader. 2. Select the track, and then click the Mark Clip button. You can measure the break by checking the IN to OUT duration of the marked segment. 449 Chapter 12 Syncing Methods 3. Find the point at which the sync was lost. 4. Add or remove frames by using the appropriate edit function, as described in “Fixing Sync Breaks” on page 446. As a quick fix, click the Extract/Splice-in button. Drag the black segment at the end of the out-of-sync tail leader to the location where the sync was lost. This segment of black, created when the track went out of sync, is the exact length of the sync break. Move the black segment by using Extract/Splice-in. Syncing with Locators You can add locators to material in the Timeline to track and adjust breaks in sync between any number of tracks. With locators, you have the advantage of placing them anywhere in the sequence and adding specific notes. To mark sync points with locators: 1. Move the position indicator to the point in the sequence where you want to maintain sync between two or more tracks. 2. Select the top video track, and click the Add Locator button. The system adds a red locator to the top track in the Timeline and in the Source/Record monitor. To add a note that will appear in the Source/Record monitor whenever you park on the locator frame (such as Music sync or Sound Effect sync): 1. Double-click the locator in the Source/Record monitor. 2. Type the text in the Locator text box. 3. Click OK. 450 Managing Sync with Multiple Tracks To repeat the procedure for subsequent synchronized tracks: 1. Disable the video track where you placed the locator. 2. Enable the top audio track. Make sure you keep the position indicator in the same location in order to line up the locators. n The Avid application shows the comment only for the locator on the top track. To determine if sync is broken after an edit: t Return to the segment that contains the locators. If the locators are not lined up, the sync is broken. To adjust the sync break: 1. Measure the sync break by first moving the position indicator to the leftmost locator and clicking the Mark IN button. Then move it to the other locators and click the Mark OUT button. 2. Check the IN to OUT duration of the marked section. To restore sync: 1. Find the point at which the sync was lost. 2. Add or remove frames by using the appropriate edit function, as described in “Fixing Sync Breaks” on page 446. 451 Chapter 12 Syncing Methods Using Add Edit When Trimming When you are trimming with several audio tracks in sync, the Add Edit button allows you to create an edit in the silent or black areas of the synced tracks. They occur in line with the track you are trimming, and they trim all the tracks at once to maintain sync. To use the Add Edit button while trimming: 1. Move the position indicator to the edit that you want to trim. 2. Select only the additional tracks that are in sync, and click the Add Edit button on the Tool palette or in the Timeline top toolbar. The system adds a transition at the location of your position indicator in the Timeline. 3. Select the transition and trim (be sure to select all the synced tracks). As you trim, frames are also added or removed from the additional tracks. 4. When you have finished trimming, remove the add edits from the synced tracks by clicking each Add Edit transition and pressing the Delete key. 452 Chapter 13 MultiCamera Editing The Avid MultiCamera editing features allow you to incorporate multiple camera angle sources into the nonlinear editing process. Techniques for using these features are described in the following sections: • Understanding Grouping and Multigrouping Clips • MultiCamera Displays • MultiCamera Workflow and Selective Camera Cutting Understanding Grouping and Multigrouping Clips The grouping and multigrouping procedures gather selected clips into a single unique clip. Both procedures allow you to use special MultiCamera editing features, such as multi-split views in MultiCamera mode. The differences between the two procedures are summarized as follows: • Grouping creates a separate group clip out of a single set of master clips, from the IN point to the OUT point of the longest clip. Multigrouping takes the Group function one step further, literally stringing numerous sequential groups into a rough sequence. For this reason, multigroups are also known as sequence clips. • The Group function allows you to sync clips based on common source timecode, auxiliary timecode, or marks placed in the footage. Because of the need for complete accuracy in sorting and grouping the clips, multigrouping is performed on the basis of common source timecode only. Chapter 13 MultiCamera Editing • The MultiGroup function is designed primarily for situation comedies and similar productions that record multiple takes sequentially on the same source tapes. Multigrouping does not provide any benefit when you edit with clips that do not share common timecode or were not recorded sequentially, and might even cause the wrong clips to be grouped together. • Because the Group function allows you to sync the clips based on customized IN points or OUT points, you can group any collection of clips for quick cutting of montage sequences or music-video sequences. Creating Group Clips In addition to the multicamera context, grouped clips can be useful in other circumstances. Unlike multigrouping, which requires clips with matching source timecode, you can group clips that were shot at different times, on different days, and on completely different source tapes. This means that you can: • Use group clips to create montage sequences quickly with fast-cutting between unrelated clips. • Use group clips to sync and edit an audio track (music, for example) with two or more video tracks, which is especially useful in musicvideo editing. • Use group clips for multicamera editing when you want to isolate each take as a group and edit selectively, rather than build a larger sequence clip. • Use carefully synchronized marks to group selected portions of multicamera clips. The last two options are generally used in smaller multicamera projects. Sorting, marking, selecting, and grouping individual takes of a larger project can be very time-consuming. 454 Understanding Grouping and Multigrouping Clips To create a group clip: 1. If you are using a sync point, load the clips and mark an IN point at the sync point at the start of each clip, or mark an OUT point at the sync point at the end of each clip. n For multicamera video or film shoots, you typically use a slate for marking IN and OUT points; however, you can use any visual or aural event that is recorded by all cameras simultaneously. 2. In the bin, select all the clips you want to group. 3. Select Bin > Group Clips. The Group Clips dialog box appears. 4. Select an option, based on the following: - Film TC/Sound TC, if you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working in a 24p or 25p project. - Inpoints, if you are syncing according to IN points set in each clip. - Outpoints, if you are syncing according to OUT points set in each clip. - Source Timecode, if the clips have matching timecode. - Auxiliary TC1–TC5, if the clips have matching timecode in the same Auxiliary Timecode column. Select an Auxiliary TC, 1 through 5, from the pop-up menu. - INK Number, if the clips have matching ink numbers. This option appears only with 24p and 25p projects. - Auxiliary Ink, if the clips have matching ink numbers in the same Auxiliary Ink column. This option appears only with 24p and 25p projects. 5. Click OK. A group clip appears in the bin, with the name of the first clip in the group, followed by the file name extension Grp.n. The n is the incremental number of group clips with the same name in the same bin. You might want to rename them for easier reading, such as name.Group. 455 Chapter 13 MultiCamera Editing Creating Multigroup Clips Multigrouping is strictly for use in large multicamera productions, such as situation comedies, in which all synchronous camera shots are recorded with the same timecode. The MultiGroup function is a single Bin menu command that eliminates the time-consuming steps of collecting, sorting, grouping, and assembling large volumes of multicamera clips. To multigroup your material: 1. Sort the clips by name in the bin. 2. Select Edit > Select All. 3. Select Bin > MultiGroup. The Sync Selection dialog box appears. 4. Select an option, based on the following: - Film TC/Sound TC, if you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working in a 24p or 25p project. - Inpoints, if you are syncing according to IN points set in each clip. - Outpoints, if you are syncing according to OUT points set in each clip. - Source Timecode, if the clips have matching timecode. - Auxiliary TC1–TC5, if the clips have matching timecode in the same Auxiliary Timecode column. Select an Auxiliary TC, 1 through 5, from the pop-up menu. - INK Number, if the clips have matching ink numbers. This option appears only with 24p and 25p projects. - Auxiliary Ink, if the clips have matching ink numbers in the same Auxiliary Ink column. This option appears only with 24p and 25p projects. 5. Click OK. The system creates several group clips for each take in the bin, and then creates a multigroup clip from the groups. The multigroup clip has the same icon as the group clips, but the icon is preceded by a plus sign. 456 MultiCamera Displays MultiCamera Displays There are several displays that allow you to view and edit with multiple camera angles. You can edit with either group clips or multigroup clips in all of the displays. n You can access these displays only when you expand the Source/Record monitor to two monitors. For more information on expanding the Source/Record monitor, see “Expanding the Source/Record Monitor” on page 224. The multicamera displays available to you are as follows: • Full-Monitor Display: The Source monitor displays a single frame from one clip in the group clip. You can view each angle in fullmonitor size as you edit. Quad Split button • Quad Split Source View: This display allows you to view four different camera angles of a group clip in the Source monitor. The Quad Split button switches the Source monitor from Full-Monitor display to Quad Split Source view. The Record monitor and Source monitor are not synchronized in Quad Spit Source view. Nine Split button • Nine Split Source View: This display allows you to view nine different camera angles of a group clip in the Source monitor. The Nine Split button switches the Source monitor from Full-Monitor display to the Nine Split Source view. The Record monitor and Source monitor are not synchronized in Nine Split Source view. Swap Cam Bank button You can switch the Nine Split Source view from one bank of nine camera angles to a second bank of nine camera angles by using the Swap Cam Bank button. • MultiCamera Mode: After you create a sequence that includes group clips, you can display the sequence in MultiCamera mode. MultiCamera mode is similar to Quad Split Source view or Nine Split Source view, except that it gangs the Source and Record monitors under one set of controls. All camera angles displayed in the Source monitor are synchronized and update when stopped or scrubbing through the timeline. 457 Chapter 13 MultiCamera Editing Full-Monitor Display When you first load a grouped or multigrouped clip, the Source monitor displays a single frame from one clip in the group. This is called FullMonitor display when working with group clips because you can view each angle in full-monitor size as you edit. The basic features of Full-Monitor display are as follows: 458 • Provides source-oriented control of multicamera material. You can switch camera angles, cue, and mark material without affecting the sequence. • Provides the same Source monitor controls that are available when you edit other clips in Source/Record mode. • Provides the same MultiCamera editing features that are available in Quad Split Source view, Nine Split Source view, and MultiCamera mode. These features are described in “MultiCamera Editing Techniques” on page 463. The only difference is that in Full-Monitor display, you can view each angle as full size while you edit. MultiCamera Displays Quad Split Source View Quad Split button After loading a group clip into the Source monitor, you enter Quad Split Source view by clicking the Quad Split button located in the Command palette in the MCam tab. The Source monitor splits into four camera angles of the group clip. A Group Menu icon appears in the second row of information above the Source and Record monitors. Group Menu icon Quad Split Source view Sequence or linecut The basic features of Quad Split Source view are as follows: • Provides source-oriented control of multicamera material. You can switch camera angles, play back (one camera angle at a time), cue, and mark material without affecting the sequence. • Provides the same Source monitor controls that are available when you edit other clips. • Provides the special MultiCamera editing features that are available in Full-Monitor display, Nine Split Source view, and MultiCamera mode. These features are described in “MultiCamera Editing Techniques” on page 463. • Provides a list of all group clip video and audio tracks in the Group menu for custom selection and patching. 459 Chapter 13 MultiCamera Editing Swap Cam Bank button • Allows you to use the Quad Split button to switch the Source monitor between Full-Monitor display and Quad Split Source viewing and editing modes (editing functions are the same in both displays). • Allows you to use the Swap Cam Bank button to switch the Quad Split Source view from one bank of four camera angles to another bank of four camera angles. The Multi-angle View menus allow you to change the camera angles of the split displays. • The Record monitor is not active with Quad Split Source view. Nine Split Source View Nine Split button After loading a group clip into the Source monitor, you enter Nine Split Source view by clicking the Nine Split button located in the Command palette in the MCam tab. The Source monitor splits into nine camera angles of the group clip. A Group Menu icon appears in the second row of information above the Source and Record monitors. Group Menu icon 460 Nine Split Source view Sequence or linecut MultiCamera Displays The basic features of Nine Split Source view are as follows: Swap Cam Bank button • Provides source-oriented control of multicamera material. You can switch camera angles, play back (one camera angle at a time), cue, and mark material without affecting the sequence. • Provides the same Source monitor controls that are available when you edit other clips. • Provides the special MultiCamera editing features that are available in Full-Monitor display, Quad Split Source view, and MultiCamera mode. These features are described in “MultiCamera Editing Techniques” on page 463. • Provides a list of all group clip video and audio tracks in the Group menu for custom selection and patching. • Allows you to use the Nine Split button to switch the Source monitor between Full-Monitor display and Nine Split Source viewing and editing modes (editing functions are the same in both displays). • Allows you to use the Swap Cam Bank button to switch the Nine Split Source view from one bank of nine camera angles to another bank of nine camera angles. The Multi-angle View menus allow you to change the camera angles of the split displays. • The Record monitor is not active with Nine Split Source view. MultiCamera Mode After loading a group clip into the Source monitor and editing it to create a new sequence, choose MultiCamera Mode from the Special menu to activate the features. The MultiCamera Quad Split Edit or MultiCamera Nine Split Edit is displayed, depending on whether you were in Quad Split Source view or Nine Split Source view before entering MultiCamera mode. MultiCamera mode takes the Nine Split Source view and Quad Split Source view one step further: it gangs all clips in the group clip displayed in the Source monitor with the sequence displayed in the Record monitor. All clips are synchronized and updates when stopped or scrubbing in the timeline. 461 Chapter 13 MultiCamera Editing When you play back multicamera material, you can cut by using the MultiCam keys to select different camera angles when stopped. The camera angles you selected with the MultiCam keys are recorded as cuts in the Timeline and are displayed in the Record monitor. Source monitor controls are disabled. Group Menu icon Gang icon changes to green. The basic features of MultiCamera mode are as follows: Swap Cam Bank button 462 • Provides sequence-oriented control of multicamera material, in contrast to Full-Monitor display, Nine Split Source view, and Quad Split Source view. Whenever you play back, cue, switch camera angles, or mark material, your changes occur in the sequence. • All camera angles displayed in the Source monitor are synchronized and updates when stopped or when scrubbing in the timeline. • Lets you perform live bank swaps while playing in MultiCamera Quad Split Edit mode by using the Swap Cam Bank button. • Provides only Record monitor controls. • Provides special MultiCamera editing features that are available in Full-Monitor display, Quad Split Source view, and Nine Split Source view. These features are described in “MultiCamera Editing Techniques” on page 463. MultiCamera Displays • Allows you to cut between clips as you would during live switching of a show. • Provides a list of all group clip video and audio tracks in the Group menu for custom selection and patching. • Lets you deselect MultiCamera Mode in the Special menu at any time to switch between source-oriented and sequence-oriented MultiCamera editing. • Lets you switch between singular and multi-angle playback without exiting MultiCamera mode. MultiCamera Editing Techniques When you load a group or multigroup clip into the Source monitor and begin editing, the Timeline adds a unique identifier to indicate the presence of a group. The system uses the name of the clip within the group to identify the clip in each cut, and adds a G in parentheses to indicate the group. (G) indicates a group clip. Using various keys and functions, you can switch and edit the displayed group clip at any point in the sequence, as described in the following sections. These techniques apply to both group and multigroup clips. 463 Chapter 13 MultiCamera Editing Switching Clips with the Arrow Keys Previous In Group button Next In Group button You can switch the display of camera angles by using the Previous In Group button and the Next In Group button. These buttons are mapped by default to the Up Arrow and Down Arrow keys. The angle selection switches in either the Source monitor (source material) or in the Record monitor (sequence material), whichever is active. If the group contains more camera angles than the multi-split display, the Up Arrow and Down Arrow keys will cycle through all the clips. Only the first four clips will be shown in the Quad Split display and only the first nine clips will be shown in the Nine Split display. When the Record monitor is active, you can place the position indicator within any segment and use the arrow keys to switch the group clip selected for that segment. n Whenever you switch camera angles, you also switch the frame representing the group in the bin. You can use this method to change the representative frame for bin display and storyboarding. Using the Add Edit Button You can use the Add Edit button like a hot key to add edits while stepping through a sequence during playback. The only difference is that you are not switching camera angles until after you set the edit points. This method is especially useful when editing to music because you can concentrate on the beats and ignore camera angles until you place the edits. To use this method, you must first map the Add Edit button onto the keyboard. Consider mapping the Add Edit button to a function key next to the default MultiCam keys. For more information on mapping keys, see “Button Mapping” on page 132. 464 MultiCamera Displays To add edits: 1. Load the group or multigroup clip into the Source monitor and splice it into a sequence. 2. Play the sequence. Each time you want to make an edit, stop and press the Add Edit key. The edits appear in the Timeline. Play the sequence repeatedly to add more edits, or remove edits in Trim mode by lassoing them in the Timeline and pressing the Delete key. 3. After adding the edits, place the position indicator within each segment and use the arrow keys to switch camera angles. Using the Group Menu The Group menu allows you to select video or audio channels from any of the clips in the group and patch to the tracks available in the sequence. This means that you can have nine camera angles and nine or more audio tracks synchronized and available for patching at any time. Click the Group Menu icon to display the pop-up menu. 465 Chapter 13 MultiCamera Editing n The Second Row of Info option must be selected in the Composer Settings dialog box for the Group Menu icon to be displayed above the Source monitor. In addition, you can choose the Audio Follow Video option from the Group menu to instruct the system to switch both audio and video for each camera angle or selective camera style. The Group Menu icon changes to green when you select the Audio Follow Video option. Audio Follow Video overrides the track selection beside the Timeline and switches audio in track A1 only. Audio-Follow-Video edits appear in the Timeline as match frames (that is, the transition contains an equal sign). To use the Group menu: 1. Click the Group Menu icon in the second row of information above the Source monitor to display the Group menu. 2. Select video or audio channels from any clip in the group to patch the video or audio channels to the tracks available in the sequence. 3. (Option) Choose the Audio Follow Video option to switch both audio and video for each camera angle when you cut. Using the Multi-angle View Menus You can use the Multi-angle View menus to group up to 18 clips at a time, and select additional clips to be shown in any of the multi-split displays in the Source monitor. You can also choose Sequence from the Multi-angle View menus to display the entire sequence. To select an additional clip from the group to appear in one of the multi-split displays: 1. Press the Ctrl key to activate the display of clip names in the multi-split displays. 2. Ctrl+click the multi-split display where you want to show the new clip. 466 MultiCamera Displays The clips in the group are listed in the Multi-angle View menu. Select additional angles from the Multi-angle View menu. 3. Select the clip you want to display from the Multi-angle View menu. The new clip appears in the multi-split display. Using Match Frame in MultiCamera Editing You can use the Match Frame button to display the matching clip within the group when match framing from the sequence, or you can display the original clip when match framing from the source group. For more information on using the Match Frame feature, see “Using Match Frame” on page 268. n If the group contains more clips than are displayed and you match a clip that is not visible (for example, clip 5 and above for the Quad Split display), the Avid system will select the clip but not display it. 467 Chapter 13 MultiCamera Editing MultiCamera Workflow and Selective Camera Cutting The Avid MultiCamera editing feature allows you to do selective camera cutting. Selective camera cutting involves marking and editing source material into the sequence, much as you build a sequence by using nongrouped clips in a normal session. You can play, cue, and mark clips on the source side, and then splice, overwrite, and trim clips in the sequence. You can perform selective camera cutting in one of the following ways: t Lay down an entire group as a master sequence, and then add edits, switch camera angles, and trim within the sequence or cut in new clips. t Edit one clip at a time without laying down a master sequence first, building a sequence as you would with single-camera material. The advantage of selective camera cutting with grouped clips is that all the clips are synchronized, which simplifies the selection of camera angles. Selective camera cutting generally requires the use of a detailed line script or detailed notes that enable you to select clips and assemble the sequence one clip at a time. To perform selective camera cutting: 1. Load the group or multigroup clip into the Source monitor. 2. Using timecode notes and the numeric keypad, type the timecode for the first take to begin the sequence, and press Enter to cue the clip in the Source monitor to the take. 3. Mark IN and OUT points for the entire scene. 4. Select a camera angle for the first clip, and then splice the entire scene into a sequence. 5. Use the arrow keys, the Add Edit button, or both to select edit points and switch to different angles throughout the master scene in the sequence. 6. To replace a portion of the take with a part from another take, use the timecode notes again to cue the take, set marks, and perform a replace edit. 7. When you are finished with a scene, repeat the procedure for each additional scene in the sequence. 468 Index ABCDEFGHIJKLMNOPQRSTUVWYZ Numerics 16:9 display for 24p editing 226 for 25p editing 226 24p editing projects creating 47 displaying timecodes in 174 25i PAL editing projects creating 48 25p editing projects creating 47 displaying timecode in 174 30i NTSC editing projects creating 48 A A2 timecode option described 228 Absolute timecode 232 described 228 Active Settings displaying 92 Add Edit when trimming 452 Add Edit button for MultiCamera editing 464 Adding filler to a sequence 278 locators while editing 257 user profiles 51 Adjust Pan/Vols command (Audio Mix Fast menu) 370 Adjust Pan/Vols command (Automation Gain Fast menu) 388 Adjusting digital audio scrub parameters 357, 357 pan in the Audio Mix tool 365, 369 volume in the Audio Mix tool 365 volume in the Timeline 375 Alternate Edit button 323 Alternate edits creating 323 Appearance Interface settings button separation 89 button shading depth 88 button shading style 87 button style 90 color 84 shading 87 Archive to Videotape dialog box 218 Archiving media files 216 Arrow keys navigating with 112 Assigning workspace buttons 109 Index Attic folder defined 72 retrieving bin files 73 Audio applying EQ templates 403 Auto VO 431 creating EQ templates 404 crossfading 434 dipping 437 dissolves 434 EQ templates 403 fading 434 identifying sample rates 440 levels, fine-tuning with add edit 433 mixdown 438 monitoring while editing 283 pan, adjusting in Audio Mix tool 365, 369 pitch shift 412 resyncing subclips 256 scrub 354, 359 setting pan defaults 359 soloing tracks 354 time compression 412 tracks, mixing down 438 voice-over 420 volume, adjusting in Audio Mix tool 365 volume, adjusting in the Timeline 375 volume, adjusting while playing 373 waveform plots, displaying 362 Audio clips marking 252 Audio effect tools accessing 353 Audio EQ (Equalization) adjusting while playing 406 templates 404 Audio EQ command (Tools menu) 393 Audio EQ tool adding EQ templates to Fast menu 405 adjusting EQ 397 470 applying EQ templates 403 creating EQ templates 404 EQ effect in 396 examples of uses 401, 402 Fast menu options 398 features of 395 opening 393 options 394 removing effects 401 saving effects 400 Audio Gain Automation adjusting volume of keyframes 381 deleting keyframes in 379 enabling and adding keyframes in 377 moving keyframes 379 position indicator lights 385 recording 388 tool 382 Track Solo button 384 using an external fader controller 380 Audio IN and OUT points removing 252 Audio leader creating 190 Audio Mix command (Tools menu) 365 Audio Mix tool adjusting volume and pan, on a single track 367 adjusting volume and pan, on multiple tracks 369 Fast menu options 369 Audio Mixdown command (Special menu) 438 Audio Mixdown dialog box 439 Audio Project settings access and description 94 Audio Punch-In tool 420 using a GPI device with 427 Audio sample rate, changing 439 Index Audio settings access and description 94 Digital Scrub options 357 Audio Settings dialog box 358 Audio volume adjusting in Audio Mix tool 369 adjusting in the Timeline 377 adjusting individual keyframes 381 adjusting while playing 374 improving response time 375 limitations on adjusting 373, 374 Audio volume rubberbanding 375 AudioSuite plug-ins applying 407, 409 controls 412 creating new master clips 412, 416 described 407 effect templates 417 installing 407 limitations 419 mono processing 415 multichannel processing 415 options 413 stereo processing 415 templates 417 troubleshooting 419 Auto VO 431 Automatically opening a project 49 Automation Gain tool described 382 external fader controller 391 Fast menu 387 keyboard shortcuts 390 selecting tracks in 386 sliders 389 AutoSync command (Bin menu) 444 Autosyncing 443 Autosyncing clips 443 Auxiliary timecode 232 tracking format options 228 Avid Calculator using 137 Avid Unity environment 194 Avid Unity MediaNetwork 112 Avid Unity PortServer Pro 196 B Background color changing, in bins 181 Backing up media files 216 project information 53 Backtiming edits 330 Bandwidths in Audio EQ tool 395 Bin Column Selection dialog box 152 Bin Fast menu opening 148 Bin settings access and description 94 described 80 SuperBin 74 Bin View settings access and description 94 column headings 176 Bin views customizing 146 saving 147 types of 146 Bins adding colors 152 adding customized columns in 164 aligning columns 163 arranging text columns 162 background color, changing 181 Bin View pop-up menu 146 changing custom column headings in 165 closing 68 creating 66 deleting 68 471 Index deleting columns in 163 display view for 143 display views for 146 displaying in Project window 65 duplicating clips and sequences in 150 duplicating columns in 164 editing to sequences 315 editing to Timeline 314 finding 271 hiding columns in 163 identifying media relatives 158 limiting colors 154 listing timecodes in 174 modifying clip information 166 opening 67, 68 organizing a project with 143 printing 186 renaming 67 retrieving from Attic folder 73 saving automatically 71 saving manually 72 selecting clips and sequences in 149 selecting offline items in 157 setting clip display in 144 setting the font 149 setting the point size 149 sharing on Avid Unity MediaNetwork 112 sifting by colors 155 sorting by colors 154 SuperBin 74 trash 69 viewing a list of 61 Bins display in Brief view 62 in Frame view 63 in Project window 65 in Script view 64 in Text view 62 472 Black holes in Timeline described 307 finding 307 Blank button, using 134 Brief view (bin display) defined 160 in Media tool 198 Browsing for a project 46 Buttons Alternate Edit 323 Blank 134 changing color 85 changing separation 89, 90 changing shading depth 88 changing shading style 87 displaying second row in the Source/Record monitor 233 Find Bin 271, 271 Focus 302 Go to Next Locator 260 Go to Previous Locator 260 mapping user-selectable 133 Mark Locator 260 Next In Group 464 Nine Split 460 Previous In Group 464 Quad Split 459 Toggle Source/Record in Timeline 303 Buttons, user-selectable Cycling Trim Sides 336 Find Bin 271 Next In Group 464 Nine Split 460 Previous In Group 464 Quad Split 459 Trim A-side 336 Trim B-side 336 Bypass volume settings 373 Bypassing pan settings 372 Index C Calculator using 137 Capture settings access and description 94 Change Sample Rate dialog box 439 Changing interface component button separation 89 interface component button style 90 interface component color 84 interface component shading depth 88 interface component shading style 87, 87 user profiles 51 Choosing film format options 47 Clear Menu command (Monitor menus) 236 Clear Monitor command (Monitor menus) 236 Clearing clips from monitors 236 Client monitor configuring Video Display settings 244 connecting to 243 supporting cameras without video input 246 Clip information displaying 230 modifying 166 moving 230 Clip Name menus using 235 Clip names finding in a monitor 268 setting the font and point size 233 Clipboard copying to 288, 289 recovering material from 289 Clips assigning local colors in the Timeline 298 autosyncing 443 clearing from monitors 236 copying 151 cueing, viewing, and playing back 238 deleting 151 displaying local colors in the Timeline 299 source colors in the Timeline 298 duplicating 150 group creating 455 locating using Match Frame 268 marking IN and OUT points 248 moving 150 multigroup creating 456 searching for text in 267 selecting unreferenced 159 sifting 154 sorting 172 subcataloging 133 Closing projects 52 Color assigning local colors in the Timeline 298 changing in interface 84 displaying local colors in the Timeline 299 source colors in the Timeline 298 Color bars importing 187 Color Correction Correction setting 94 Safe Color setting 96 Column headings displaying or hiding in a bin 176 Columns adding customized in bins 164 aligning in bins 163 arranging in bins 162 changing custom column headings 165 deleting in bins 163 duplicating in bins 164 hiding in bins 163 473 Index Command palette activating commands from 136 for quick edits in Timeline 315 mapping 135 mapping buttons from 133 using 131 Commands See Menu commands Communication (Serial) Ports command (Tools menu) 141 Communication (Serial) Ports tool specifying a controller in 141 Console window getting information with 139 using 138 Consolidate/Transcode dialog box 208 Consolidating media files defined 203 procedure 206 Copy to Clipboard button 288 Copying clips 151 locators from source clips 259 to Clipboard 288 Creating a new project 47 audio leader 190 group clips 455 instant rough cut 282 multigroup clips 456 playable sequence from clips with different target resolutions 208 video leader 189 Crossfading audio 434 Custom Sift command (Bin menu) 155 Customizing bin views 146 Timeline 299 474 Cutaways marking with locators 257 Cycling through tracks 322 D DAE (Digidesign Audio Engine) starting and quitting 408 Deck Configuration settings access and description 94 Deck control setting ports 141 Deck controller Deck Selection menu 131 defined 130 opening 131 status indicator 130 Deck Preferences settings, access and description 94 Deck Selection menu (Capture tool) 131 Deleting clips and sequences 151 locators 260, 264 tracks 328 Desktop Play Delay settings access and description 94 Dialog boxes Archive to Videotape 218 Audio Mixdown 439 Audio Settings 358 Bin Column Selection 152 Consolidate/Transcode 208 Film Settings 49 Find 267 Group Clips 455 navigating in 112 Quick Transition 435 Restore from Videotape 221 Set Bin Display 144 Sync Selection 444 Index Tape Lengths 218 View Name (bin) 147 Digital audio scrub adjusting parameters for 357, 357 compared to smooth audio scrub 355 performing 358 using 357, 357 Digital Audio Scrub options (Audio settings) 357 Dipping audio 437 Displaying bin column headings 176 frames in Locators window 263 locator comments 261 Dissolves audio 434 Drives mounting and ejecting 55 striping 217 Dual monitor display 224 Duplicating clips and sequences 150 E Editing multicamera material 453 types of selective camera cutting (MultiCamera) 468 Edits adding (match framing) 328 backtiming 330 beginning 281 copying to Clipboard 288 extending 346, 346 Extract 287 from bins 314 instant rough cut procedure 282 Lift 287 nesting, defined 318 overwrite 285 performing replace 286 removing (match framing) 329 replace clips 323 Segment mode 305, 310 splice-in 284 Effects Audio EQ 392 mapping buttons for 133 real-time preview, delaying start 245 real-time preview, prefilling for 245 Emergency repair disk 32 End key 243 Entering Trim mode 334 Environment (Toolset) 121 EQ effect adjusting while playing 406 applying 396 applying EQ templates 403 creating EQ templates 404 removing 401 templates for 403 ERD (emergency repair disk) 32 Export settings access and description 95 Extending an edit 346, 346 External video sources configuring 244 Extract button 288 Extract edits 287 F FaderMaster Professional fader controller recording audio gain 391 supported 380 Fading audio 434 Fields stepping forward and backward by 240, 240 File management 193 475 Index Filler adding during a trim 347 adding to a sequence 278 setting duration of 316 Film options selecting 47 preferences setting 49 Film settings in the Project window 81 Filter Automation Gain command (Automation Gain Fast menu) 387 Find Bin button from the Source monitor 271 Find command (Edit menu) 267 Find dialog box 267 Find procedures 267 Finding black holes in Timeline 307 flash frames in Timeline 308 frames 267 related media files 211, 211 text of clip names 268 text of locators 268 Finding bins from a monitor 271 Finding frames with the Find command 267 Focusing the Timeline 302 Font setting for bins and windows 149 setting for clip name 233 Footage clearing marks from 250 displaying current position 226 marking and subcataloging 247 viewing and playing 223 Four-frame display, trimming in 342 476 Frame count total 137 Frame offset timecode 266 Frame view (bin display) changing frame size in 182, 185 in Media tool 198 rearranging frames 182 using 180 Frame View tab 180 Frames accessing in footage 238 aligning in bin 163 cueing 266 enlarging or reducing 182, 185 finding 267 flash frames, finding 308 rearranging in Frame view 182 Frequencies (audio) adjusting 392 Full-Monitor Display 458 G Ganging multiple tracks in the Audio Mix tool 371 General interface settings 82 General settings access and description 95 options 81 General-purpose interface (GPI) device trigger signals 428, 429 using 427 Grid settings 95 Group clips creating 455 Group Clips command (Bin menu) 455 Group Clips dialog box options 455 Group menu 465 Grouping procedures 455 Index H Hardware command (Tools menu) 140 Hardware tool displaying 105 using 140 Head leader creating audio 190 creating video 189 Headings command (Bin menu) 152 Hiding bin column headings 176 bin columns 147 video in Source/Record monitor 237 High shelf in Audio EQ tool 395 Home key 243 Interface settings (General tab) access and description 95 defined 82 J J-K-L keys 242 trimming 338 JL Cooper fader controllers 380 JL Cooper FaderMaster Pro MIDI automation controller 380 JL Cooper MCS-3000X MIDI automation controller 380, 388, 388 K I Ignoring volume settings 373 Import settings access and description 95 Importing color bars 187 Info Display window displaying Hardware 105 displaying Memory 105 displaying project information 104 Interface components changing shading style 87 Interface settings (Appearance tab) changing button and toolbar shading depth 88 changing button and toolbar shading style 87 changing button separation 89 changing button style 90 changing component color 84 defined 83 Keyboard mapping user-selectable buttons to 133 settings, access and description 95 Keys navigating in dialog boxes with 112 L LANshare client setting up 196 Launching the application 42 Layering mapping buttons for 133 L-cut 345 L-edit 345 Left Arrow key 243 Lift button 287 Lifting material 287 Load Filler command (Clip Name menu) 278 Local colors assigning in the Timeline 298 displaying in the Timeline 299 477 Index Locators accessing in sequence or clip 263 adding while editing 259 copying from source clips 259 deleting 260, 264 displaying comments 261 finding text of 268 icon, changing color of 263 marking an area with 260 moving to next or previous 260 moving to previous or next 260 using 257 Locators window displaying frames in 263 Fast menu 261 printing 264 sorting locators 262 using 261 Locking and unlocking bins on the Avid Unity Network 116 Locking tracks 325 Low shelf in Audio EQ Tool 395 M Maintaining sync with Add Edit 452 Managing bins 69 folders 69 media files 193 Mapping menu commands 135 modifier keys 134 user-selectable buttons 133 Mark Locator button 260 Marking audio clips 252 entire clips or segments 248 IN and OUT points 248 with locators 257, 260 478 Master clips locating from subclips 272 Match Frame locating clips with 268 Match frame edits adding 328 removing 329 Match Frame feature for MultiCamera editing 467 Match Frame Track command 270 Match frame, tracks 270 MCS-3000X fader controller recording audio gain 391 supported 380 Media databases refreshing 210 Media files archiving and restoring 216 archiving options 220 archiving, procedure 217 backing up 211, 216 consolidating defined 203 procedure 206 deleting 201 finding related 211 loading the database 209 managing 193 in a workgroup environment 194 manipulating with Media tool 198 relinking 212 restore from videotape 220 unlinking 216 Media offline relinking 212 Media relatives 158 Media tool basic features of 198 Media Tool Fast menu 198, 198 Index MediaManager settings for 195 specifying settings 195 using 194 MediaNetwork Avid Unity 112 Menu commands Adjust Pan/Vols (Audio Mix Fast menu) 370 Adjust Pan/Vols (Audio Mix tool) 370 Adjust Pan/Vols (Automation Gain Fast menu) 388 Audio EQ (Tools menu) 393 Audio Mix (Tools menu) 365 Audio Mixdown (Special menu) 438 AutoSync (Bin menu) 444 Communication (Serial) Ports (Tools menu) 141 Custom Sift (Bin menu) 155 Filter Automation Gain (Automation Gain Fast menu) 387 Find (Edit menu) 267 Group Clips (Bin menu) 455 Hardware (Tools menu) 140 Headings (Bin menu) 152 Load Filler (Clip Name menu) 278 mapping 135 Match Frame Track 270 Refresh Media Directories (File menu) 210 Remove Automation Gain (Automation Gain Fast menu) 388 Remove Clip Gain (Audio Mix Fast menu) 370 Remove Clip Gain (Audio Mix tool) 370 Remove Pan (Audio Mix Fast menu) 370 Remove Pan (Audio Mix tool) 370 Remove Pan (Automation Gain Fast menu) 388 Remove Pan/Vols (Audio Mix Fast menu) 370 Remove Pan/Vols (Automation Gain Fast menu) 388 Set Level (Audio Mix tool) 370 Set Pan (Audio Mix Fast menu) 370 Set Pan (Automation Gain Fast menu) 387 Zoom Back (Timeline Fast menu) 302 Zoom In (Timeline Fast menu) 302 MetaSync described 280 Mixing down audio 438 MM Host, specifying settings 195 MM User, specifying settings 195 Modifier keys mapping 134 Monitoring audio while editing 283 Monitors clearing 236 expanding 224 resizing 237 Mono option (audio) 439 Moving clips and sequences 150 Multi-angle View menus 466 MultiCamera editing 453 Full-Monitor Display 457 Nine Split Source view 457 Quad Split Source view 457 MultiCamera mode described 461 Group menu 465 grouping 455 Multi-angle menus 466 MultiCamera Nine Split Edit 457 MultiCamera Quad Split Edit 457 Nine Split Source view 460 Quad Split Source view 459 selective cutting in 468 479 Index switching camera angles in 464 techniques 463 workflow options 468 Multigroup clips creating 456 N Narration, recording voice-over 420 National Television Standards Committee (NTSC) video editing format 47 Navigating in dialog boxes 112 Next In Group button 464 Nine Split button 457, 460 Nine Split Source view 457, 460 NTSC (National Television Standards Committee) video editing format 47 O Offline media selecting in bins 157 OpenGL Hardware section 245 Opening the application 42 Opening projects automatically 49 Output timecodes displaying in bins 174 Overlap edits creating 345 Overwrite button 285 Overwrite edits 285 480 P Page Down keys navigating with 112 Page Up keys navigating with 112 PAL (Phase Alternating Line) video editing format 47 Palette Command 131 Tool 252 Pan adjusting in Audio Mix tool 369, 388 modifying 372 Pan adjustment bypassing 372 single tracks 367 Parametric midrange in Audio EQ tool 395 Patching tracks 326 Phase Alternating Line (PAL) video editing format 47 Pitch Shift AudioSuite plug-in 412 Play Length In Use indicator 246 Play tab Play Length Toggle button 246 Playback improving performance 291 in client monitor 243 J-K-L keys 242 sequences 290 supporting cameras without video input 246 with audio scrub 354 Playback loop starting 290 trim during 339 Playing Play Length function 246 Index Plug-ins AudioSuite 407 dialog box 410 Fast menu 411 Point size setting for bins and windows 149 Port Server Settings dialog box 196 PortServer Pro 196 Position bar using in the Timeline 238 Position indicator using in the Timeline 238 Prefilling for real-time effect preview 245 Previous In Group button 464 Printing bins 186 locators 264 the Timeline 331 Private project, selecting 43 Profiles, user adding 51 changing 51 described 50 Project window bins display 61 closing 60 opening 60 settings display 78 working with 59, 59 Projects browsing for 46 changing names 36 closing 52 creating a new 47 deleting 37 folders 36 opening 50 opening automatically 49 restoring from backup 53 selecting a private 43 selecting a shared 44 sharing on Avid Unity MediaNetwork 112 Q Quad Split button 459 Quad Split display 459 Quad Split Source view 457 Quick Transition dialog box 435 Quitting the NewsCutter application 54 R R&A files displaying locator creation information 265 Rearranging clips 185 Recording voice-over narration 420 Refresh Media Directories command (File menu) 210 Relinking consolidated clips 215 media files 212 selected clips 214 Remove Automation Gain command (Automation Gain Fast menu) 388 Remove Clip Gain command (Audio Mix Fast menu) 370 Remove Pan command (Audio Mix Fast menu) 370 Remove Pan command (Automation Gain Fast menu) 388 Remove Pan/Vols command (Audio Mix Fast menu) 370 Remove Pan/Vols command (Automation Gain Fast menu) 388 Removing audio IN and OUT points 252 481 Index Renaming bins 67 sequences 275 settings 99 Render settings 96 Repair disk creating 32 Replacing edits 286, 323 Resizing monitors 237 Source/Record monitor 237 Restore from Videotape dialog box 221 Restoring media files from videotape 220 Reveal File command (File menu) 211 Reverse Match Frame 269 Right Arrow key 243 Rollers See Trim mode Rough cut creating 282 Rounding buttons and toolbars 87, 88 Rubberbanding in Audio Gain Automation 375 S Sample rate identifying by color 440 Sample rate, changing 439 Screen resolution setting 34 Script view (bin display) defined 184 entering 184 rearranging clips in 185 Script View tab 184 Scrubbing (audio) 354, 356, 358 Second row of buttons 233 482 Segment Drag Sync Locks option (Timeline settings) 310 Segment mode deleting segments 313 deselecting segments 307 Extract/Splice-in edits 311 Lift/Overwrite edits 312 Segment Drag Sync Locks option 310 selecting by lassoing 306 selecting segments 306 Segments cutting, copying, and pasting in Timeline 317 moving in sync 310 Select Project dialog box 42 Selecting film format options 47 unreferenced clips 159 Sequences adding tracks to 276 changing audio sample rate 439 changing start timecode for 276 creating playable 208 cueing, viewing, and playing back 238 deleting 151 deleting tracks from 277 duplicating 150 finding original bin for 272 moving 150 new 273 playback loop in 290 renaming 275 setting customized timecode 275 sifting 154 starting 273 Set Bin Display command (Bin menu) 144 Set Bin Display dialog box 144 Set Level commands (Audio Mix Fast menu) 370 Set Pan command (Automation Gain Fast menu) 387 Set Pan commands (Audio Mix Fast menu) 370 Index Settings audio pan default 359 Audio project 94 basic 80 bin 80, 80 bin display 144 button 78 copying 101 defined 78 defining 79 deleting 100 displaying 92 duplicating 98 film 81 for configuring MediaManager 195 for film preferences 49 general 81 in Settings scroll list 93 interface 82, 82 keyboard 241 MediaManager 195 modifying 97 moving between systems 101 naming 99 selecting 97 Settings folder 35 site 102 trim 334 types of 79 working with multiple 98 workspace 110 Settings scroll list Bin view 94 changing display 93 described 94 DMS 94 Effect Editor 94 Film 81 Grid 95 Render 96 table of settings 93 Timeline View 96 using 79 Shading style changing in interface 87 Shared project, selecting 44 Shuttling with the J-K-L keys 242 Single-field step 240, 240 Site settings using 103 Slipping and sliding clips in Trim mode 341, 343 Slipping and sliding clips or segments in Trim mode 342 Smooth audio scrub compared to digital audio scrub 355 performing 356 Soloing audio tracks 354 Sorting clips 172 Sound Card Configuration settings access and description 96 Source colors displaying in the Timeline 298 Source material displaying in the Timeline 303 Source timecode for audio tracks 232 Source/Record monitor 16:9 display 225 expanding 224 resizing 237 Space bar navigating with 112 Splice-in button 281 Split edit creating 345 Start timecode changing 276 Starting the application 42 483 Index Stepping backward by field 240, 240 forward by field 240, 240 Striped drives 217 Subclips creating with Make Subclip button 255 locating a master clip from 272 SuperBin closing 76 copying clips 78 described 74 enabling 75 moving bins 77 moving clips 77 opening 75 SupportingFiles folder defined 35 Swap Cam Bank button 457 Switching multicamera angles 464 Sync autosyncing 443 maintaining during segment move 310 maintaining during trim 346 sync-locked tracks, trimming with 348 Sync breaks avoiding 446 fixing 446 managing 445 Sync locking described 325, 327 maintaining 448 using 448 Sync Selection dialog box 444 Synchronizing video and audio subclips 443 Syncing with locators 450 with tail leader 449 484 T Tab key navigating with 112 Tail leader creating audio 190 creating video 189 Tape Lengths dialog box 218 Text view (bin display) defined 161 in Media tool 198, 198 moving between columns 166 Time Compression Expansion AudioSuite plug-in 412 Timecode changing 276 custom starting 275 displaying 231 displaying multiple timecodes 232 finding frames 267 table of display options 231 Timecodes display options 24p and 25p projects 174 table of 228 Timeline access and description of settings 96 assigning local colors to 298 changing color 297 customizing 293 default view 300 displaying local colors in 299 source colors in 298 displaying detail in 301 enlarging tracks 297 Fast menu 294 finding clip text in 268 first edit displayed in 281 focusing 302 identifying the sample rate 440 Index moving position indicator 304 printing 331 reducing tracks 297 saving a custom view 299 scroll bar 301 settings 294 source material, displaying 303 Top and Tail commands 315 top toolbar 254 zooming in and out of 302 Timeline top toolbar 254 Timeline View settings access and brief description 96 Title Style settings, access and description 96 Toggle Source/Record in Timeline button (Timeline) 303 Tool palette opening 253 showing labels 253 tearing off 253 using 252 Tools Audio EQ 375, 392 Audio Mix 365 Audio Punch-In 420 Avid Calculator 137 Communication (Serial) Ports 141 Console 138 Hardware 140 Media 198 Toolset Audio Editing 126 Capture 123 Color Correction 127 customizing 128 Edit 124 Effects Editing 125 linking to a workspace 128 NRCS 122 selecting 121 Top and Tail commands in Timeline 315 using 316 Track Selector panel 318 Track Solo button (Audio Gain Automation tool) 384 Tracking format options 229 Tracking information displaying 226 options 228 Tracks adding 276 audio, mixing down 438 audio, soloing 354 cycling through 322 deleting 277, 328 deselecting 307 ganging in the Audio Mix tool 371 locking 325 match framing 270 monitoring audio 320 monitoring solo track 322 monitoring video 320 patching 326 selecting 319 sync locked 327 sync locking 325 sync-locked, trimming with 348 Transcoding creating a playable sequence by 208 Transfer settings access and description 96 TransferManager using 194 Transitions, audio, fine-tuning 434 Trash emptying 69 viewing contents 69 485 Index Trim during a playback loop 339 maintaining sync during 346 sides, selecting 336, 341 slip and slide procedures 341, 343 with sync-locked tracks 348 Trim edit on-the-fly 339 reviewing with Edit Review button 344 reviewing with Play Loop button 344 Trim mode basic procedures in 337 defined 333 entering 334 exiting 335 selecting transitions 336 using the four-frame display 342 Trim settings access and description 96 Trimming with the J-K-L keys 338 Trimming edit, for video tracks 340 Turnover points in Audio EQ tool 395 U Unity PortServer Pro 196 Unlinking media files 216 Unlocking tracks 326 Unreferenced clips selecting 159 User selecting another 42, 97 User folder 36 User profiles adding 51 changing 36, 51 486 deleting 37 described 50 User-selectable buttons Add Dissolve 435 Add Edit 433 mapping 133, 133 Mark Locator 260 V Video hiding in Source/Record monitor 237 leader, creating 189 leader, using to maintain sync 449 Video Display settings (Client monitor) configuring 244 Video tracks trimming 340 Videotape archiving media files with 216 restoring media files from 220 View Name dialog box (bin) 147 Views saving a custom Timeline 299 VITC (Vertical Interval Timecode) in a bin 179 Voice-over narration 420 about media files 430 creating 421 Volume adjusting in the Audio Mix tool 367 adjusting individual keyframes 381 bypassing adjustments 373 improving response while adjusting 375 in the Timeline 377 limitations on adjusting 373 recording audio gain 388 while playing an effect 374, 375 Volume meters in the Timeline 378 Index W Waveform plots (audio) 362 Windows taskbar, using 33 Work environment (Toolset) 121 Workgroup environment working with media files 194 Workspace access and description 97 assigning buttons to 106, 109 assigning windows to 106 customizing 106 deleting 106, 111 linking to a toolset 128 linking to user setting 110, 110 settings 107 switching between workspaces 111 Workspaces on the Avid Unity MediaNetwork 112 Y Yamaha 01v digital mixer recording audio gain 391 supported 380 Z Zoom Back command (Timeline Fast menu) 302 Zoom In command (Timeline Fast menu) 302 Zooming in the Timeline 301 487 Index 488

Editing In The Timeline

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