®

Avid Xpress Pro

User’s 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;
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6,141,691; 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; 6,477,271;
6,489,969; 6,512,522; 6,532,043; 6,546,190; 6,552,731; 6,553,142; 6,570,624; 6,571,255; 6,583,824;
6,618,547; 6,636,869; 6,665,450; 6,678,461; 6,687,407; 6,704,445; D392,269; D396,853; D398,912. Other
patents are 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 © 2004 Avid Technology, Inc. and its licensors. All rights reserved. Printed in USA.
The following disclaimer is required by Apple Computer, Inc.
APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED,
REGARDING THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS
MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. THE EXCLUSION OF
IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE ABOVE EXCLUSION MAY NOT
APPLY TO YOU. THIS WARRANTY PROVIDES YOU WITH SPECIFIC LEGAL RIGHTS. THERE MAY BE
OTHER RIGHTS THAT YOU MAY HAVE WHICH VARY FROM STATE TO STATE.

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.

2
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,
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 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, Adrenaline, AirPlay, AirSPACE, AirSPACE HD, AniMatte, AudioSuite, AudioVision, AutoSync,
Avid, Avid DNA, AVIDdrive, AVIDdrive Towers, Avid Mojo, 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, Digital Nonlinear Accelerator,
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, Nitris, 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.

All other trademarks contained herein are the property of their respective owners.

Footage
Arri — Courtesy of Arri/Fauer — John Fauer, Inc.
Bell South “Anticipation” — Courtesy of Two Headed Monster — Tucker/Wayne Atlanta/GMS.
Canyonlands — Courtesy of the National Park Service/Department of the Interior.
Eco Challenge British Columbia — Courtesy of Eco Challenge Lifestyles, Inc., All Rights Reserved.
Eco Challenge Morocco — Courtesy of Discovery Communications, Inc.
It’s Shuttletime — Courtesy of BCP & Canadian Airlines.
Nestlé Coffee Crisp — Courtesy of MacLaren McCann Canada.
Saturn “Calvin Egg” — Courtesy of Cossette Communications.

3
 “Tigers: Tracking a Legend” — Courtesy of www.wildlifeworlds.com, Carol Amore, Executive Producer.
Windhorse — Courtesy of Paul Wagner Productions.

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 Xpress Pro User’s Guide• 0130-06109-01 • June 2004

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 Contents

Using This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Accessing the Tutorial and Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . 37
How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Avid Educational Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Chapter 1 Desktop Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Working with the Desktop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Creating an Automatic System Recovery Disk (Windows Only) . . . . . . 40
Using Shortcut Menus (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Using Shortcut Menus (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Using the Windows Taskbar (Windows Only) . . . . . . . . . . . . . . . . . . . . 41
Dragging Windows (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Setting the Avid Color Scheme (Windows) . . . . . . . . . . . . . . . . . . . . . . 42
Setting the Apple Color Scheme (Macintosh) . . . . . . . . . . . . . . . . . . . . 43
Setting Your Screen Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Changing Screen Resolution (Windows). . . . . . . . . . . . . . . . . . . . . 44
Changing Screen Resolution (Macintosh) . . . . . . . . . . . . . . . . . . . . 44
Using the Avid Xpress Pro Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Managing the Avid Projects and Avid Users Folders . . . . . . . . . . . . . . . . . . 45
Using the Avid Projects and Avid Users Folders . . . . . . . . . . . . . . . . . . 46
Changing Project and User Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Deleting Projects and User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Starting the Avid Application (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
 Starting the Avid Application (Macintosh). . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Chapter 2 Planning and Starting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Types of Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Working in a 23.976p NTSC Project . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Considerations for 23.976 Projects. . . . . . . . . . . . . . . . . . . . . . . . . 53
Supported Resolutions for 23.976 Projects . . . . . . . . . . . . . . . . . . 54
Capturing with Advanced Pulldown . . . . . . . . . . . . . . . . . . . . . . . . 55
Project Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Working with Mixed-Resolution Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Sample Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Video and Film Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Opening and Closing a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Changing Users. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Selecting a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Selecting a Shared Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Selecting a Private Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Selecting an External Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Browsing for a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Creating a New Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Opening a Project Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Opening a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Using User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Creating a User Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Importing a User Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Changing User Profiles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Closing a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Backing Up Your Project Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Saving Your Project Information on a Drive or Floppy Disk . . . . . . . . . 72
Restoring from a Backup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Ending an Edit Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

6
 Quitting the Avid Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Turning Off Your Equipment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Mounting and Unmounting Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Unmounting Drives (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Unmounting Drives (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Mounting All Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Chapter 3 Working with the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . 77

Opening and Closing the Project Window. . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Using the Bins Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Viewing a List of Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Displaying Bin Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Changing Bin Display View Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Creating a Folder in a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Creating a New Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Renaming a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Opening and Closing a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Opening Selected Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Opening Bins from Other Projects. . . . . . . . . . . . . . . . . . . . . . . . . . 88
Closing a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Deleting a Bin or Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Viewing Contents in the Trash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Emptying the Trash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Managing Folders and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Saving Bins Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Saving Bins Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Retrieving Files from the Avid Attic Folder . . . . . . . . . . . . . . . . . . . . . . . 93
Retrieving Files from the Avid Attic Folder (Windows) . . . . . . . . . . 94
Retrieving Files from the Avid Attic Folder (Macintosh). . . . . . . . . . 95
Using the Settings Scroll List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Understanding the Settings Scroll List . . . . . . . . . . . . . . . . . . . . . . . . . . 97

7
 Understanding Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Defining Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Reviewing Basic Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Bin Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Transfer Settings for Film Projects . . . . . . . . . . . . . . . . . . . . . . . . 102
Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Displaying Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Changing the Settings Scroll List Display . . . . . . . . . . . . . . . . . . . . . . 106
Working with Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Selecting Another User. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Modifying Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Working with Multiple Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Duplicating Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Naming Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Selecting Among Multiple Settings . . . . . . . . . . . . . . . . . . . . . . . . 110
Deleting Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Copying Settings Between Settings Files . . . . . . . . . . . . . . . . . . . 111
Moving Settings Between Systems . . . . . . . . . . . . . . . . . . . . . . . 112
Using Site Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Using the Info Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Displaying Project Info. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Viewing Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Understanding the Memory Window . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Accessing the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Customizing the Appearance of the
Avid User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Appearance Tab Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Changing Interface Component Colors . . . . . . . . . . . . . . . . . . . . . . . . 117
Changing Shading Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

8
 Changing Shading Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Changing Button Separation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Changing Button Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Using Interface Appearance Templates . . . . . . . . . . . . . . . . . . . . . . . . 125
Changing Font and Point Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Using Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Opening Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Basic Toolset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Color Correction Toolset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Source/Record Editing Toolset . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Effects Editing Toolset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Audio Editing Toolset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Capture Toolset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Customizing Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Linking Toolsets to Other Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Customizing Your Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Creating a New Workspace Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Assigning a Workspace Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Linking User Settings and Workspaces . . . . . . . . . . . . . . . . . . . . . . . . 138
Switching Between Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Deleting a Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Support for Avid Unity LANshare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Setting Up the LANshare Client . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Chapter 4 Using Basic Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Navigating in Dialog Boxes and Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Using the Tools Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Using the Command Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Understanding Button Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Mapping User-Selectable Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Using the Blank Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

9
 Mapping a Modifier Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Mapping Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Activating Commands from the Command Palette . . . . . . . . . . . . . . . 146
Using the Avid Calculator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Using the Console Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Displaying System Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Reviewing a Log of Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Getting Information with the Console Window. . . . . . . . . . . . . . . . . . . 149
Using the Console Window to Access Network Drives . . . . . . . . . . . . 150
Using the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Checking the Hardware Configuration. . . . . . . . . . . . . . . . . . . . . . . . . 151
Configuring a Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Chapter 5 Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Logging Tips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Logging Preroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Understanding Drop-Frame and Non-Drop-Frame
Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Logging Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Naming Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Double-Checking the Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Using a Memory Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Importing Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Converting Log Files with Avid Log Exchange . . . . . . . . . . . . . . . . . . . . . . 161
Converting Log Files with Avid Log Exchange (Windows) . . . . . . . . . 162
Using Drag-and-Drop Conversion for Log Files (Windows) . . . . . . . . 166
Converting Log Files with Avid Log Exchange (Macintosh) . . . . . . . . 167
Using Drag-and-Drop Conversion for Log Files (Macintosh). . . . . . . . 171
Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Logging Directly to a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

10
 Logging with an Avid-Controlled Camera or Deck . . . . . . . . . . . . . . . . 176
Pausing the Deck While Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Logging with a Non-Avid-Controlled Camera or Deck . . . . . . . . . . . . . 181
Logging Film Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Displaying Film Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Entering Pulldown Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Determining the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . 187
Modifying the Pulldown Phase Before Capturing . . . . . . . . . . . . . 188
Entering Frames-per-Second Rates for PAL Transfers . . . . . . . . . . . . 190
Entering Key Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Entering Additional Timecodes (Option). . . . . . . . . . . . . . . . . . . . . . . . 191
Modifying Clip Information Before Capturing . . . . . . . . . . . . . . . . . . . . . . . 192
The Modify Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Using the Modify Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Exporting Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Chapter 6 Preparing to Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Viewing DV Media Before Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Selecting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Setting Media Creation Resolutions and Selecting Drives . . . . . . . . . . 198
Selecting a Video Resolution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Selecting Drives in the Media Creation Dialog Box . . . . . . . . . . . . 199
General Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Capture Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Transfer Settings for Film Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Setting Up the Audio Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Configuring the Sound Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Configuring the Sound Card with Surround Sound Capabilities (Windows
Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Configuring Decks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Deleting Deck Configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

11
 Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Setting Deck Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Setting Up the Capture Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Changing the Power Scheme (Windows) . . . . . . . . . . . . . . . . . . . . . . 214
Improving System Performance (Macintosh) . . . . . . . . . . . . . . . . . . . 214
Opening the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Selecting a Deck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Selecting Audio Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Viewing Video Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Selecting a Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Selecting Source Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Detecting Valid or Locked Capture Input. . . . . . . . . . . . . . . . . . . . . . . 218
Selecting a Resolution in the Capture Tool . . . . . . . . . . . . . . . . . . . . . 219
Selecting a Target Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Selecting the Target Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Targeting a Single Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Targeting Separate Drives for Video and Audio . . . . . . . . . . . . . . 222
Interpreting the Time-Remaining Display . . . . . . . . . . . . . . . . . . . . . . 222
Capturing to Multiple Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Selecting the Preroll Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Capturing Across Timecode Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Setting the Pulldown Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Film Project Pulldown and Transfer Settings . . . . . . . . . . . . . . . . 227
Preparing for Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Adjusting Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Selecting the Audio File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Using the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Adjusting Audio Input Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Creating Tone Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Audio Meters in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

12
 Using the Meter Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Using the Console Window to Check Audio Levels . . . . . . . . . . . . . . . 236
Using the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Resizing the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . 239
Monitoring Audio with the Passthrough Mix Tool . . . . . . . . . . . . . 239
Changing an Audio Level in the Passthrough Mix tool . . . . . . . . . 240
Adjusting Pan Values in the Passthrough Mix tool . . . . . . . . . . . . 241
Compression Resolutions and Storage Requirements . . . . . . . . . . . . . . . . 241
Frame Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Digital Video Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Chapter 7 Capturing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Before You Begin Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Adding Clip Names and Comments On-the-Fly . . . . . . . . . . . . . . . . . . . . . 244
Monitoring Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Capturing Without Logging First . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Capturing from One Point to Another . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Capturing from an IN Point to an OUT Point . . . . . . . . . . . . . . . . . 247
Setting Both Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Setting Only One Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Capturing On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Autocapturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Capturing from a Non-Avid-Controlled Deck . . . . . . . . . . . . . . . . . . . . 253
Capturing with Time-of-Day Timecode . . . . . . . . . . . . . . . . . . . . . . . . . 254
Capturing from a Non-Controlled Deck . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
DV Scene Extraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Setting Up DV Scene Extraction Before Capturing . . . . . . . . . . . . . . . 258
Setting Up DV Scene Extraction After Capturing . . . . . . . . . . . . . . . . . 259
Creating Subclips While Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Changing Function Key Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

13
 DV Capture Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Delaying Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Patching When Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . 267
Batch Capturing from Logged Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Preparing to Batch Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Resizing the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Preparing Settings for Unattended Batch Capturing. . . . . . . . . . . 269
Batch Capturing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Recapturing Your Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Recapturing Master Clips and Subclips. . . . . . . . . . . . . . . . . . . . . . . . 271
Recapturing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
Saving Two Versions of a Sequence When Recapturing . . . . . . . 272
Using Decompose When Recapturing . . . . . . . . . . . . . . . . . . . . . 272
Recapturing the Sequence Without Using Decompose . . . . . . . . 274
Recapturing the Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Other Capturing Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Controlling Decks from the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . 277
Naming a New Tape from the Keyboard . . . . . . . . . . . . . . . . . . . . . . . 278
Ejecting Tapes with a Button or Key . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Modifying the Pulldown Phase After Capturing . . . . . . . . . . . . . . . . . . 279

Chapter 8 Importing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Preparing to Import Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Working with Mixed-Resolution Projects . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Creating and Using Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Creating a New Import Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Modifying an Existing Import Setting . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Importing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Importing Audio Files from a Music CD . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Using the Drag-and-Drop Method to Import Files . . . . . . . . . . . . . . . . . . . 288

14
 Importing Photoshop Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Importing Single-Layer Photoshop Graphics . . . . . . . . . . . . . . . . . . . . 288
Importing Multilayered Photoshop Graphics . . . . . . . . . . . . . . . . . . . . 289
Understanding Multilayered Graphics Import . . . . . . . . . . . . . . . . 289
Importing Multilayered Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Reimporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
The Batch Import Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Selected Clips Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Import Target Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Import Options Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Starting the Reimport Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Chapter 9 Organizing with Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Before You Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Setting the Bin Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
Using Bin Display Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Displaying Custom Bin Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Customizing Bin Views in Text View . . . . . . . . . . . . . . . . . . . . . . . 302
Saving a Custom Bin View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Using the Bin Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Using Audio Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Conserving Screen Real Estate with the SuperBin . . . . . . . . . . . . . . . . . . . 305
Enabling the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
Opening Bins in the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
Closing the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Moving Bins into and out of the SuperBin . . . . . . . . . . . . . . . . . . . . . . 306
Moving Clips and Sequences into and out of the SuperBin . . . . . . . . . 307
Copying Clips and Sequences into and out of the SuperBin . . . . . . . . 307
Deleting a Bin with the SuperBin Enabled . . . . . . . . . . . . . . . . . . . . . . 308
Basic Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Lassoing Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

15
 Selecting Clips and Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Duplicating Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Moving Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Copying Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Deleting Clips, Sequences, or Media . . . . . . . . . . . . . . . . . . . . . . . . . 311
Using Flat View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Assigning Colors to Bin Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Adding a Color Column to a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Assigning a Source Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Assigning a Custom Source Color . . . . . . . . . . . . . . . . . . . . . . . . 313
Limiting Color Choices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Sorting by Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Sifting by Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Sifting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Selecting Offline Items in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Selecting Media Relatives for an Object . . . . . . . . . . . . . . . . . . . . . . . 316
Using Brief View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Using Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318
Bin Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
Arranging Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Moving and Rearranging Columns . . . . . . . . . . . . . . . . . . . . . . . . 322
Aligning Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Showing and Hiding Columns. . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Deleting a Column . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Duplicating a Column . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Adding Customized Columns to a Bin . . . . . . . . . . . . . . . . . . . . . 324
Changing a Custom Column Heading . . . . . . . . . . . . . . . . . . . . . 325
Tracking Frames Based on File Names . . . . . . . . . . . . . . . . . . . . 326
Managing Clip Information in Text View . . . . . . . . . . . . . . . . . . . . . . . 327
Moving Within Column Cells. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

16
 Modifying Clip Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Modifying Data Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Using the Modify Command to Modify Data . . . . . . . . . . . . . . . . . 329
Copying Information Between Columns . . . . . . . . . . . . . . . . . . . . 331
Sorting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Sorting Clips in Descending Order . . . . . . . . . . . . . . . . . . . . . . . . 332
Performing Multilevel Sorting with Columns . . . . . . . . . . . . . . . . . 332
Using Frame View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Changing the Bin Background Color . . . . . . . . . . . . . . . . . . . . . . . . . . 334
Enlarging or Reducing Frame Size . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
Rearranging Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
Changing the Frame Identifying the Clip . . . . . . . . . . . . . . . . . . . . . . . 335
Arranging Frames in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336
Using Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336
Entering Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Adding Text in Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Rearranging Clips in Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
Printing Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
Gathering Format Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339
Preparing Digital Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339
Importing Color Bars and Other Test Patterns . . . . . . . . . . . . . . . . . . . 339
Creating Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Creating Video Leader. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Creating Audio Leader. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Chapter 10 Managing Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

Using the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Basic Media Tool Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
Opening the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347
Deleting Media Files with the Media Tool. . . . . . . . . . . . . . . . . . . . . . . 348
Consolidating and Transcoding Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

17
 Understanding the Consolidate Feature . . . . . . . . . . . . . . . . . . . . . . . 350
Using the Consolidate Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352
Using the Transcode Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Loading the Media Database. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Refreshing Media Databases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Backing Up Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Finding a Related Media File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Relinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
Relinking by Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
Relinking to Selected Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
Relinking Consolidated Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Relinking Moved Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
Unlinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

Chapter 11 Using Script Integration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Lined Script Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Explanation of Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Lining in the Digital Realm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Script Integration Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
Using Script Integration in Video Projects . . . . . . . . . . . . . . . . . . . . . . 371
Script Window Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
Script Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Importing a Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Opening, Closing, and Saving the Script Window . . . . . . . . . . . . . . . . 374
Displaying Clip and Sequence Information in a
Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Exploring the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Adjusting the Script Margins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Manipulating Script Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Changing the Font of the Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Selecting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

18
 Cutting, Copying, and Pasting Script . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Removing Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379
Searching Through Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Using Scene and Page Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Adding a Scene or Page Number . . . . . . . . . . . . . . . . . . . . . . . . . 380
Changing a Scene or Page Number . . . . . . . . . . . . . . . . . . . . . . . 381
Deleting a Scene or Page Number . . . . . . . . . . . . . . . . . . . . . . . . 382
Searching for a Scene or Page Number . . . . . . . . . . . . . . . . . . . . 382
Conducting a Text Search . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
Linking Clips to the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383
Interpolating Position for Script Integration . . . . . . . . . . . . . . . . . . . . . . . . . 385
Manipulating Slates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
Selecting Slates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
Resizing Slates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Holding Slates On Screen in the Script Window . . . . . . . . . . . . . . . . . 386
Hiding Slate Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Showing One Take Per Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
Moving a Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
Deleting a Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Manipulating Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Selecting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Adding Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390
Deleting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390
Displaying Take Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
Changing the Representative Frame for a Take . . . . . . . . . . . . . . . . . 391
Loading Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
Playing Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392
Adjusting Take Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392
Indicating Off-Screen Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392
Using Color Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

19
 Using Script Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394
Placing Script Marks Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394
Automating Screening and Marking . . . . . . . . . . . . . . . . . . . . . . . . . . 396
Loading and Playing Marked Segments . . . . . . . . . . . . . . . . . . . . . . . 398
Moving a Script Mark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
Deleting a Script Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
Finding Clips and Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
Finding Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
Finding Clips and Bins from the Script Window. . . . . . . . . . . . . . . . . . 400
Editing with the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Assembling a Rough Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Splicing a Script Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401
Revising the Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402
Interactive Screenings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402

Chapter 12 Viewing and Marking Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Customizing the Monitor Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405
Changing the Source Pop-up Monitor Size . . . . . . . . . . . . . . . . . . . . . 405
Using Dual Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406
Resizing Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408
Hiding the Video in the Composer Monitor . . . . . . . . . . . . . . . . . . 408
Resizing the Composer Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . 409
Using the 16:9 Display Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410
Using 16:9 for 24p or 25p Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410
Displaying Tracking Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411
Tracking Format Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411
Displaying the Info Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414
Displaying the Timecode Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415
Setting the Font and Point Size for Monitor Displays . . . . . . . . . . . . . 416
Playing Video to the Client Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417
Connecting a Client Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

20
 Selecting the Client Monitor Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . 418
Adjusting the Play Delay Offset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419
Viewing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420
Loading and Clearing Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420
Loading Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420
Using the Clip Name Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421
Switching Between Loaded Sequences . . . . . . . . . . . . . . . . . . . . 421
Clearing Sequences from Monitors . . . . . . . . . . . . . . . . . . . . . . . . 422
Controlling Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
Using Position Bars and Position Indicators. . . . . . . . . . . . . . . . . . . . . 423
Using Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424
Understanding the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425
Shuttling with J-K-L Keys. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426
Navigating with Home, End, and Arrow Keys . . . . . . . . . . . . . . . . 428
Play Length “In Use” Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429
Marking and Subcataloging Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429
Marking IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429
Clearing a Mark and Setting a New One . . . . . . . . . . . . . . . . . . . . 431
Dragging IN and OUT Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431
Marking an Entire Clip or Segment . . . . . . . . . . . . . . . . . . . . . . . . . . . 432
Marking Audio Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432
Using the Tool Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Using the Timeline Top Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434
Creating Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435
Subclips and Audio Sync for 24p and 25p Projects . . . . . . . . . . . . . . . 437
Using Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437
Ways to Use Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437
Adding Locators While Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . 439
Moving to the Previous or Next Locator . . . . . . . . . . . . . . . . . . . . 440
Using Locators to Mark an Area . . . . . . . . . . . . . . . . . . . . . . . . . . 440

21
 Deleting a Locator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
Using the Locators Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
Viewing and Navigating in the Locators Window . . . . . . . . . . . . . 442
Sorting Information in the Locators Window . . . . . . . . . . . . . . . . . 442
Displaying Frames in the Locators Window . . . . . . . . . . . . . . . . . 443
Changing the Color of the Locator Icon . . . . . . . . . . . . . . . . . . . . 443
Accessing a Locator in a Sequence or Clip . . . . . . . . . . . . . . . . . 443
Printing the Locators Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444
Copying and Pasting Locators Using the Locators Window . . . . . 444
Using the Locators Window to Delete Locators . . . . . . . . . . . . . . 446
Displaying Information in the Locators Window . . . . . . . . . . . . . . 446
Finding Frames and Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
Using Frame Offset Timecode to Cue a Frame. . . . . . . . . . . . . . . . . . 447
Using Timecode to Find a Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
Searching a Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
Using Match Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449
Matchframing Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450

Chapter 13 First Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Setting Up a New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Creating a New Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Changing Sequence Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
Changing the Start Timecode for Sequences . . . . . . . . . . . . . . . . . . . 453
Setting Up Tracks for the New Sequence . . . . . . . . . . . . . . . . . . . . . . 453
Making the First Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455
Beginning to Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455
Creating an Instant Rough Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457
Undoing or Redoing Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457
Monitoring Audio While Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
Editing Additional Clips into the Sequence. . . . . . . . . . . . . . . . . . . . . . . . . 458
Performing a Splice-in Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458

22
 Performing an Overwrite Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
Performing a Replace Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
Lifting, Extracting, and Copying Material. . . . . . . . . . . . . . . . . . . . . . . . . . . 460
Lifting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461
Extracting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461
Copying Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Using the Clipboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Placing a Sequence into the Clipboard . . . . . . . . . . . . . . . . . . . . . 463
Recovering Material from the Clipboard . . . . . . . . . . . . . . . . . . . . 463
Playing the New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Playing a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Starting a Playback Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Proceeding with Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465

Chapter 14 Using the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467

Using the Track Selector Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
Selecting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468
Monitoring Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Monitoring Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Monitoring Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Monitoring a Solo Track. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471
Cycling Through a Selection of Tracks. . . . . . . . . . . . . . . . . . . . . . . . . 472
Locking and Unlocking Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
Patching Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474
Sync Locking Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475
Adding Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476
Renaming Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476
Deleting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477
Customizing Timeline Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477
Accessing the Timeline Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478
Using the Timeline Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478

23
 Additional Procedures for Customizing the Timeline. . . . . . . . . . . . . . 480
Highlighting Offline Media Clips . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Enlarging and Reducing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Changing the Timeline Track Color . . . . . . . . . . . . . . . . . . . . . . . 482
Saving a Custom Timeline View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482
Replacing a Timeline View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482
Restoring the Default Timeline View . . . . . . . . . . . . . . . . . . . . . . . . . . 483
Navigating in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483
Using the Position Indicator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483
Using the Timeline Scroll Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484
Displaying Detail in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484
Focusing the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484
Displaying Source Material in the Timeline . . . . . . . . . . . . . . . . . . . . . 485
Controlling Movement in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . 486
Viewing Video Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486
Adding an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487
Removing Add Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488
Backtiming Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488
Detecting Duplicate Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489
Finding Flash Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490
Editing in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491
Selecting and Deselecting Segments . . . . . . . . . . . . . . . . . . . . . . . . . 491
Selecting Segments with the Segment Mode Pointer. . . . . . . . . . 492
Lassoing One or More Segments . . . . . . . . . . . . . . . . . . . . . . . . . 492
Deselecting Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493
Performing Segment Mode Edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493
Understanding the Four-Frame Display . . . . . . . . . . . . . . . . . . . . 494
Suppressing Four-Frame Display . . . . . . . . . . . . . . . . . . . . . . . . . 495
Extracting/Splicing-in Segments . . . . . . . . . . . . . . . . . . . . . . . . . . 496
Lifting/Overwriting Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497

24
 Maintaining Sync in Segment Mode . . . . . . . . . . . . . . . . . . . . . . . 498
Deleting Segments with Segment Mode . . . . . . . . . . . . . . . . . . . . 499
Bin Editing into the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500
Adding Filler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500
Setting the Duration for Filler at the Start of a Sequence . . . . . . . . . . . 502
Cutting, Copying, and Pasting in the Timeline . . . . . . . . . . . . . . . . . . . 503
Editing and Nesting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
Printing the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504

Chapter 15 Working in Trim Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505

Using Basic Trim Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505
Entering Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506
Exiting Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
Trim Mode Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508
Selecting Trim Sides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509
Selecting Additional Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510
Performing a Basic Trim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
Reviewing the Trim Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512
Reviewing an Edit with the Play Loop Button . . . . . . . . . . . . . . . . 512
Trimming with the J-K-L Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
Trimming On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
Trimming During a Playback Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514
Trimming Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515
Extending an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515
Customizing Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
Slipping or Sliding Clips or Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
Selecting Clips or Segments for Slip or Slide Trimming . . . . . . . . . . . . 517
Performing the Slip or Slide Trim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
Creating Overlap Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520
Maintaining Sync While Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521
Adding Black While Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521

25
 Trimming with Sync-Locked Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . 522

Chapter 16 Working with Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525

About Audio Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526
Accessing Audio Effect Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526
Audio Editing Aids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
Soloing Audio Tracks in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . 528
Using Audio Scrub. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528
Smooth Scrub Versus Digital Scrub . . . . . . . . . . . . . . . . . . . . . . . 528
Selecting Tracks for Scrubbing. . . . . . . . . . . . . . . . . . . . . . . . . . . 529
Performing Smooth Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
Using the J-K-L Keys to Perform Smooth Scrub . . . . . . . . . . . . . 530
Using Digital Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531
Adjusting Digital Scrub Parameters . . . . . . . . . . . . . . . . . . . . . . . 531
Performing the Digital Scrub Procedure . . . . . . . . . . . . . . . . . . . . 532
Adjusting Pan Defaults . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
Displaying Waveform Plots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
Identifying the Sample Rate by Color . . . . . . . . . . . . . . . . . . . . . . . . . 535
Adjusting Volume Control (Software-Only Systems) . . . . . . . . . . . . . . 536
Controlling Host Audio Devices (Software-Only Systems) . . . . . . . . . 538
Understanding the Audio Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539
Using the Audio Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540
Resizing the Audio Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541
Adjusting One Audio Track at a Time . . . . . . . . . . . . . . . . . . . . . . . . . 542
Changing an Audio Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543
Adjusting Pan Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544
Applying Pan Value Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . 544
Ganging and Adjusting Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . . . 546
Rendering an Audio Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546
Modifying Pan Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547
Creating or Modifying an Audio Pan/Vol Effect. . . . . . . . . . . . . . . 547

26
 Modifying How the System Interprets Pan . . . . . . . . . . . . . . . . . . 547
Bypassing Existing Volume Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 547
Adjusting Volume While Playing an Audio Mix Effect. . . . . . . . . . . . . . 548
Limitations on Adjusting Volume . . . . . . . . . . . . . . . . . . . . . . . . . . 549
Improving Response Time. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549
Understanding Audio Gain Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550
Automation Gain Values and System Clip Gain Values . . . . . . . . . . . . 550
Adjusting Volume in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551
Deleting Audio Gain Keyframes in the Timeline . . . . . . . . . . . . . . 552
Moving Audio Gain Keyframes in the Timeline . . . . . . . . . . . . . . . 553
Using an External Fader or Mixer to Adjust Volume . . . . . . . . . . . . . . 554
Adjusting the Volume of Individual Keyframes . . . . . . . . . . . . . . . . . . . 554
Understanding the Automation Gain Tool . . . . . . . . . . . . . . . . . . . . . . 555
Track Solo Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556
Position Indicator Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558
Applying Automation Gain Adjustments . . . . . . . . . . . . . . . . . . . . 559
Automation Gain Tool Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . 559
Recording Automation Gain Information . . . . . . . . . . . . . . . . . . . . . . . 560
Using the Automation Gain Tool Sliders . . . . . . . . . . . . . . . . . . . . 561
Using a Keyboard Shortcut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562
Using an External Fader Controller or Mixer . . . . . . . . . . . . . . . . . 562
Using the Audio EQ Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564
Audio EQ Tool Components. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565
Basic EQ Tool Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565
EQ-Specific Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 566
Applying Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567
Saving Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570
Removing Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572
Audio EQ Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572
Low Shelf Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572

27
 Small Octave Range Example . . . . . . . . . . . . . . . . . . . . . . . . . . . 573
Using Audio EQ Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574
Applying an EQ Template. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575
Creating Your Own Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . 576
Adding an EQ Template to the Fast Menu (Windows) . . . . . . . . . 577
Adding an EQ Template to the Fast Menu (Macintosh) . . . . . . . . 577
Adjusting EQ While Playing an Audio Effect . . . . . . . . . . . . . . . . . . . . 578
Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579
Installing AudioSuite Plug-Ins (Windows) . . . . . . . . . . . . . . . . . . . . . . 579
Installing AudioSuite Plug-Ins (Macintosh) . . . . . . . . . . . . . . . . . . . . . 580
Starting and Quitting DAE (Macintosh Only) . . . . . . . . . . . . . . . . . . . . 581
Setting Playback Buffer Size (Macintosh Only) . . . . . . . . . . . . . . . . . . 582
Using Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . 582
Applying an AudioSuite Plug-In to a Clip in the Timeline . . . . . . . . . . 583
Using a Plug-In Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584
AudioSuite Plug-In Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . 585
Rendering Plug-In Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585
Creating New Master Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586
AudioSuite Controls for Creating New Master Clips . . . . . . . . . . . 586
Mono, Stereo, and Multichannel Processing . . . . . . . . . . . . . . . . 588
Using Plug-Ins to Create New Master Clips . . . . . . . . . . . . . . . . . 590
Using AudioSuite Effect Templates . . . . . . . . . . . . . . . . . . . . . . . 591
Plug-In Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592
Troubleshooting AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . 593
Canceling a Render Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . 593
Addressing Errors When Rendering a Plug-in Effect . . . . . . . . . . 593
Recording Voice-Over Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
Creating the Voice-Over . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595
Scenarios for Using the Audio Punch-In Tool . . . . . . . . . . . . . . . . . . . 598
Monitoring the Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599

28
 Monitoring Previously Recorded Tracks. . . . . . . . . . . . . . . . . . . . . . . . 599
Voice-Over Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
Fine-Tuning Audio Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Isolating Clip Portions for Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . 600
Fading and Dipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Fading Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601
Dipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
Mixing Down Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603
Changing the Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604

Chapter 17 Syncing Methods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607

Autosyncing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
Managing Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
Editing to Avoid Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610
Fixing Sync Breaks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
Fixing Sync in Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
Fixing Sync in Segment Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
Resyncing Subframe Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612
Managing Sync with Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613
Using Sync Lock. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614
Syncing with Tail Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
Syncing with Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616
Using Add Edit When Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617
Ganging Footage in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618

Chapter 18 Group Clip Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619

Understanding Grouping Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619
Creating Group Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620
Group Clip Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621
Full-Monitor Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622
Quad Split Source View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622

29
 Group Clip Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624
Group Clip Editing Techniques. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625
Switching the Display of Camera Angles. . . . . . . . . . . . . . . . . . . . . . . 626
Using the Add Edit Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
Using the Group Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627
Using the Multi-angle View Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
Using Match Frame in Group Clip Editing . . . . . . . . . . . . . . . . . . . . . . 628
Selective Camera Cutting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628

Chapter 19 Output Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631

Preparing for Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631
Selecting Video Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632
Preparing for Audio Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632
Audio Sample Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632
Setting the Calibration Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
Calibrating Global Output Levels . . . . . . . . . . . . . . . . . . . . . . . . . 634
Adjusting Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634
Preparing Record Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636
Frame-Accurate Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636
Manual Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636
Enabling Assemble-Edit Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . 637
Using the Digital Cut Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638
Using ExpertRender to Prepare Effects for a Digital Cut. . . . . . . . . . . 640
Selecting a Deck in the Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . 641
Previewing a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 642
Recording a Digital Cut to Tape (Remote Mode) . . . . . . . . . . . . . . . . 643
Crash Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 645
Recording a Digital Cut to Tape (Local Mode) . . . . . . . . . . . . . . . . . . 646
Outputting Directly to a DV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . 647
DV Digital Cut Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 648
Using EDL Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651

30
 Using Film Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651
How Matchback Works. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652
Matchback Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653
Setting Up a Matchback Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653
Selecting Film Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 654

Chapter 20 Exporting and Exchanging Material . . . . . . . . . . . . . . . . . . . . . . 655

Understanding Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 656
Preparing to Export a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 656
QuickTime Reference Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657
Exporting as a QuickTime Reference Movie . . . . . . . . . . . . . . . . . . . . 658
Exporting as a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660
Selecting QuickTime Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 662
Improving Workflow Using Send To . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664
Send To Digidesign Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 665
Send To DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 668
Send To Sorenson Squeeze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671
Send To Avid | DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674
Send To Third-Party Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675
Exporting Video in DV Stream Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677
Mixing Down Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 678
Exporting Frames, Clips, or Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . 679
Using the Drag-and-Drop Method for Export . . . . . . . . . . . . . . . . . . . . 682
Customizing Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683
Preset Export Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683
Creating a New Export Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684
Exporting OMFI and AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684
Exporting Through OMF Interchange . . . . . . . . . . . . . . . . . . . . . . . . . . 685
Exporting Through AAF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 685
Choosing an OMFI or an AAF Transfer Method. . . . . . . . . . . . . . . . . . 685
Exporting OMFI or AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 686

31
 Exporting as an AVI File (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . 688
Using Avid Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 689
Using the Avid Codecs for QuickTime. . . . . . . . . . . . . . . . . . . . . . . . . 689
Installing an Avid Codec on Other Systems . . . . . . . . . . . . . . . . . . . . 693
Copying an Avid Codec for QuickTime to Another
Windows System (Windows Only) . . . . . . . . . . . . . . . . . . . . . . 693
Copying a Codec to a Macintosh System
(Macintosh Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694
Exporting from a Third-Party Application. . . . . . . . . . . . . . . . . . . . . . . 694
Exporting as Windows Media (Windows Only). . . . . . . . . . . . . . . . . . . . . . 695
Exporting Using an Avid Supplied Template (Windows Only). . . . . . . 695
Exporting Using an Existing Windows Media Profile (Windows Only). 697
Exporting Using a Custom Profile (Windows Only) . . . . . . . . . . . . . . . 698
Creating a Custom Video Profile (Windows Only) . . . . . . . . . . . . 698
Creating a Custom Audio Profile (WIndows Only) . . . . . . . . . . . . 702
Exporting Tracks as Audio Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705
Exporting as a Graphic File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706
Transferring a Project Between Avid Systems . . . . . . . . . . . . . . . . . . . . . . 707
Methods for Transferring Files Between Avid Systems. . . . . . . . . . . . 707
Compatibility Requirements for Transfer . . . . . . . . . . . . . . . . . . . . . . . 708
Transferring a Project and Associated Media Files . . . . . . . . . . . . . . . 708
Transferring Projects, User Profiles, and Site Settings . . . . . . . . . . . . 709
Transferring Projects and Bins Using AFE Files . . . . . . . . . . . . . . . . . . . . 711

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 713

32
Tables

Supported Resolutions and Field Dimensions . . . . . . . . . . . . . . . . . . . . . . . 57

Bin Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Settings Scroll List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Settings Menu Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Customizable Interface Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Navigation Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Options for Modifying Bin Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Film Project Pulldown and Transfer Settings . . . . . . . . . . . . . . . . . . . . . . . 227
Audio Tool Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Meter Menu Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Support for Photoshop Layer Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292
Support for Photoshop Special Layer Types. . . . . . . . . . . . . . . . . . . . . . . . 292
Object Icon Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
Bin Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
Shortcuts for Moving in Text View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
Modify Command Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Consolidate Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354
Transcode Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Relink Dialog Box Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
Relink Specific-Resolution Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
Track Selection Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469
Timeline Fast Menu Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478
Number of Tracks and Scrub Speeds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
Audio Mix Fast Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545
Change Sample Rate Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605
Custom Profile Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700
Devices for Transferring Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 707

33
34
 Using This Guide

Congratulations on your purchase of an Avid Xpress Pro editing application.

You can use your application to create broadcast-quality output incorporating
every possible production element from full-speed, high-resolution footage, to
multimedia artwork and animation, to computer-generated effects and titling.

This guide contains all the task-oriented instructions and conceptual

information you need to use the capture, editing, and output features of your
Avid application. The Avid Xpress Pro User’s Guide Supplement is a
companion to this User’s Guide. It contains information about settings
options, file format specifications, and other supplementary information. The
contents of this guide and of the Supplement are also available in the Help.

This guide is intended for all users, from beginning to advanced.

Unless noted otherwise, the material in this document applies to the

Windows XP and Mac OS X operating systems.The majority of screen shots
in this document were captured on a Windows XP system, but the information
applies to both Windows XP and Mac OS X systems. Where differences exist,
both Windows XP and Mac OS X screen shots are shown.

n The documentation describes the features and hardware of all models.

Therefore, your system might not contain certain features and hardware that
are covered in the documentation.
Using This Guide

Symbols and Conventions

Avid documentation uses the following symbols and conventions:

Symbol or Convention Meaning or Action

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.

Margin tips In the margin, you will find tips that help you perform
tasks more easily and efficiently.

(Windows), (Windows This text indicates that the information applies only to
only), (Macintosh), or the specified operating system, either Windows XP or
(Macintosh only) Macintosh OS X.

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.

Ctrl+key or mouse action Press and hold the first key while you press the last
k+key or mouse action key or perform the mouse action. For example,
k+Option+C or Ctrl+drag.

36
 If You Need Help

If You Need Help

If you are having trouble using this Avid editing application:
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.

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 Tutorial and Online Library

The Avid Online Library contains a multimedia tutorial and all the product
documentation in PDF format. Avid recommends the multimedia tutorial as
your first resource for learning how to use your application. You can access
the tutorial and the library from the Tutorial and Online Library DVD or
CD-ROM or from the Help menu.

37
Using This Guide

n You will need Adobe® Acrobat® Reader® installed to view the documentation
online. You can download the latest version of Acrobat from the Adobe Web site.
The tutorial and the effects reference guide require 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 tutorial and online library from the Tutorial and Online
Library CD-ROM:
1. Insert the Tutorial and Online Library DVD or CD-ROM into the drive.
2. Double-click the Mainmenu file.

To access the tutorial and the online library from the Help:
1. Insert the Tutorial and Online Library DVD or CD-ROM into the drive.
2. In your Avid application, select Help > Online Library.

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).

38
 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 or

the Macintosh operating system and the Avid folders:
• Working with the Desktop
• Using the Avid Xpress Pro Folder
• Managing the Avid Projects and Avid Users Folders
• Starting the Avid Application (Windows)
• Starting the Avid Application (Macintosh)

n (Windows only) This chapter refers to the default installation directory path
for the various Avid folders. If you choose a different directory path during the
installation, you must substitute that path when you use this chapter.
Chapter 1 Desktop Basics

Working with the Desktop

For information on the This section describes the following desktop features that you use when
Windows operating working with the Avid application.
system, such as the
desktop and icons, see • Creating an Automatic System Recovery Disk (Windows Only)
the Microsoft® • Using Shortcut Menus (Windows)
Windows Help. For
information on the • Using Shortcut Menus (Macintosh)
System Folder and
• Using the Windows Taskbar (Windows Only)
other Macintosh
features, such as the • Dragging Windows (Windows Only)
desktop and icons, see
the Macintosh • Setting the Avid Color Scheme (Windows)
documentation. • Setting the Apple Color Scheme (Macintosh)
• Setting Your Screen Resolution
- Changing Screen Resolution (Windows)
- Changing Screen Resolution (Macintosh)

Creating an Automatic System Recovery Disk (Windows Only)

You or your system administrator need to create an Automatic System

Recovery Disk to rebuild your system configuration if it becomes damaged.
You need to update the disk any time you make a system change, like
installing new software.

To create an automatic system recovery disk:

1. Select Start > All Programs > Accessories > System Tools > Backup.
The Backup or Restore Wizard opens.
2. Select Back up files and settings, and then click Next.
3. Select All information on this computer, and then click Next.
4. Insert a writable CD-ROM, select CD-ROM, and then click Finish.
The Wizard writes the system information to the CD-ROM.
5. Store the disk in a safe, dry, static-free location.

40
 Working with the Desktop

Using Shortcut Menus (Windows)

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:

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 the Help.
t Right-click a screen object to access What’s This Help for the object.

Using Shortcut Menus (Macintosh)

To use a shortcut menu, do one of the following:
t Ctrl+Shift+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 the Help.
t Ctrl+Shift+click a screen object to access What’s This? Help for the
object.

Using the Windows Taskbar (Windows Only)

By default, the Microsoft Windows taskbar always appears on the bottom of

your screen, on top of your application. You have two other choices:
• Keeping the taskbar hidden behind the application
• Setting the taskbar to appear only when you drag the mouse pointer to it

n If you keep the taskbar hidden while running your Avid application and you
minimize an application such as Help, you do not see the minimized icon. To
see the taskbar and minimized icons, minimize the Avid application.

To change the taskbar settings:

1. Right-click the Start button, and select Properties.
The Taskbar and Start Menu Properties dialog box opens.
2. Click the Taskbar tab.
3. Select the options you want:

41
Chapter 1 Desktop Basics

t To keep the taskbar hidden, deselect “Keep the taskbar on top of other
windows” and “Auto-hide the taskbar.”
t To set the taskbar to appear when you want, select “Keep the taskbar
on top of other windows” and “Auto-hide the taskbar.”
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 (Windows Only)

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.

To deselect the option “Show window contents while dragging”:

1. Right-click on an empty part of the desktop, and select Properties.
The Display Properties dialog box opens.
2. Click the Appearance tab, and then click the Effects button.
3. Deselect “Show window contents while dragging.”
4. Click OK, and then click OK again.

Setting the Avid Color Scheme (Windows)

By default, your Avid application is set to the gray and purple Avid color
scheme.

To change the color scheme:

1. Right-click on an empty part of the desktop, and select Properties.
The Display Properties dialog box opens.
2. Click the Appearance tab.
3. Click the Color Scheme pop-up menu, and select a different color scheme.
4. Click OK.

42
 Working with the Desktop

n You can also change the color scheme in the Appearance tab of the Interface
settings dialog box within the Avid application. See “Interface Settings:
Appearance Tab” in the Help.

Setting the Apple Color Scheme (Macintosh)

To change the color scheme:
1. Select AppleP menu > System Preferences.
The System Preferences window opens.
2. In the Personal area, click General.
3. Click the Appearance pop-up menu, and select a color.
4. Click the Highlight Color pop-up menu, and select a color.
5. Return to the System Preferences window:
t Click the Close button.
t Click Show All.

n You can change the color scheme of the Avid application in the Appearance
tab of the Interface settings dialog box. See “Interface Settings: Appearance
Tab” in the Help.

Setting Your Screen Resolution

The screen resolution for the Avid application is different for NTSC and for
PAL:
• NTSC resolution is 720 x 486 non-square pixels covering all the active
video.
• PAL resolution is 720 x 576 non-square pixels covering all the active
video.

Your Avid application works best with the following screen resolutions:

One Monitor Two Monitors

1024 x 768 pixels 2048 x 768 pixels

1152 x 864 pixels 2304 x 864 pixels

43
Chapter 1 Desktop Basics

One Monitor Two Monitors

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 appear smaller.

n When you use a single board to drive two monitors, the maximum resolution at
which video plays correctly may be limited. If video does not play correctly,
try reducing the resolution to 2048 x 768 pixels.

Changing Screen Resolution (Windows)

To view or change the screen resolution:

1. Right-click on an empty part of the desktop, and select Properties.
The Display Properties dialog box opens.
2. Click the Settings tab.
3. Under Screen resolutions, drag the slider to the resolution you want.
4. Click the Color quality pop-up menu, and select Highest (32 bit).
5. Click OK.

Changing Screen Resolution (Macintosh)

To view or change the screen resolution:

1. Select P > System Preferences.
The System Preferences window opens.
2. In the Hardware area, click Displays.
3. Select a resolution in the Resolutions list.
4. Keep Colors set to Millions.
5. Click the Close button or click Show All to return to the System
Preferences window.

n If you use two monitors and the second monitor has a resolution of 800 x 600,
it automatically becomes the Client monitor.

44
 Using the Avid Xpress Pro Folder

Using the Avid Xpress Pro Folder

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

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 by clicking Using Help in the Contents list in the Help
browser.
• Avid Xpress Pro application: The application icon resides here. You can
start the application by following the procedures described in “Starting the
Avid Application (Windows)” on page 48 or “Starting the Avid
Application (Macintosh)” on page 48.
• Settings folder: In addition to Project and User settings, the system
maintains settings files in this folder that apply to all users and all projects
on the system. You can copy or move the Site Settings file to other
systems on the desktop, using the same procedure described in “Moving
Settings Between Systems” on page 112.
• SupportingFiles folder: This folder contains a series of files that add
functionality to the application. The system accesses most of these files
from within the application. You can add third-party effects to the 3rd
Party Plug-Ins folder and AVX_Plug-Ins folder from programs such as
Avid Visual Extensions (AVX™) for use in effects editing, as described in
the effects guide for your system or the Help.

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.

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Chapter 1 Desktop Basics

Using the Avid Projects and Avid Users Folders

When you create a new project or user profile, the system creates the
following files and folders:
• When you create a new user, the system creates a user profile file, a User
Settings file, and a user folder containing them. Each item is given the
user name you provide. The new folder is stored in the Avid Users folder
on the internal hard drive (Windows) or on Macintosh HD (Macintosh).
When you create user profiles, the profiles settings are stored in the user
folder named for your user login name. See “Using User Profiles” on
page 69.
• When you create a new project, the system creates three items: a project
file, a Project Settings file, and a project folder containing both. Each item
is given the project name you provide. This new folder is stored in the
Avid Projects folder on the internal hard drive (Windows) or on the
Macintosh HD (Macintosh).

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

Changing Project and User Names

You cannot change project or user names from within the Avid application.
You must change the name from your desktop before starting the application.
The Avid Users and Avid Projects folders are located in:
• (Windows) drive:\Program Files\Avid\Avid Xpress Pro
• (Macintosh) Macintosh HD/Users/Shared/Avid Xpress Pro

To change a project or user name:

1. Navigate to the Avid Projects or the Avid Users folder, and then double-
click the folder.
2. Click the name of the folder you want to change, and then click it again.
The name is highlighted for text entry.
3. Type the new name of the folder.

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 Managing the Avid Projects and Avid Users Folders

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.

4. Close the windows and restart the Avid 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:
• (Windows) drive:\Program Files\Avid\Avid Xpress Pro
• (Macintosh) Macintosh HD/Users/Shared/Avid Xpress Pro

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

To delete a project or user profile:

1. Navigate to the Avid Users or Avid Projects folder, and then double-click
the folder.
2. Drag the project or user folder you want to delete to the Recycle Bin
(Windows) or the Trash (Macintosh).
3. Empty the Recycle Bin (Windows) or the Trash (Macintosh) to remove
the files from the system.
4. Close the windows and restart the Avid application.

n Captured media related to a deleted project is not eliminated with the project
folder. For more information on deleting media files, see “Deleting Clips,
Sequences, or Media” on page 311 and “Deleting Media Files with the Media
Tool” on page 348.

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Chapter 1 Desktop Basics

Starting the Avid Application (Windows)

The Avid application is in the following location:

drive:\Program Files\Avid\Avid Xpress Pro

For most users, the desktop is a more convenient location for starting the
application. For information on creating a shortcut on the desktop, see the
Microsoft Windows XP documentation.

To start the Avid application:

t Select Start > All Programs > Avid > Avid Xpress Pro.
After a few moments, the Select Project dialog box opens.

n If you install your Avid editing application on a laptop computer, a dialog box
might open with a message about incompatible power management schemes.
Avid recommends you use the “Always On” power scheme when working with
Avid applications. Other power schemes might adversely affect performance
of editing functions (for example, capture and digital cuts). For information
on changing power schemes, see the Windows documentation.

Starting the Avid Application (Macintosh)

The Avid application is in the following location:

Macintosh HD/Applications/Avid Xpress Pro

For most users, the Dock is a more convenient location for starting the
application.

The application does not start properly if the icon is moved out of the
Avid Xpress Pro folder. You can create an alias and drag it to the desktop or
onto the Dock.

n For information on creating an alias or on using the Dock, see the Mac OS X
documentation.

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 Starting the Avid Application (Macintosh)

To start the Avid application, do one of the following:

t Double-click the application alias on the desktop.
t Double-click the application alias on the Dock.
t Select Go > Applications, and then double-click the application icon.
After a few moments, the Select Project dialog box opens.

n If you install your Avid editing application on a laptop computer, a dialog box
might open with a message about the processor running at reduced speed.
Avid recommends you disable reduced processor performance in the Energy
Saver settings when working with Avid applications. Running at reduced
speed might adversely affect performance of editing functions (for example,
capture and digital cuts). For more information on disabling reduced
processor performance, see the Macintosh documentation.

n You might also see a message about disks spinning down while idle. Deselect
“Hard Disk Sleep” in the Energy Saver settings for best system performance.

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Chapter 1 Desktop Basics

50
 Chapter 2
Planning and Starting a Project

This chapter gives a brief description of video formats and resolutions

supported by your Avid editing system and other information that can help
you plan your project. Your work in your Avid application begins when you
turn on the system, start the application, and open an existing project or create
a new project. This chapter also describes these and other procedures for
starting a project. These topics are covered in the following sections:
• Types of Projects
• Project Resolutions
• Working with Mixed-Resolution Projects
• Sample Workflow
• Video and Film Projects
• Opening and Closing a Project
• Backing Up Your Project Information
• Ending an Edit Session
• Mounting and Unmounting Drives

For information on the Microsoft Windows operating system and terminology,

see the Microsoft Windows Help. For information on the Macintosh operating
system, see your Macintosh documentation. For information on turning on
your system, see “Setting Up Your Software-Only Avid Editing System” or
“Using the Avid Mojo DNA” in the Help.

n (Windows only) This chapter refers to the default installation directory path
for the various Avid folders. If you chose a different directory path during the
installation, you must substitute that path when using this chapter.
Chapter 2 Planning and Starting a Project

Types of Projects
When you start a project on your Avid system, you need to decide on a project
type. Select your project type based on your source footage. You can select
one of the following options from the New Project dialog box:
• 23.976p NTSC: For footage that has been shot at 23.976-fps with
advanced pulldown, or for film-originated or other 24-fps footage in
which you want to use digital audio. See “Working in a 23.976p NTSC
Project” on page 53.
• 24p NTSC: For film-originated footage or other 24-fps footage,
transferred to NTSC videotape. Digital cut is not available for 24p
projects.
• 30i NTSC: For NTSC video-originated footage (30 fps).
• 24p PAL: For film-originated footage or other 24-fps footage, transferred
to PAL videotape. Digital cut is not available for 24p projects.
• 25p PAL: For 25-fps film-originated footage or other 25-fps footage,
transferred to PAL videotape.
• 25i PAL: For PAL video-originated footage (25 fps).

n You can import a 24p project and work with it, but you cannot capture at 24p.

In these options, 23.976p, 24p, and 25p designate 23.976-fps, 24-fps, and 25-
fps progressive media. For these projects, your source footage is captured and
stored as 23.976, 24, or 25 full, discrete frames per second. In the 30i NTSC
and 25i options, the i represents interlaced frames played at 30 fps or 25 fps.
An interlaced frame consists of two fields, each of which contains one-half the
scan lines of the frame. Interlaced frames are standard for NTSC and PAL
video media.

For 30i NTSC projects and 25i PAL projects, you can select the Matchback
option, which lets you capture and edit film-originated footage at 30 fps or 25
fps and “match back” to a cut list for conforming your edit to film. For
information on matchback projects, see “Setting up a Matchback Project” in
the Help.

For 23.976p film projects, 24p film projects, and 25p film projects, click the
Film button and select a film gauge tracking format from the Film Type
pop-up menu.

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 Types of Projects

Working in a 23.976p NTSC Project

Avid editing systems that include 24p support include a 23.976p NTSC
project type. This project type is especially designed for capture and output of
digital audio that has been transferred or recorded at 48 kHz, in sync with
picture at 23.976 fps. A 23.976 project lets you maintain digital standards for
all NTSC input and output at 23.976 fps.

Select this project type for one of the following reasons:

• Your audio and video sources have been shot at a camera rate of 23.976
fps using Advanced Pulldown (see “Capturing with Advanced Pulldown”
on page 55). This frame rate, sometimes referred to as 24p by video-
equipment manufacturers, is a DV-based standard-definition format, with
media being recorded and played back at 23.976 fps. Your Avid editing
application takes full advantage of the high-quality progressive nature of
this media, as you work in a 1:1 relationship with the frame rate at which
you captured your media.
• This rate is also used for film (film-based television) or 24p HD video
(television or feature film). These sources can be downconverted to
standard NTSC without further audio slowdown. Audio recorded at 48
kHz can remain at 48 kHz throughout the project.
• Your film and audio sources have been synced in the telecine process and
transferred to Digital Betacam® or other digital videotape formats.

n The 23.976 fps frame rate is sometimes referred to as 23.97 fps or 23.98 fps.

n The 23.976 fps frame rate is in direct proportion to the NTSC broadcast frame
rate of 23.97 fps, which is used for film-to-tape transfer to the Avid editing
system.

Considerations for 23.976 Projects

Be aware of the following considerations:

• You can use any DV device to feed material captured at 23.976p into your
Avid application to create a 23.976p project.
• For projects shot at 24fps, audio must be “pulled down” or “slowed
down” before it can be captured into a 23.976p project. The user does not
have the choice of capturing non-pulled-down audio. Unlike 24p NTSC
projects, where the audio pulldown switch can be set to 1.0 or 0.99 to

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Chapter 2 Planning and Starting a Project

support either 24 fps or 23.976 fps, 23.976p projects do not use the audio
pulldown switch. These 23.976p projects can only support 48 kHz audio
that is in sync with 23.976-fps picture on a 29.97-fps transfer tape.
• Media created in 24p projects and media created in 23.976p projects are
not compatible. If you start working in one type of project and then decide
to switch to the other, you need to recapture all video and audio media.
You cannot relink video media or audio media across the two project
types.
• OMF and AAF files that are output from a 23.976p project look slightly
different from those from a 24p project. The edit rates will show up as
23.976 fps in these files.

c Because of the way project information is stored, previous versions of

Avid editing systems do not recognize 23.976p projects as being different
from 24p projects. You can open 23.976p projects in previous versions,
however, none of the media can play because of the different internal edit
rates. Projects are not corrupted by opening them in older versions of the
software (unless you try to modify clips or edit sequences). If necessary,
you can recapture the media in the 24p project.

Supported Resolutions for 23.976 Projects

In 23.976 projects, you can capture and play back at two resolutions:
• DV24p
• 28:1

You can perform any operation that creates these resolutions, for example,
capture, render, mixdown, playback, and so on.

Two additional resolutions are allowed for playback only:

• 14:1
• 35:1

54
 Project Resolutions

Capturing with Advanced Pulldown

When you capture NTSC footage with a DV camera over a Firewire®

connection, you can choose to capture with Advanced pulldown. This allows
native DV editing applications like your Avid application to create 23.976p
media. Advanced pulldown is set automatically when you capture, and
requires no further adjustment in your Avid editing application.

The following figure illustrates the difference between Standard pulldown and
Advanced pulldown.

1 2 1 2 1 2 1 2 1 2
24p Standard
pulldown
(2:3:2:3)
A1 A2 B1 B2 B3 C1 C2 D1 D2 D3

Captured
24p frame fields
capture A B C D indicated
with bold
lines

24p Advanced A1 A2 B1 B2 B3 C1 C2 C3 D1 D2
pulldown
(2:3:3:2)

1 2 1 2 1 2 1 2 1 2

To capture with Advanced pulldown:

t Select the Advanced pulldown setting on your DV camera.

Project Resolutions
You must capture media to begin a project. See “Setting Up Your
Software-Only Avid Editing System” in the Help or “Connecting the Avid
Mojo DNA” in the Help. You can also use a Media Station XL system or an

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Chapter 2 Planning and Starting a Project

Avid Xdeck™ in an Avid Unity™ MediaNetwork environment to capture

media. For more information about these products, contact your Avid
representative, or visit the Avid Web site.

Project formats are described as follows:

• An Avid video project captures and stores 30i-fps NTSC media as digital
video that conforms to the ITU-R 601 standard (SDTV or standard-
definition TV).
• Film projects or projects shot with a 24p-enabled camera with advanced
pulldown capture and store 23.976p-fps NTSC media. You do your
offline editing on an Avid editing system and finishing on a Symphony™
or Avid|DS system.

n You cannot create 24p or 25p media or multiple output formats from video
footage shot at 30 fps (NTSC) or 25 fps (PAL). The source must be film or HD
(high-definition).

• Digital video (DV) is an international standard created by a consortium of

10 companies to serve as a consumer digital video format. Your Avid
application supports the DV 25 resolution.
DV, originally known as DVC (Digital Video Cassette), uses a 1/4-inch
tape to record very high quality digital video. The video is sampled at the
same rate as D1, D5, or Digital Betacam video (720 pixels per scan line).
The color information in DV 25 is sampled at the D1 rate of 4:1:1 in 525-
line (NTSC) and 4:2:0 in 625-line (PAL) formats.

Avid editing systems allow you to capture, edit, and play back in the
resolution listed in the following table, except where noted. You cannot
capture DV 50 and MPEG 50.

n Your Avid editing system supports DV 50 and MPEG 50 media, but cannot
capture it in its native format. To capture DV 50 and MPEG 50 footage in its
native format, use a Meridien-based Avid editing system and share the media
using an Avid Unity MediaNetwork to access and edit the media.

All resolutions are selectable in the Media Creation dialog box (Capturing,
Titles, Import, Mixdown & Transcode, Motion Effects, and Render tabs).

56
 Project Resolutions

Supported Resolutions and Field Dimensions

NTSC Per-Field PAL Per-Field

Resolution Dimensions Dimensions

DV 25 4:1:1 720 x 240 720 x 288

DV 25 4:2:0 720 x 240 720 x 288

DV 25p 4:1:1 720x480 (per frame) 720x576 (per frame)

DV 25p 4:2:0 720x480 (per frame) 720x576 (per frame)

DV 50 4:2:2 720 x 240 720 x 288

(editing and playback only)

MPEG 50 4:2:2 720 x 256 720 x 308

(editing and playback only)

15:1s 352 x 248 352 x 296

1:1 (Uncompressed) 720 x 248 720 x 296

DV24p (23.976 projects) 720 x 240 720 x 288

28:1p (23.976 projects) 352 x 248 352 x 296

14:1 (23.976 projects, editing and 352 x 248 352 x 296

playback only)

35:1 (23.976 projects, editing and 352 x 248 352 x 296

playback only)

These resolutions appear, along with other Avid resolutions, wherever a list of
resolutions appears (for example, in the Video Resolution pop-up menu of the
Media Creation dialog box). The exact list depends on your Avid editing
system model and whether you are working in an NTSC or PAL project.

For information about input and output, see the following sections:
• “Configuring Decks” on page 208
• “Setting Up the Capture Tool” on page 213
• “Using the Digital Cut Tool” on page 638

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Chapter 2 Planning and Starting a Project

Working with Mixed-Resolution Projects

For more information The Avid Xpress Pro system with an Avid Mojo DNA device allows you to
on mixing resolutions, work with mixed resolutions in the same sequence.
see “Resolutions and
Storage” in the Help.
The only restriction is you cannot mix clips with different frame rates. For
example, you cannot mix NTSC with PAL and you cannot mix interlaced
resolutions with progressive resolutions.

Sample Workflow
The following illustration shows a possible workflow using a standalone
configuration. If you are in a workgroup environment, media can be brought
in from, and sent back to, shared storage.

58
 Video and Film Projects

(Step 1) Source footage:

1. (Option) Import a

DV
Beta- NTSC 30 fps or
log file to create a bin. cam
Log PAL 25 fps

2. Connect your
DV Betacam,
equipment to the
camera Digital Betacam,
Avid Mojo DNA. or other VTR
or deck

3. Capture the media in

an available resolution. (Step 2)
Avid Mojo DNA
If you imported a log
file, batch capture. (Step 3) 1394 connection
Otherwise, log and
record or capture
Avid editing
on-the-fly. system

4. Perform edits and (Step 4)

create a final sequence.

5. Output a master tape: Avid Mojo

DV, analog, digital, or DNA
all three. Output NTSC
or PAL, depending on Betacam,
DV deck
your source footage. (Step 5) Digital Betacam,
or other VTR
In a workgroup
environment you can
send to air or post to 25-fps or
Web. Beta-
DV

cam 30-fps master

Project Workflow

Video and Film Projects

Avid systems offer you a flexible approach to finishing your project, whether
it originates as video or film.

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Chapter 2 Planning and Starting a Project

For video projects, you can use the offline capabilities of the Avid editing
system and the Total Conform capabilities of the Symphony system to
produce the highest quality, uncompressed broadcast masters.

For film and 24-fps or 25-fps HDTV (high-definition television) projects, you
can use the Avid editing system to capture footage at 24 fps or 25fps and edit
the content in its native frame rate. Then use the Symphony system’s film-
tape-film-tape (FTFT) and Total Conform capabilities to finish and deliver
uncompressed NTSC, PAL, 4:3, 16:9, and letterbox formats, as well as frame-
accurate film cut lists and edit decision lists (EDLs), all from the same 24p
(24-fps progressive) or 25p media.

Opening and Closing a Project

When you start your Avid application, the Select Project dialog box opens.

Windows

Login name

60
 Opening and Closing a Project

Macintosh

Login name

The name you used to log in is selected as the user.

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. Do one of the following:
t (Windows) Select Start > Log Off, and then log in as a different user.
t (Macintosh) Select AppleP menu > Log Out, click Log Out, and
then click a new user.

n (Macintosh only) You have to create a new user before you can change to that
user. See your Macintosh documentation or the Macintosh Help.

3. Start the Avid application.

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Chapter 2 Planning and Starting a Project

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.

Selecting a Project

You can select a project from a public, shared folder, or from a private folder
accessible only to you. You can also create a new project in either area.The
location of the shared or private folder is displayed in the Folder text box in
the Select Project dialog box.

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.

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 Opening and Closing a Project

n You cannot type into the User or Folder text boxes.

3. Select a project, and then click OK.

The Project window, the Composer monitor, and the Timeline open with
the selected User settings loaded.

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 can’t type into the User or Folder text boxes.

3. Select a project, and then click OK.

The Project window, the Composer monitor, and the Timeline open with
the selected User settings loaded.

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Chapter 2 Planning and Starting 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.
4. The Browse for Folder (Windows) or Project Directory (Macintosh)
dialog box opens.

64
 Opening and Closing a Project

Windows

Macintosh

5. Navigate to the folder that contains the project you want.

6. Click OK (Windows) or Choose (Macintosh), and then click OK.

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Chapter 2 Planning and 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.

3. The Browse for Folder (Windows) or Project Directory (Macintosh)
dialog box opens.

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 Opening and Closing a Project

Windows

Macintosh

4. Navigate to the folder that contains the project you want.

5. Click OK (Windows) or Choose (Macintosh).

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Chapter 2 Planning and Starting 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 or the Shared option in the Select a Project area.
3. Click New Project.
The New Project dialog box opens.

n If you have Avid Xpress Pro, which includes 23.976p, 25p, and Matchback
options, your New Project dialog box has additional options. For more
information, see “Setting Up a Matchback Project” on page 653 and
“Selecting Film Settings” on page 654.

4. Type a project name and select a format.

5. Click OK, and then click OK again.
The Project window, the Composer monitor, and the Timeline open with
the selected User settings loaded.

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 62.

To open a project automatically:

1. Click the Settings tab in the Project window.
The Settings Scroll list appears.
2. Double-click Interface.
The Interface Settings dialog box opens.
3. Click the General tab, select Automatically Launch Last Project at
Startup, and then click OK. See “Interface Settings” on page 104.
The next time you start the Avid application, it opens your last project.

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 Opening and Closing a 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.
3. Select a project and click OK.
The Project window, the Composer 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 Composer 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 61). You might want separate editing functions to have separate
settings, for example. User “Kim,” for example, can have separate profiles for

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Chapter 2 Planning and Starting a Project

“Audio editor,” “Film editor,” or for “Assistant 1,” “Assistant 2,” and so on.
These profiles have separate folders and settings that are kept in the following
folders:
• (Windows) Avid Users\UserName
• (Macintosh) Avid Users/UserName

You can also import a user or user profile from another location.

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

The Create User Profile dialog box opens.

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 Opening and Closing a Project

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.
The new user profile name appears in the Project window title bar.

n If you are using a user profile other than that of the person logged in to the
system, and you change to another project, the logged-in user settings are
reloaded, even though the Project window still displays your other 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.

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Chapter 2 Planning and Starting a Project

To close the current project, do one of the following:

t With the Project window active, select File > Close.
t Click the Close button in the Project window.

Backing Up Your Project Information

For information on using the Auto-save feature, see “Saving Bins Automatically” on page 91.

Although the Avid 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 these files easily to a variety of storage devices,
including:
• Floppy disk
• Network storage device (such as a file server)
• Mass-storage device

n For information on using the Auto-save feature, see “Saving Bins

Automatically” on page 91.

Saving Your Project Information on a Drive or Floppy Disk

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

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 Ending an Edit Session

Restoring from a Backup

To restore a project, user profile, or settings from a backup storage
device:
1. Mount the drive or insert a floppy disk as appropriate.
2. From the desktop, double-click the drive or floppy disk and the internal
hard drive (Windows) or the Macintosh HD (Macintosh).
3. Drag the copies from the storage device to the appropriate folder on the
internal hard drive (Windows) or Macintosh HD (Macintosh):
- Avid Projects: Project folders and settings files
- Avid Users: User folders and settings files
- Avid Xpress Pro: Site settings files
4. Start the Avid application. See “Starting the Avid Application
(Windows)” on page 48 or “Starting the Avid Application (Macintosh)”
on page 48.

Ending an Edit Session

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

Quitting the Avid Application

There are three ways to quit the Avid application.

To quit the Avid application and leave the application immediately:

t (Windows) Select File > Exit.
t (Macintosh) Select Avid Xpress Pro > Quit.
The project closes, and the Avid application closes.

To quit the Avid application if you are between projects:

1. Click the Quit button in the Select Project dialog box.
A message box opens.

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2. Do one of the following:

t Click Leave to quit the Avid application.
t Click Cancel to return to the Select Project dialog box and select
another project.

n If you want to turn off your system, see “Turning Off Your Equipment” on
page 74.

To quit the Avid application from an open project:

1. Click the Close button.
The Select Project dialog box opens.
2. Click the Quit button.
3. Click the Leave button.

Turning Off Your Equipment

To turn off your equipment without damaging your computer or media
storage drives:

c Quit the Avid application before turning off your equipment. See
“Quitting the Avid Application” on page 73.

1. Turn off the system:

t (Windows) Select Start > Shut Down.
t (Macintosh) Select P menu > Shut Down.
2. Turn off your speakers and monitors.

c Never remove drives from your Avid system when it is turned on.

3. Turn off each drive.

Move your drives only when the system is completely off.
4. Turn off all other hardware.

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 Mounting and Unmounting Drives

Mounting and Unmounting Drives

The Unmount command makes selected media drives inaccessible to the Avid
application. If the drive you unmount supports the auto-eject feature (for
example, Jaz® drives), the command ejects the disk from the drive.

By default, all media drives that are connected to your system are listed and
can be seen by the Avid application. You can remove one or more drives from
the list at any time by selecting File > Unmount. For example, if you want to
use only some of your drives for a particular project, select Unmount to
prevent other drives from appearing in the Avid application. The Unmount
command does not remove drives from the system.

You can unmount one or several drive volumes mounted on the desktop at any
time from within the Avid application. You can also remount all the drives and
return them to the desktop. This is useful if you work with an extensive array
of fixed-storage drives, which might involve many partitions divided among
several projects; you can selectively mount and unmount drives according to
use.

c Shut down the system completely before you physically remove or

add drives.

n On systems with multiple media drives, unmounting drives that hold media not
needed for the current project can improve the performance of the Media tool.
You need to unmount the drives before you can open the Media tool. See
“Using the Media Tool” on page 345.

Unmounting Drives (Windows)

To unmount a disk or to make a drive unavailable to the Avid application:
1. With the Avid application active, select File > Unmount.
The Select a Drive dialog box opens. The scroll list displays all drives
currently available.
2. Select a drive to unmount. Ctrl+click to select additional drives, or click
All to unmount all the drives.
3. Click Unmount.
The drives are no longer available to the Avid application.

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Unmounting Drives (Macintosh)

To unmount one or several drive icons from the desktop:
1. With the Avid application active, select File > Unmount.
2. Select a drive icon to unmount. Shift+click additional drive icons.
3. Click Unmount.

Mounting All Drives

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

To mount all drives:

t Select File > Mount All.
All drives turned on and connected to the system become available to the
Avid application.

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 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:

• Opening and Closing the Project Window
• Using the Bins Display
• Using the Settings Scroll List
• Using the Info Display
• Customizing the Appearance of the Avid User Interface
• Using Toolsets
• Customizing Your Workspace
• Support for Avid Unity LANshare

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

Opening and Closing the Project Window

The Project window provides four different displays (Bins, Settings, Effects,
and Info) for structuring and viewing information about your current project.
Chapter 3 Working with the Project Window

Settings tab Effects tab Info tab

Bins tab

Fast Menu button

Use the Project window to:

• Create and open bins.
• View and modify settings.
• Access effects.
• View information about the format of the project and the use of system
memory and hardware.

You can also add folders to your projects that allow you to organize the bins.

Bins from other projects appear in the Project window in italic.

You can see bins and folders in a flat view, which lists only the folder contents
and not the folder. Flat view is an option in the Project window’s Fast menu.
You can also drag bins into folders or folders into folders.

The Project window opens automatically when you select a project in the
Select Project dialog box.

To close the Project window, 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.

The Project window remains open the entire time you are working in a project;
however, it might be hidden from view by several open bins or tools.

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

t Select Tools > Project.
t Click in an unobstructed area of the Project window to bring it forward.
t Select Edit > Preferences (Windows), or Avid Xpress Pro > Preferences >
Preferences (Macintosh).
t Press Ctrl+9 (Windows) or k+9 (Macintosh).

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, group clips, and effect clips that you create during a
project. From the Project window, you can view a list of bins associated with
the project, and open, close, and create bins. You can also open bins created
for another project.

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

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The views for working with clips in a bin are Brief view, Text view, Frame
view, and Script view.
• In Brief view, five standard columns of information about the clips and
sequences in your bin are displayed.

Brief tab

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

Text tab

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

Frame tab

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

Script tab

Displaying Bin Contents

By default, your bins display all existing media objects except source media
files 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, and then select Bin > Set Bin Display.
The Set Bin Display dialog box opens.
2. Select the object types that you want to see: master clips, subclips,
sequences, sources, effects, motion effects, or rendered effects.

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3. The option “Show clips created by user” is selected by default. Deselect

this option only if you want to hide all objects except those created by the
system.
4. Select the option “Show reference clips” to automatically display those
objects that are referenced by sequences in the bin, whether those clips
were previously in the bin or not.
5. Click OK.
The bin displays objects according to your specifications.

Changing Bin Display View Size

To change the bin display view size:
t Click the lower right corner of a bin display view, and then drag the bin
display view to resize.
The bin display view size is retained as a user setting for that bin. The bin
display view 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.

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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. Click the untitled folder and rename it.

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. A corresponding
file is placed in the project folder, and a backup copy is placed in the Avid
Attic folder. For more information about the Avid Attic folder, see
“Saving Bins Automatically” on page 91.

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The new bin appears in the Project window with a default name
highlighted.
2. Type the name of the new bin, and press Enter (Windows) or Return
(Macintosh).

To place a bin in a folder:

t Drag the bin to the folder icon.

Renaming a Bin

Each new bin that you create takes the name of the project that appears in the
Project window, numbered incrementally.

To change the name of a bin:

t Click the bin name in the Project window, and type a new name.

Opening and Closing a Bin

n If you have the SuperBin enabled, see “Opening Bins in the SuperBin” on
page 305.

To open a bin directly:

1. Click the Bins tab in the Project window.
2. Double-click the icon next to the bin name.

To open a bin from the File menu:

1. Select File > Open Bin.
The Open dialog box opens.

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Up One Level pop-up menu

Windows

Macintosh

2. Select a bin. Navigate to the correct folder, if necessary.

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

3. Click the Open button.

Opening Selected Bins

To open several bins at once from the Project window:

1. Click the name of one of the bins in the Bins list.
2. Ctrl+click (Windows) or Shift+click (Macintosh) each additional bin you
want to open.
3. Select File > Open Selected Bins.

Opening Bins from Other Projects

To open a bin from another project:

1. Select File > Open Bin.
The Open dialog box opens.
2. Find and select the bin you want.
Bins have the file name extension .avb.

c Never open a bin that is stored on a floppy disk or equivalent device;

otherwise, the system cannot save your work. Always copy the bin to a
project folder on the system drive before you open it. For more
information, see “Transferring Projects, User Profiles, and Site Settings”
on page 709.

3. Click Open.

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

n The Other Bins folder disappears from the Bins list when you delete all the
bins in the Other Bins folder. Deleting bins from the Other Bins folder does
not remove the bins from the drive; only the pointers to the bins are removed.

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Closing a Bin

To close a bin, do one of the following:

t Click the Close button.
t Select File > Close Bin.

Deleting a Bin or Folder

You can delete bins and folders along with their contents from the Bins list in
the Project window. Deleted bins and folders are moved to a Trash folder in
the Bins list until you empty the Trash. If you need a deleted bin or folder, you
can retrieve it from the Trash. For more information, see “Viewing Contents
in the Trash” on page 89.

c Clips, subclips, and effects that are in a bin appear in the Trash after you
delete the bin, and can be recovered if you remove the bin from the Trash.
However, if you select a clip, subclip, or effect directly and press the
Delete key, the item does not appear in the Trash and you cannot recover
it.

To delete a bin or folder within a project:

n If you have the Superbin enabled, see “Deleting a Bin with the SuperBin
Enabled” on page 308.

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

n The Trash is not visible in the Project window until you select your first item
to delete.

Viewing Contents in the Trash

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

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Trash icon

To view items in the Trash:

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

Emptying the Trash

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

c Emptying the trash permanently removes the bins or folders from the
drive.

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

To empty the Trash:

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.

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Managing Folders and Bins

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

Bin Organization

Set of Bins Purpose Specific Bins

First Capturing stage

Second Organizing your project

Third Editing stage 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

• (Option) Create additional folders at the desktop level for better

organization. For example, you can create one folder for each capturing
bin and show cut bin, or a folder containing all shot logs to be imported.
• Save these files as a template for future productions of a similar nature.

Saving Bins Automatically

Your Avid 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.

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• Copies of these bins are placed in the following location as backup:

- (Windows) drive:\Program Files\Avid\Avid Xpress Pro\
Avid Attic
- (Macintosh) Macintosh HD/Users/Shared/Avid Xpress Pro/
Avid Attic

To adjust the frequency of automatic saves:

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

Saving Bins Manually

For added security, you can save a bin manually. You might want to do this
immediately after performing an important edit. There are three ways to save
bins manually.

To save a specific bin:

1. Click the bin to activate it.
2. Select File > Save Bin.

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

To save selected bins:

1. Click the Bins tab in the Project window.
2. Click a Bin icon to select it. Ctrl+click (Windows) or Shift+click
(Macintosh) any additional bin icons.
3. Select File > Save All.
The system saves all the selected bins.

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To save all the bins:

1. Click the Bins tab in the Project window.
2. Select File > Save All.
The system saves all the bins for the project.

n The Save All command also saves all the user settings, and it also works with
the Composer window or the Timeline active.

Retrieving Files from the Avid Attic Folder

The Avid Attic folder contains backup files of each bin in a project. For
information on setting automatic save features, see “Saving Bins
Automatically” on page 91.

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

The Avid Attic folder contains a folder for each project. Each of the project
folders contains a Bins folder. When a bin is saved, a folder with the bin’s
name is created in the Bins folder and a copy of the bin file is stored in the
folder with the bin name. The system adds a version number to the bin’s file
name. The bin file with the highest version number represents the latest copy
of the bin file.

When you view a bin folder in Details view (Windows) or List view
(Macintosh), you can also identify the most recent backup file based on the
name and timestamp of creation displayed in the Modified column (Windows)
or the Date Modified column (Macintosh).

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

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Retrieving Files from the Avid Attic Folder (Windows)

To retrieve a file from the Avid Attic folder:

1. Minimize the Avid application. For information on minimizing, see the
Windows documentation.
2. From the desktop, double-click the Avid Attic folder in the following
location:
- drive:\Program Files\Avid\Avid Xpress Pro

n The Avid Attic folder is usually located in the same folder as the Avid Projects
and the Avid Users folders.

The Avid Attic folder opens and displays the project folders that contain a
Bins folder.
3. Double-click a project folder, and then double-click the Bins folder.
4. Double-click the bin folder that contains the bin files you want to retrieve.
5. Select View > Details, if the project folder is not already in the Details
view.
The project folder displays the file names and their creation dates.
6. Ctrl+click the files you want to retrieve.
7. Ctrl+drag the selected backup bin files to the desktop or the destination
folder.
This makes a copy of the files, leaving the original files in the Avid Attic
folder.
8. Click the Avid Xpress Pro button in the taskbar to activate it.

n If the taskbar is hidden, see “Using the Windows Taskbar (Windows Only)”
on page 41.

9. Click the Project window to activate it, and click Bins to display the Bins
list.
10. Open the backup bin:
a. Select File > Open Bin.
b. Select one of the backup bin files you copied to the desktop.

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c. 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 system does not allow a bin and a copy of a bin to be opened at the
same time. You must keep all other versions of the backup bin 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 13 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 on the desktop to the Recycle Bin.

Once you have moved the objects, modify their creation dates so they are
considered newest by the system. The creation date is modified whenever you
make a change to an object and then save the bin.

Retrieving Files from the Avid Attic Folder (Macintosh)

To retrieve a file from the Avid Attic folder:

1. Hide the Avid application. For information on hiding, see the Macintosh
documentation
2. From the desktop, double-click the Attic folder in the following location:
- Macintosh HD/Users/Shared/Avid Xpress Pro

n The Avid Attic folder is usually located in the same folder as the Avid Projects
and the Avid Users folders.

3. Double-click a project folder, and then double-click the Bins folder.

4. Double-click the bin folder that contains the bin files you want to retrieve.
5. Select View > “as List” if the Avid Attic folder is not already in List view.
The bin folder displays the backup bin files and their creation dates.

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6. Shift+click the files you want to retrieve, and Option+drag the selected
backup files to the desktop.
This makes a copy of the files, leaving the original files in the Avid Attic
folder.
7. Click the Avid application icon on the Dock to activate the application.
8. Click the Project window to reactivate it and click Bins to display the Bins
list.

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

9. Open the backup bin:

a. Select File > Open Bin.
b. Select one of the backup bin files you copied to the desktop.
c. Click Open.
When you open the backup bin, a link to that backup bin on the desktop is
created in the Other Bins folder.
10. Create a new bin if you do not plan to overwrite existing files.
11. Open the new bin and open the backup bin in the Other Bins folder.
12. Select the material you want to keep from the backup bin, and drag files to
the new bin.
Repeat steps 9 through 12 for any other backup bins you copied to your
desktop.
13. Select and delete the backup bins in the Other Bins folder.
14. Drag the backup bin files on the desktop to the Trash.

n After you have moved the objects, modify their creation dates so they are
considered newest by the system. The creation date is modified whenever you
make a change to an object and then save the bin.

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.

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 Using the Settings Scroll List

To view the Settings scroll list, do one of the following:

t Click the Settings tab in the Project window.
t Select Edit > Preferences.

Settings tab

Understanding the Settings Scroll List

The following table briefly describes each item in the Settings scroll list, and
lists where you can find additional information on a particular item. For
information about options for any of the settings dialog boxes, see “Settings
Options” in the Help.

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Settings Scroll List

Setting Name Description For More Information

Audio Sets the default audio pan; contains See “Adjusting Pan Defaults” on page 533
audio scrub options and audio setup and “Adjusting Digital Scrub Parameters”
parameters. on page 531.

Audio Project Sets parameters for audio project setup. See “Transfer Settings for Film Projects”
on page 202.

Bin Sets the Auto-save preferences for bins, Avid See “Bin Settings” on page 102.
Attic preferences, and other bin parameters.

Bin View Selects and formats the information See “Displaying Custom Bin Views” on
displayed in bins. page 302.

n You cannot modify bin views from

the Project window.

Capture Defines how the Avid system captures and See “Capture Settings” on page 201.
batch captures in specific situations.

Controller Sets the controller type and port. See “Configuring a Controller” on
Settings page 152.

Correction Sets parameters for color correction. See the Avid Color Correction User’s
Guide or the Help.

Deck Configures channels and decks into the See “Configuring Decks” on page 208.
Configuration system.

Deck Preferences Sets preferences that affect all decks See “Setting Deck Preferences” on
configured into the system. page 213.

Export Sets parameters for file export. See “Exporting Frames, Clips, or
Sequences” on page 679.

Film and 24p Sets essential parameters for accurately See “Transfer Settings for Film Projects”
capturing, tracking, and editing source on page 102 and “Selecting Film Settings”
material for matchback projects. on page 654.

n Film settings are available only

with Avid Xpress Pro. See “Using
Film Options” on page 651.

General Defines default values such as the default See “General Settings” on page 102.
starting timecode.

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Settings Scroll List (Continued)

Setting Name Description For More Information

Import Sets parameters for file import. See “Creating and Using Import Settings”
on page 282.

Interface Defines the appearance and function of See “Interface Settings” on page 104.
certain interface elements.

Keyboard Displays the default keys on the Keyboard See “Understanding the Keyboard” on
palette and any mapping you do to the page 425.
Keyboard palette.

Media Creation Sets video resolution and selects drives for See “Setting Media Creation Resolutions
capturing, creating titles, importing, and and Selecting Drives” on page 198.
performing audio and video mixdown.

PortServer Sets up the LANshare client so its See “Setting Up the LANshare Client” on
workspaces are recognized. page 140.

Render Sets the Render Completion sound, and See the effects guide for your system or
controls how motion effects render. the Help.

Safe Colors Sets the safe color parameters for the Color See the Avid Color Correction User’s
Correction tool. Guide or the Help.

Script Sets the default display options for scripts See “Using Script Integration” on
imported using script integration. page 367.

n Script Integration is available only

with Avid Xpress Pro.

Sound Card Allows you to map audio input sources See “Sound Card Configuration Settings”
Configuration directly to the output sources available with on page 809.
(software-only your audio hardware.
systems)

Timeline Contains general Timeline preferences. See “Accessing the Timeline Settings” on
page 478.

Title Style If you save a title style while you are using See the effects guide for your system or
the Title tool, Title Style appears in the the Help.
Settings scroll list.

Trim Customizes the Trim mode See “Customizing Trim Mode” on

environment. page 516.

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Settings Scroll List (Continued)

Setting Name Description For More Information

Video Display Allows digital camera video input; enables See “Playing Video to the Client Monitor”
support of cameras with video input; sets the on page 417 and the effects guide for your
mode and source for desktop video; enables system or the Help.
Client monitor; sets effects preview options.

Workspace Enables you to associate settings and See “Linking User Settings and
windows with a workspace. Workspaces” on page 138.

Understanding 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 Avid
application. Individual User settings are stored in each user folder, which
is stored in the following location:
- (Windows) drive:\Program Files\Avid\
Avid Xpress Pro\Avid Users
- (Macintosh) Macintosh HD/Users/Shared/Avid Xpress Pro/Avid
Users

n The Avid Attic folder is usually located in the same folder as the Avid Projects
and the Avid Users folders.

• Project settings are directly related to individual projects. When you

change a Project setting, it affects all editors working on the project.
Specific Project settings are stored in each project folder, which is stored
in the following location:
- (Windows) drive:\Program Files\Avid\
Avid Xpress Pro\Avid Projects
- (Macintosh) Macintosh HD/Users/Shared/Avid Xpress Pro/Avid
Projects
• Site settings establish default parameters for all new users and projects on
a particular system. They can also include other User or Project settings
that you copy into the Site Settings window.

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n Site settings do not override User settings and Project settings.

Site settings are stored in a separate Settings folder, in the following

location:
- (Windows) drive:\Program Files\Avid\Avid Xpress Pro
- (Macintosh) Macintosh HD/Applications/Avid Xpress Pro

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, capturing, organizing projects, and
editing interface preferences
• Project settings that reflect the specific needs of the project
• Bin View settings that display useful columns of information for each bin

By establishing these settings once, and by selecting the appropriate setting or

bin view in context, you can save time and effort that would be spent
searching for information or adjusting bin headings on-the-fly. You can also
save these settings along with your template for use on similar projects, as
described in “Managing Folders and Bins” on page 91.

Reviewing Basic Settings

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

To view the settings:

t Double-click each setting in the Settings scroll list of the Project window.

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Bin Settings

Bin settings define general system functions related to bins. Select these
functions in the Bin Settings dialog box.

For information about these functions, see “Bin Settings” in the Help.

General Settings

General settings define fundamental system defaults.

For information about these functions, see “General Settings” in the Help.

Transfer Settings for Film Projects

The following settings are important for transferring media in a film project.
You should set the transfer settings for film projects immediately after you
create a new project and before capturing. For information about other film
settings, see “Film and 24p Settings” in the Help.

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• Video Pulldown Cadence: allows you to specify the type of film-to-tape

transfer that you capture:
- Video rate, no pulldown: Select this option when working with 24-fps
footage that has been transferred MOS (roughly translated as
“without sound”) to 30 fps by speeding up the film, and the audio has
been brought into the Avid system separately at 100 percent of the
actual speed.
- Standard 2:3:2:3 pulldown: Select this option when working with 24-
fps footage that has been transferred to 30 fps by duplicating frames
(pulldown) and the audio has been synchronized to the picture.
- Advanced 2:3:3:2 pulldown: Select this option when using native DV
editing with capture over Firewire.
For NTSC projects, you can mix footage transferred with pulldown and
footage transferred without pulldown (video rate). You can also mix
sound transferred at 0.99 (with pulldown) and 1.00 (without pulldown).
• (PAL only) You define the Audio Transfer Rate in the New Project
dialog box when you create a 24p PAL film project. (It is not needed for a
25p PAL project because there is no film speedup during the transfer.) It
is important to keep the audio transfer rate constant for the project.
However, if there is a specific element that you need to capture at a
different rate, you can use the Film and 24p Settings dialog box to change
the rate. The following options are available:
- Film Rate (100%): Select this option when your 24-fps film footage
has been transferred MOS to 25 fps by speeding up the film, and the
audio comes in separately at 100 percent of the actual speed (PAL
Method 2).
- Video Rate (100%+): Select this option when your 24-fps film
footage has been transferred to 25 fps by speeding up the film, and the
audio is synchronized to the video picture. This means that the audio
speed is increased by 4.1 percent (PAL Method 1).
For PAL 24p projects, you can mix audio that has been transferred at 4.1
percent speedup (video rate, PAL Method 1) with audio that has not been
transferred (film rate, PAL Method 2). However, Avid does not
recommend this. See “Audio Transfer Options for 24p PAL Projects” on
page 1921.

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n The Info tab in the Project window allows you to view the audio transfer rate
you selected when you created the project. The actual audio transfer rate
might be different from the display if you used the Film and 24p Settings
dialog box to change the audio transfer rate.

• Audio Source Tape TC Rate allows you to specify the digital audiotape
(DAT) timecode format: either 30 fps or 29.97 fps (NTSC only). This
timecode format must conform to the timecode format on your original
DAT tapes. This setting is active when capturing audio only.
This setting does not appear in 23.976 projects.
• Set Pulldown-to-Timecode Relationship allows you to set a default
pulldown phase for a 24p NTSC project. See “Logging Film Information”
on page 183.

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. Appearance Interface Settings give you controls for
customizing the colors and button style of the Avid user interface. For
information about customizing the interface with Appearance settings, see
“Customizing the Appearance of the Avid User Interface” on page 116.

The following illustration shows the General tab of the Interface dialog box.

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For information about options, see “Interface Settings: General Tab” in the
Help.

Displaying Project Settings

You can display the Settings scroll list of the Project window in different
groups, depending on what you need to view. The following table describes
the different Settings menu options.

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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 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

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.

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Fast menu
button

2. Click the Fast Menu button, and select a settings display group.

Settings Display
groups

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

Working with Settings

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

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Selecting Another User

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

To select another user:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Click and hold the user name to display the User Selection pop-up menu,
and select another name from the list.

Modifying Settings

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

You cannot modify the following two types of settings:

• Settings that require the presence of standalone peripherals
• Settings that can be modified only from within the tools in which they are
used, such as Bin and Timeline views

To modify available settings:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click the name of a setting.
The applicable Settings dialog box or window opens.

n Not all Settings have associated dialog boxes.

3. Type new values or select new options for the settings.

4. Click OK, Save, Cancel, or Apply, or click the Close button.
The system saves changes in the appropriate User, Project, or Site settings
file.

Working with Multiple Settings

You can have multiple versions of settings in your Settings scroll list in the
Project window that apply to several users at various stages of production.

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For example, you can have:

• Two Bin settings: one that automatically saves more often when you are
editing intensively, and one that automatically saves less often when you
are doing organizational work in the bins
• Multiple Capture settings for capturing various types of source material
• Multiple Deck Preferences settings for various types of capturing 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. Select Fast menu > All Settings.
3. Click the setting you want to copy. Ctrl+click (Windows) or Shift+click
(Macintosh) any additional settings you want to copy.
4. Select Edit > Duplicate.
A copy of each setting appears in the window. Duplicate settings with
custom settings names followed by a period and a version number in the
second column appear with each custom setting name.

n If you select Fast menu > Active Settings, the duplicated settings do not
appear.

5. Name your settings to indicate their functions.

Naming Settings

You can give settings custom names to differentiate among copies or to

indicate a specific use.

To rename settings:
1. Click the Settings 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).

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Custom setting
name column

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

Selecting Among Multiple Settings

With multiple settings, only one setting at a time is active. Settings that are
currently active have a check mark to the left of the setting name.

To change the active setting:

1. Click the Settings 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.

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Deleting Settings

You can delete settings from the Settings scroll list in the Project window at
any time. For example, you might choose to delete one or more versions of a
particular setting, or you might want to delete all but a few settings to transfer
to another Settings window.

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 (Windows) or Shift+click
(Macintosh) each additional setting you want to delete.

n You cannot delete an active setting.

c You cannot undo a deletion. You can, however, transfer settings from
other files.

3. Press the Delete key, or select Edit > Delete.

The selected settings are removed.

Copying Settings Between Settings Files

To copy settings between files:

1. With the Settings scroll list active, open the target settings file:
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,
locate and select the settings file you want in the Avid Projects or
Avid Users folder, and then click Open.
2. Click the setting you want to copy in the Settings scroll list of the Project
window. Ctrl+click (Windows) or Shift+click (Macintosh) any additional
settings that you want to copy.
3. Drag the highlighted settings to the open Settings window.
4. Click the Close button.
A message box opens.

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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.

Using Site Settings

When the system opens a new project, it first searches the Site Settings file
and loads site settings and any settings placed here. The system then proceeds
to load any Project and User settings not included in the Site Settings file.

The Avid default preference files and the Site Settings file are located in the
following folder:
• (Windows) drive:\Program Files\Avid\Avid Xpress Pro\Settings
• (Macintosh) Macintosh HD/Applications/Avid Xpress Pro/Settings

The default preference and the Site settings files include the following settings
template:
• AvidDefaultPrefsXP — Avid 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 AvidDefaultPrefsXP file is used. If the
AvidDefaultPrefsXP file is missing, hard-coded defaults are used.

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The AvidDefaultPrefsXP files contain the product-specific default User

settings. Project settings are not stored in AvidDefaultPrefsXP 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.

To load settings into the Site Settings file:

1. Open a project with the settings you would like to establish as site
settings. If a project does not already exist with the settings you want,
create a project and make adjustments to the default settings as needed.
2. Click the Settings tab in the Project window.
The Settings scroll list appears.
3. Select File > Open Setting File.
The Open dialog box opens.
4. Navigate to the Settings folder, and then click Open.
5. Select the Site Settings file, and then click Open.
The Site Settings window opens.
6. Click a project or user setting in the Settings scroll list of the Project
window. Ctrl+click (Windows) or Shift+click (Macintosh) to select
multiple settings.
7. Drag the setting or settings into the Site Settings window.
Copies appear in the Site Settings window.
8. Close the Site Settings window.

All new users and projects opened from the Select Project dialog box use these
settings as the default settings.

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Using the Info Display

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

Displaying Project Info

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

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

Viewing Memory
To view system memory for an open project:
t Click the Info tab in the Project window, and then click the Memory
button.
The Memory window opens.

Windows

Macintosh

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Understanding the Memory Window

The Memory window displays the following information:

• Objects: The total number of memory handles currently used by your
Avid 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 (Windows) or Total Mem (Macintosh): The
total number of bytes of RAM (random-access memory).
• Available Physical Memory (Windows) or Free Mem (Macintosh):
The amount of RAM available for allocation by Windows or the
Macintosh system.
• (Windows only) Total Page File: The total number of bytes that can be
stored in the paging file. The paging file is used as virtual memory by
Windows.
• (Windows only) Available Page File: The total number of bytes
available in the paging files.
• (Windows only) Working Set (min and max): The set of memory pages
currently available to the application in RAM.

(Windows only) You can view additional memory information through the
Windows Task Manager and the Performance monitor. You can view
information about system activities, such as driver messages, through the
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.

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Accessing the Hardware Tool

For additional The Hardware tool gives a visual representation of usage for each drive and
information on the provides operating system information.
Hardware tool, see
“Using the Hardware To view hardware for an open project, do one of the following:
Tool” on page 151.
t Click the Info tab in the Project window, and then click the Hardware
button.
t Select Tools > Hardware.
The Hardware tool opens.

Customizing the Appearance of the

Avid User Interface
The Appearance tab of the Interface Settings dialog box provides you with
controls for customizing the colors and button style of the Avid user interface.
You can also change the font and point size of the type in the various
windows.

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Appearance Tab Options

The following illustration shows the Appearance tab of the Interface dialog
box.

For information about options, see “Interface Settings: Appearance Tab” in

“Settings Options” in the Help.

Changing Interface Component Colors

You can use a color selection grid to change the color of interface
components. The following table describes the interface components that you
can customize.

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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 This setting takes precedence over the Fast Menu track color.

Project Background The background color for the Project window.

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.

To set the color of an interface component:

1. Double-click Interface in the Settings scroll list.
The Interface dialog box opens.
2. Click the Appearance tab.

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Enable/Disable
check box

Color boxes
Interface
component list

3. Click in the color box next to the interface component you want to
customize.
A color selection grid opens.

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Color selection
grid

4. Press the mouse button and move the pointer over the color selection grid,
and then release the mouse button 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 appears in the Enable/Disable 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 Enable/Disable 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.

5. Do one of the following:

t Click Apply to apply the changes you selected.

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n If you click Cancel after you click Apply, interface components retain the
selection you applied.

t Click OK to close the dialog box and put the new setting into effect.
t Click Cancel to close the dialog box.
The changes you selected but did not apply do not take effect.

Changing Shading Style

Shading style controls the shading of the buttons and toolbars.

To set the shading style:

1. Click the Shading Style pop-up menu in the Appearance tab of the
Interface dialog box, and select a style.

2. Do one of the following:

t Click Apply to apply the change you selected.

n If you click Cancel after you click Apply, Shading Style retains the selection
you applied.

t Click OK to close the dialog box and 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.

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The following illustration shows Shading styles.

Convex

Dim Radial

Convex Radial

Bright Radial

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 pop-up menu in the Appearance tab of the
Interface dialog box, and select a depth.
2. Do one of the following:
t Click Apply to apply the change you selected.

n If you click Cancel after you click Apply, Shading Depth retains the selection
you applied.

t Click OK to close the dialog box and 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.

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The following example shows Shading Depth selections of 5% and 50%.

Shadow Depth 5% Shadow Depth 50%

Changing Button Separation

To change the separation of Monitor or Timeline buttons:
1. Click the Monitor Button Separation pop-up menu or the Timeline Button
Separation pop-up menu in the Appearance tab of the Interface Settings
dialog box, and select a separation.
2. Do one of the following:
t Click Apply to apply the change you selected.

n If you click Cancel after you click Apply, Button Separation retains the
selection you applied.

t Click OK to close the dialog box and 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.

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The following example shows part of the 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 style of buttons:

1. Click the Button Style pop-up menu in the Appearance tab of the Interface
Settings dialog box, and select a button style.
2. Do one of the following:
t Click Apply to apply the change you selected.

n If you click Cancel after you click Apply, Button Style retains the selection you
applied.

t Click OK to close the dialog box and 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.

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The following examples show several buttons with each button style applied.

Oval Square

Octagonal Swoosh

Rounded Antique

Using Interface Appearance Templates

There are several interface appearance templates available for the Avid user
interface that have preset background and button colors.

To use an interface appearance template:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Click to the left of one of the named Interface settings.
The look of your Avid user interface changes.

To return to the default interface:

t Click the unnamed Interface setting.

n For information on how to change the appearance of particular components

of your Avid user interface, see “Customizing the Appearance of the Avid
User Interface” on page 116.

Changing Font and Point Size

You can change the default font and point size of the Project, Bin, Composer,
Script, 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.

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The following table describes the windows you can change, and what is
changed.

Window What You Can Change

Project The font and point size of the text in the Bin and
Settings tabs.

Bin The font and point size of the text in a Bin window.

Composer The font and point size of the sequence or source clip
name text.

Script The font and point size of the text in the Script window.

Timeline The font and point size of clip text.

To set the font displayed in the Project window, the Timeline, the
Composer monitor, and the bins:
1. Select Edit > Set Font.
The Set Font dialog box opens.

2. 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 the Windows documentation or the Macintosh
documentation.

3. Type another point size for the font in the Size text box.
4. Click OK.
The new font appears in all bin display views.

When you close the window, the last font and point size applied is saved with
the window.

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Using Toolsets
You can use predesigned work environments that are suited to your most
common Avid tasks:
• Basic editing
• Color correction
• Source/Record editing
• Effects editing
• Audio editing
• Capture

The Toolset menu provides you with six environments, or special-purpose

workspaces, 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 non-overlapping windows

You can change 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.

Opening Toolsets
To open a toolset, do one of the following:
t Select Toolset > toolset.
t Press one of the following:

Press To view

Shift+F7 Basic toolset

Shift+F8 Color Correction toolset

Shift+F9 Source/Record Editing toolset

Shift+F10 Effects Editing toolset

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Press To view

Shift+F11 Audio Editing toolset

Shift+F12 Capture toolset

Any open tools close and the screen changes to display windows
appropriate to the toolset task.

Basic Toolset

The Basic toolset opens with the basic set of Avid windows.

You can customize the Basic toolset in any way you want. See “Customizing
Toolsets” on page 133.

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Color Correction Toolset

The Color Correction toolset displays the Composer monitor as a

three-monitor display and opens the Color Correction tool.

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Source/Record Editing Toolset

The Source/Record Editing toolset displays the Composer monitor as dual

monitors. You edit source clips in the left monitor and sequences in the right
monitor.

For more information about using dual monitors, see “Using Dual Monitors”
on page 406.

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Effects Editing Toolset

The Effects Editing toolset displays the Effect Editor, the Effect Palette in the
Project window (Effects tab), the bin, the Composer monitor, and the
Timeline.

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Audio Editing Toolset

The Audio Editing toolset displays the Automation Gain tool, the Audio tool,
the Project window, the bin, the Composer monitor, and the Timeline.

n With screen resolutions set higher than 1024 x 768 or on two-monitor systems,
additional audio tools display.

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Capture Toolset

The Capture toolset displays the Capture tool, the Project window, the bin, the
Composer monitor, and the Timeline.

Customizing Toolsets
To customize the toolset workspace:
1. Select the toolset you want to customize from the Toolset menu.
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.

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To restore the default settings:

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 the toolset you want to link from the Toolset menu.
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
Named Settings.
4. 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 107.

n You can link toolsets only to User settings.

5. 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.

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To link a toolset to an unnamed setting:

1. Select the toolset you want to link from the Toolset menu.
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.

Customizing Your Workspace

A workspace is the arrangement and size of tool windows displayed on your
Avid system. If you are accustomed to working with a particular group of
windows arranged and sized in a particular setup, you can assign them to a
workspace setting that you can then recall with a workspace button. For
example, during capturing, you might want to display the Capture tool in
specific locations. During effects editing, you might want to display the Effect
Palette and the Effect Editor in a particular location and size. For information
on switching between workspaces, see “Switching Between Workspaces” on
page 139.

While in a workspace, you can move tool windows or open and close tool
windows. The next time you select that workspace, the tool windows appear
with either:
• The arrangement from the last time you left the workspace
• The arrangement you set for the workspace, regardless of any changes
you made

n You cannot assign certain tool windows to a workspace, for example, the
Hardware tool, the Communication (Serial) Ports 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 136.

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Creating a New Workspace Setting

To create a new workspace setting:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Scroll to the bottom of the Settings scroll list and click Workspace.
Workspace is highlighted.
3. 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.

4. Click to the left of the new workspace you want to set.

A check mark appears next to the workspace.
5. Assign a custom name to the new workspace:
a. In the column between Workspace and User, click until you see a text
cursor and box. Make sure you click the Custom setting name column
and not the Setting name.

Custom setting
name column

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

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 Customizing Your Workspace

6. Open the windows and tools with which you want to associate the
workspace. Resize and move the windows to the location where you want
them to appear on the monitors.
7. Double-click the custom workspace setting.
The Workspace Settings dialog box opens.
8. Select options. For information about options, see “Workspace Settings”
in the Help.
9. Click OK.

Assigning a Workspace Button

On the keyboard, F9 to F12 are assigned to the first four workspaces you
create. You can also assign other buttons to workspaces.

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 to 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.
The Avid application 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.

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Linking User Settings and Workspaces

User settings can be linked to a workspace. You can create a customized

workspace and set up specific options in any Settings dialog box, and link
them together by name.

For example, you can create an Audio workspace that opens the Audio Mix
tool and 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 136.
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 in
step 2.

Linked settings

5. Double-click another setting, for example, Media Creation. Select new

options, and click OK.

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 Support for Avid Unity LANshare

6. Give this setting the same name you gave the workspace in step 2.
7. Double-click the workspace you just created.
The Workspace Settings dialog box opens.
8. Click Activate Settings Linked By Name. For more information about
options, see “Workspace Settings” in the Help.
9. Click OK.
All the settings and the new workspace you created are activated when
you activate this workspace.

Switching Between Workspaces

To switch from one workspace to another, do one of the following:
t Press one of the F9 to F12 keys.
t Click the Settings tab in the Project Window, and then 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 in 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 an active workspace.

2. Press the Delete key.

The selected workspace is removed from the Settings scroll list.

Support for Avid Unity LANshare

Your Avid editing system 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.

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To use LANshare, you need to set up the client in your Avid application. For
more information, see “Setting Up the LANshare Client” on page 140.

For complete information on using LANshare, including system requirements

and supported resolutions, see the LANshare release notes and documentation.

c Because LANshare and Avid Unity PortServer Pro do not support all
Avid resolutions, you must make sure you specify a supported resolution
in your Avid application. See the LANshare or Avid Unity PortServer Pro
documentation.

Setting Up the LANshare Client

When you use your Avid application with the LANserver, you need to set up
the client so LANshare workspaces are recognized when the application is
started.

To recognize LANshare workspaces when you start the Avid application:

1. Open a bin.
2. Click the Settings tab in the Project window.
The Settings scroll list appears.
3. Double-click Port Server.
The Port Server Settings dialog box opens.

4. Select Auto-connect to LANshare at Launch. For more information about

options, see “PortServer Settings” in the Help.
5. Click Connect, and then click OK.
Auto-connect is set and LANshare workspaces are recognized.

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 Chapter 4
Using Basic Tools

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

Navigating in Dialog Boxes and Menus

You can use the keys shown in the following table to navigate in many dialog
boxes and menus and to select and deselect options.

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

to option in a dialog box.
Chapter 4 Using Basic Tools

Navigation Keys (Continued)

Key Function

Right Arrow, Left Arrow, Selects or deselects a check box or an option in a

space bar dialog box.

Up Arrow, Down Arrow Moves up or down through a menu, or increments a

numeric value.

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.

Using the Command Palette

The Command palette provides a central location for all user-selectable
buttons that you can map to various locations for ease of use. User-selectable
buttons allow you to perform a wide range of commands with a single click of
the mouse.

The Command palette organizes buttons by editing function. Tabs are

displayed for each editing function, and the buttons that perform those
functions are displayed within each tab. The functions are: Move, Play, Edit,
Trim, FX (Effects), 3D, CC (Color Correction), MCam, Other, and More.

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 Using the Command Palette

You can use the Command palette to:

• Map buttons to the Tool palette or the keyboard. See “Mapping User-
Selectable Buttons” on page 144.
• Map menu commands to various buttons and keys. See “Mapping Menu
Commands” on page 145.
• Directly activate a command. See “Activating Commands from the
Command Palette” on page 146.

n For information about each button on the Command palette, right-click a

button (Windows) or Ctrl+Shift+click a button (Macintosh), and select What’s
This?.

Understanding Button Mapping

Mapping user-selectable buttons allows you to reconfigure Command palettes

or the keyboard in various combinations to suit different editing needs.

n 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 the default functions when you enter Effect mode. After
you exit Effect mode, the keys return to the mapped function.

The following examples illustrate button mapping:

• Subcataloging clips: You can map the Make Subclip button and other
clip management buttons.

Make Subclip Find Bin Add Locator

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

Motion Effect Remove Effect Fade Effect

For more information When you remap buttons or commands, the system stores your new
on multiple settings, configuration in one of the default settings that you can open from the Project
see “Working with window. You can also save, rename, and recall multiple versions of any of
Multiple Settings” on
these settings to serve various purposes.
page 108.

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The Avid application stores button configurations as follows:

• Changes to the Keyboard palette are stored in the Keyboard settings.
• Changes to the Tool palette are stored in the Interface settings.

Both of these settings are stored in the User settings.

Mapping User-Selectable Buttons

To map buttons or keys on the keyboard to the Tool palette or the
Keyboard palette, using the Command palette:
1. Open a window that has a user-selectable button palette by doing one of
the following:
t Activate the Composer monitor, the Source pop-up monitor, or the
dual monitors, 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 window opens.
3. Select Button to Button Reassignment.

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).

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Using the Blank Button

Blank button The Blank button allows you to replace a defined button with an undefined
button. If you do not need or use a specific button on the Tool palette, you can
replace the button with a blank button.

To access the Blank button:

1. Select Tools > Command Palette.
2. Click the Other tab.

For information on mapping the Blank button to a new location, see “Mapping
User-Selectable Buttons” on page 144.

Mapping a 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 (Windows) or the Add Option Key and the Add Control Key buttons
(Macintosh).

For example, if you map the Add Alt Key (Windows) or Add Option Key
(Macintosh) modifier 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 modifier
and I keys). For a list of other functions that use modifier keys, see the Help.

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

Mapping Menu Commands

You can map menu commands displayed in the pull-down menus on the Avid
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.

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To map menu commands:

1. Open a window that has user-selectable buttons by doing one of the
following:
t Tear off the Tool palette by clicking the Fast Menu button on the
Source monitor or a Source pop-up or Composer monitor and
dragging the 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 window opens.
3. Select Menu to Button Reassignment.

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 > Title tool.
The initials for the menu command appear on the target button.

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.

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 Using the Avid Calculator

To activate a command from the Command palette:

1. Select Tools > Command Palette.
The Command Palette window opens.
2. Select Active Palette.

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.

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 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 window opens.

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Format pop-up
menu

2. Click the Format pop-up menu, and select a format.

3. Make calculations in the one of the following ways:
t Use the top row of numbers on the keyboard to enter numbers and
functions in the Avid Calculator.
t Press the Caps Lock key, and then enter numbers and functions with
the numeric keypad.
t Use the numbers on the Calculator.

n 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.

Using the Console Window

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

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 Using the Console Window

c Do not use the programming features of the Console without guidance

from Avid professionals. Contact your Avid Reseller with specific
questions. (In North America, you can contact Avid Customer Support.)

Displaying System Information

To display current system information:
1. 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 window:
1. When an error occurs and a message box opens, close the message box
and select Tools > Console.
2. Scroll through the Console window to find a log of the error to use when
you contact your Avid Reseller or Avid Customer Support.

Getting Information with the Console Window

The Console window provides quick access to bin information such as total
duration of selected clips or total items in a bin, including hidden items. You
can also use the Console window to display information about a shot,
segment, or sequence in the Timeline.

To get information with the Console window:

1. Select the item about which you want information:
t In the Timeline, place the position indicator in the chosen clip or
segment.
t In the bin, select an object or Ctrl+click (Windows) or Shift+click
(Macintosh) multiple objects.

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2. Select File > Get Bin Info or File > Get Position Info.
Information about the clip appears in the Console window.

Using the Console Window to Access Network Drives

Your Avid application can access network drives that you have mapped to
your Avid editing system. Once your network drives are mapped, typing in the
console command displays the mapped drive letter in the appropriate tools in
the Avid application.

n For information about mapping dives to your computer, see your Windows or
Macintosh documentation.

When the feature is turned on, the mapped drive letter appears in the Target
Drive pop-up menu. When you turn the feature off, the mapped drive letter is
dimmed. If you quit and restart the application, the mapped drive letter does
not appear in the Target Drive pop-up menu.

Network drives are available only if the Filter Based on Resolution option is
not selected in the Media Creation settings. For more information, see “Setting
Media Creation Resolutions and Selecting Drives” in the Help.

To make your mapped network drives available:

1. Select Tools > Console.
The Console window opens.
2. In the Console command line, type:
alldrives 1
3. Press Enter (Windows) or Return (Macintosh).
Network drives are now visible in the Avid editor application.

n Typing alldrives in the console window turns this feature on and off.

To show only media drives:

1. Select Tools > Console.
The Console window opens.
2. In the Console command line, type:
alldrives 2

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 Using the Hardware Tool

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 shaded portion of the bar next
to each drive shows the total size of the drive and the amount of storage
space currently filled.
• The System tab lists the operating system, its version and build numbers,
and the physical memory.

Checking the Hardware Configuration

To check the hardware configuration of your Avid system, do one of the
following:
t Select Tools > Hardware.
t Click the Info tab in the Project window, and then click the Fast Menu
button and select Hardware.
The Hardware tool opens.

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The Hardware tool contains the following information:

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

Configuring a Controller
Adding a controller to your Avid editing system provides an alternative to
using the keyboard and mouse for editing footage. Your Avid system supports
two types of controllers:
• Controller surfaces that provide an alternative to using the keyboard and
mouse for editing footage. The following controller surfaces are
supported:
- Digidesign Digi 002 (Windows only)
- Digidesign Command|8
• Controllers that allow you can use with the Automation Gain tool to
record audio gain information. The following controllers are supported for
recording audio gain information:
- Digidesign Digi 002 (Windows only)
- Digidesign Command|8
- JL Cooper MCS-3000X MIDI automation controller
- JL Cooper FaderMaster Pro MIDI automation controller
- Yamaha 01V/96 and Yamaha 01V digital mixing consoles

You use the Controller Settings dialog box to configure a controller to work
with your Avid editing application. For information on setting up and
configuring a controller, see “Using an External Fader Controller or Mixer” in
the Help.

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 Chapter 5
Logging

When you log with a deck or import shot log files, you provide the Avid
system with frame-accurate clip information used to capture the source
footage. The logs you create form the foundation for organizing, tracking,
storing, retrieving, and generating lists of edit information throughout your
project. For more information about logs, also see “Avid Log Specifications”
in the Help. The following sections provide techniques for preparing log
information before capturing:
• Logging Tips
• Importing Shot Log Files
• Converting Log Files with Avid Log Exchange
• Setting the Pulldown Phase
• Logging Directly to a Bin
• Logging Film Information
• Modifying Clip Information Before Capturing
• Exporting Shot Log Files

Logging Tips
The following sections provide important guidelines for preroll, timecode
formats, and naming of tapes when logging before capturing.
Chapter 5 Logging

Logging Preroll

Be sure to leave adequate preroll with continuous timecode before IN points

when logging your tapes. The recommended minimum preroll is 2 or 3
seconds for Betacam playback, 5 seconds for 3/4-inch U-matic playback, and
6 seconds for DV playback.

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

Preroll setting

Understanding Drop-Frame and Non-Drop-Frame

Timecode

Timecode is an electronic indexing method that denotes hours, minutes,

seconds, and frames that have elapsed on a videotape. For example, a
timecode of 01:03:30:10 denotes a frame that is marked at 1 hour, 3 minutes,
30 seconds, and 10 frames.

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 Logging Tips

NTSC video (the video format used mainly in the United States) uses one of
two formats: drop-frame timecode and non-drop-frame timecode. Drop-frame
(DF) timecode is designed to match the NTSC scan rate of 29.97 frames per
second (fps). Two frames of timecode are dropped every minute except for the
tenth minute. No video frames are actually dropped. Drop-frame timecode is
indicated by semicolons between the digits; for example, 01;00;00;00.

Non-drop-frame (NDF) timecode tracks NTSC video at a rate of 30 fps and is

indicated by colons between the digits; for example, 01:00:00:00. Non-drop-
frame timecode can be easier to work with, but does not provide accurate
timing for NTSC broadcast.

For example, a typical 1-hour show uses 52 minutes of video. If your program
ends at 01:52:00:00 (non-drop-frame), and it is broadcast at 29.97 fps, it will
last 94 frames too long (approximately 3 seconds). The final credits could be
cut off.

The following illustration compares the two types of timecode at the 1-minute
mark. Notice that no frames are actually dropped.

Non-drop-frame
timecode

01:00:59:28 01:00:59:29 01:01:00:00 01:01:00:01 01:01:00:02

Drop-frame
timecode

01;00;59;28 01;00;59;29 01;01;00;02 01;01;00;03 01;01;00;04

PAL video (the video format used in many countries other than the United
States) uses a scan rate of 25 fps. Timecode is indicated by colons. There is no
need for drop-frame timecode in PAL video.

You set the default timecode format for logging clips in the Deck Preferences
dialog box (see “Setting Deck Preferences” on page 213). You set the default
starting timecode in the General Settings dialog box (see “General Settings”
on page 102). In both cases, you can select drop-frame or non-drop-frame
timecode.

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You can change the starting timecode of a sequence or, for NTSC projects, the
type of timecode. See “Changing the Start Timecode for Sequences” on
page 453.

Logging Timecode

Within an NTSC project, check the timecode format of each tape (drop-frame
versus non-drop-frame timecode) when you are logging without a tape in the
deck.

n Drop-frame and non-drop-frame timecode exist only in NTSC projects.

To log drop-frame timecode:

t Use semicolons (;) between the hours, minutes, seconds, and frames.

To log non-drop-frame timecode:

t Use colons (:) between the hours, minutes, seconds, and frames.

Naming Tapes

When you type tape names in the Capture tool, consider the following:
• It is important that you devise a naming scheme for your tapes. For
example, tapes with similar names can be easily sorted and viewed
together in a bin. However, it might be difficult to distinguish among
tapes with similar names when you try to locate a specific tape quickly.
Name tapes based upon the amount and complexity of your source
material.
• Tape names must be alphanumeric characters (A–Z, 0–9), with no spaces
before the name. They can include uppercase and lowercase letters. The
maximum length of a name is 32 characters.
• It is possible to have a single tape listed as several different tapes if you
alter the case of the letters. This can cause significant problems in keeping
track of clips. Select a case convention and maintain it throughout a
project.
• If you are planning to generate an edit decision list (EDL) for import into
an edit controller for online editing, double-check the controller’s
specifications beforehand. Some edit controllers truncate source tape
names to as few as six characters, while others eliminate characters and
truncate to three numbers.

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Double-Checking the Logs

When importing shot logs for video, the Avid system compares the video
duration to the video out minus the video in. When importing film shot logs in
matchback projects, the system compares the key number out minus the key
number in.

If the system detects a discrepancy, it reports the error to the Console and does
not bring the clip into the bin. The best way to ensure that clips are not
discarded on import is to double-check the logs for discrepancies in duration
and marks.

To ensure that clips are not discarded on import:

1. Open the Console window by selecting Tools > Console, and review any
reported errors.
2. Double-check the logs for discrepancies in duration and marks.

Using a Memory Mark

You can use the Mark Memory button to bookmark an extra timecode on a
tape. This lets you mark an alternative take or shot that you need to compare
with the one cued up at the Mark IN point.

To use a memory mark for a particular location on a tape:

t Click the Mark Memory button in the Capture tool to mark the location.
t Click the Go to Memory button to move through the tape to the marked
location.
t Click the Clear Memory button to clear the memory mark.

Clear Memory button

Mark Memory button Go to Memory button

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You can clear and reuse the memory mark as often as you want. The memory
mark is not stored on the tape. When you remove the tape from the deck and
insert another tape into the deck, the mark is cleared.

Importing Shot Log Files

You can import any log created or converted to meet Avid log specifications.
You can also combine or merge events while importing a log so that fewer
master tapes require capturing. For more information about logs, also see
“Avid Log Specifications” in the Help.

The system imports any additional information logged with each clip.

To save this display after importing the log:

t Save the bin.

To import shot log files into a bin:

1. Open a bin, click anywhere in an open bin to select it, or create a new bin
for the shot log import.
2. Select File > Import.
The Select Files to Import dialog box opens.

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 Importing Shot Log Files

Up One Level pop-up menu

Windows

Files of type
pop-up menu

Options button

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Macintosh

Show pop-up menu

From pop-up menu

Source file list

Options button

3. Do one of the following:

t If you are importing an .ale file, click the Files of Type pop-up menu
and select Shot Log (Windows), or click the Show pop-up menu and
select Shot Log Documents (Macintosh).
The system displays file types that belong to the chosen category
only.
t If you are importing a text file, click the Files of Type pop-up menu
and select All Files (Windows), or click the Show pop-up menu and
select Any Document (Macintosh).
The system displays all files in a chosen folder, regardless of file type.
Use this option if you want to batch import multiple file types.

n When batch importing multiple files and file types, you should establish global
Import settings in advance. See “Creating and Using Import Settings” on
page 282.

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 Converting Log Files with Avid Log Exchange

4. Click the Options button to open the Import Settings dialog box if you
want to select options for combining events on import from the Import
settings.
5. Click the Shot Log tab. For more information about shot log options, see
“Avid Log Specifications” in the Help.
6. After selecting the appropriate options, click OK to close the Import
Settings dialog box and to return to the Select Files to Import dialog box.
7. Click the Up One Level pop-up menu (Windows) or the From pop-up
menu (Macintosh) to locate the folder containing the source file.
8. Select the file.
9. Click Open.
When the system finishes importing the file, the clips appear in the
selected bin.

Converting Log Files with Avid Log Exchange

You can use the ALE utility included with your system to quickly convert shot
log files created by other sources:

The ALE utility allows you to:

• Modify the text in a log file. (Windows only.)
• Convert log files of different formats to ALE files (see “Compatible Log
Formats” on page 172).
• Convert an ALE file to either an ATN or FLX file.

Any options you set in the ALE utility are saved each time you close the ALE
utility.

When you are converting an ATN file that contains multiple sections to an
ALE file, multiple ALE files are created. The Avid Log Exchange window
displays only the first ALE file created. The succeeding ALE files are given
the same file name with incremental numbering. For example, the file
Nations1.atn is converted to Nations001.ale, Nations002.ale, Nations003.ale,
and so on. The converted output files are stored in the folder containing the
original input file.

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Converting Log Files with Avid Log Exchange (Windows)

To convert a log file to an ALE file:
1. Click the Start button, and select All Programs >Avid > Avid Log
Exchange.
The Avid Log Exchange window opens.

2. Do one of the following:

t If the log file is a Final Cut Pro®, Cinema Tools™, or a Tabbed shot
log file, select File > Import and then choose the file type.
t If the log file is another file type, such as .flx or .atn, select File >
Open.
The Open dialog box opens.
3. Double-click the file you want to convert.
The Import Header options dialog box opens.

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4. Select the information you want to appear in the global settings of the .ale
file. The global settings appear at the top of the .ale file.
5. Click OK.
6. Depending on the type of file you are opening, one of the following
occurs:
- If the file type is recognized by the ALE utility, the file appears in the
Avid Log Exchange window.
- If the file does not contain the Windows line-ending format, then the
Line Endings dialog box opens. Select an option from the following
table.

Click To

Display & Save Open the file in the Avid Log Exchange window and change
the file to the Windows format.

Display Only Open the file in the Avid Log Exchange window, but not
change the file.

Ignore Display the file as is without changes.

The file appears in the Avid Log Exchange window.

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For specific - If the file type is not recognized, the Select File Type dialog box
information on the opens. Select the type of file you are converting and click OK.
various file types
shown here, see The file appears in the Avid Log Exchange window.
“Compatible Log
7. Use the Options menu to select the tracks to include in the Tracks column
Formats” on page 172.
of the log. The default track selections are Log V, Log A1, and Log A2.
After you import the log into an Avid bin, the system captures all tracks
shown in this column when batch capturing.

n The Track selection only works on non ALE files being converted to ALE
format. When ALE is the incoming format, Track selection does not work.

8. Select Options > Clean if you want ALE to clean the ALE output file to
eliminate overlapping timecodes for clips. By default, Clean is selected.
When you select Clean, the utility changes the end timecode of a previous
event to be less than the following event.
9. If you selected Clean, you can also select Options > Relaxed to prevent
the deleting of events that come earlier in the transfer. Relaxed is not set
by default.
For example, if you transfer film footage with a timecode of 2:00:00:00
and then add some clips at the end with a timecode of 1:00:00:00, Relaxed
prevents the deleting of events that come earlier in the transfer. This
occurs when you shoot footage across the midnight hour and the first half
of the film has 24 hours and the second half has 0 hours.

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10. Select Convert > ALE.

The default output selection is the ALE format. This is the required format
for import into an Avid bin.
The Avid Log Exchange window displays the converted ALE file. The
converted file has the same file name as the original file, except the file
name extension matches the converted file format.

11. (Option) Select the original file from the Window menu if you want to
convert the file again using different options.
12. Select File > Close.
If you made changes in the editor, a message box opens.
13. Click Yes.
The converted file is stored in the same folder as the original log file.

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Using Drag-and-Drop Conversion for Log Files (Windows)

Use this shortcut to convert files into an ALE file.

n If the log file is a Final Cut Pro, Cinema Tools, or a Tabbed shot log file, you
cannot use drag-and-drop conversion. Use the procedure in “Converting Log
Files with Avid Log Exchange (Windows)” on page 162) to convert files of
this type.

To convert a log file by using drag-and-drop conversion:

1. Check the options that are set in the ALE utility (see “Converting Log
Files with Avid Log Exchange (Windows)” on page 162). The current
options are used when you perform drag-and-drop conversion.
2. Create a shortcut for the ALE utility.
3. Open the folder that contains the files you want to convert, positioning the
folder so the Shortcut icon for the ALE utility is visible.
4. Select the files you want to convert.

5. Drag the selected files to the Shortcut icon for the ALE utility, and release
the mouse button.
6. Depending on the type of files you are converting, one of the following
occurs:
- If the file type is recognized by the ALE utility, a message box opens,
indicating the conversion was successful.
- If the file type is not recognized, the Select File Type dialog box
opens. Select the type of file you are converting and click OK.
A message box opens, indicating the conversion was successful.

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- If the file type is an ALE file, the ALE Convert Type dialog box
opens. Select a file type for the converted output file and click OK.
A message box opens, indicating the conversion was successful.
7. Click OK to close the message box.
The converted files have the same file names as the original files, except
the file name extension matches the converted file format.
For example, the .ale file name extension is added to the new file names
for the Avid format. The converted files are stored in the folder containing
the original log files.

Converting Log Files with Avid Log Exchange (Macintosh)

You can use the ALE utility included with your system to quickly convert shot
logs that are created during a film-to-tape transfer.

To convert a log file to an ALE file:

1. Select Go > Applications, open the ALE folder, and double-click the
ALE icon.
The Avid Log Exchange dialog box opens.

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Files you can convert Files you can generate

Clean
option

Track
selection

Global
Settings
Information

Convert button Quit button

For specific 2. Select the type of file you want to convert from the Input list.
information on the
various file types If you are not sure of the type of file, select the Automatic option. ALE
shown here, see will determine the type of file based on the file name.
“Compatible Log 3. Select the type of file you want to create from the Output list.
Formats” on page 172.
The default output selection is the Avid Log Exchange (.ale) format. This
is the required format for import into an Avid bin.
4. Select the tracks to include in the Tracks column of the log. After you
import the log into an Avid bin, the system captures all tracks shown in
this column when batch capturing.

n The Track selection only works on non ALE files being converted to ALE
format. When ALE is the incoming format, Track selection does not work.

5. Select the option if you want ALE to clean the ALE output file to
eliminate overlapping timecodes for clips.
When you select Clean, the utility changes the end timecode of a previous
event to be less than the following event.

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6. If you selected the Clean option, you can also select the Relaxed option to
prevent the deleting of events that come earlier in the transfer. Relaxed is
not set by default.
For example, if you transfer film footage with a timecode of 2:00:00:00
and then add some clips at the end with a timecode of 1:00:00:00, Relaxed
prevents the deleting of events that come earlier in the transfer. This
occurs when you shoot footage across the midnight hour and the first half
of the film has 24 hours and the second half has 0 hours.
7. Select the global settings information, for example, NTSC or PAL, that
you want to appear in the ALE file. Global settings appear at the top of the
.ale file.
8. Click the Convert button to open the Select File To Convert dialog box.
9. Open the drive and folder that contain the files you want to convert.

Location of the files

File to be converted

10. Double-click the input file name.

If you selected a file type, ALE converts the file immediately.

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If you selected the Automatic option, a message box opens and asks you
to confirm the file type.

11. Click the button for the selected file type.

A message box opens.

12. Do one of the following:

t Click the This File Only button to convert only the file you selected to
the format you selected.
t Click the All Files button to convert all files you select in this session
to the format you selected. If you click All Files, the message boxes
will not open the next time you double-click a file.
ALE stores the converted file in the same folder as the original input file.

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Converted file
Input file

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

Using Drag-and-Drop Conversion for Log Files (Macintosh)

n If the log file is a Final Cut Pro, Cinema Tools, or a Tab Delimited shot log
file, you cannot use drag-and-drop conversion. Use the procedure in
“Converting Log Files with Avid Log Exchange (Macintosh)” on page 167) to
convert files of this type.

To convert a log file by using drag-and-drop conversion:

1. Check the options that are set in the ALE utility (see “Converting Log
Files with Avid Log Exchange (Macintosh)” on page 167). The current
options are used when you perform drag-and-drop conversion.
2. Insert the floppy disk into the floppy drive, if the files you want to convert
are stored on a floppy disk.
3. Open the folder that contains the Avid Log Exchange icon.
4. Open the folder that contains the files you want to convert, positioning the
folder so the Avid Log Exchange icon is visible.

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5. Select the files you want to convert.

6. Drag the selected files to the Avid Log Exchange icon, and release the
mouse button.
The system converts the files to Avid format, adding the .ale file name
extension to the new file names.

Compatible Log Formats

The following table lists the log formats that can be imported directly or
converted for import using Avid Log Exchange (ALE).

Compatible Log Formats

Log Format Requirements File Name Extension

AatonBase Conversion required .atn or .atl

Avid Log Import directly .ale

Cinema Tools Conversion required .txt

CMX EDL Conversion required .cmx

Evertz Conversion required .ftl

Excalibur Conversion required .ale or .flx

Final Cut Pro Conversion required .txt

FLEx Conversion required .flx

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Compatible Log Formats (Continued)

Log Format Requirements File Name Extension

Keyscope Conversion required .ksl

Log Producer Conversion required .llp

Log right Import directly .ale

OSC/R (Macintosh® only) Conversion required .asc

OLE (Windows only) Conversion required .odb

Shotlister Import directly .ale

Tab Delimited Conversion required .txt

Setting the Pulldown Phase

For information about If you are logging or capturing 24-fps sources (film-to-tape transfers, media
the pulldown process, downconverted from 1080p/24 footage, or both), you can set the pulldown-to-
see. “Transferring 24- timecode relationship for a transferred tape in the Film Settings dialog box.
fps Film” in the Help.

Set Pulldown
Phase option

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You set this relationship by selecting the pulldown phase (sometimes called
the pulldown frame or pullin frame), which is the video frame at which the
master clip starts. The pulldown phase is designated A, B, X, C, or D. Film
labs and transfer houses typically use the A frame to start the transfer.

The following illustration shows the relationship between film frames and
video frames.

Four film frames Five NTSC video frames (ten fields)

A1 odd
A A
A2 even
B1 odd
B
B2 even
B
B3 odd
even X
C1
C C2 odd
C
D1 even

D D2 odd
D
D3 even

n This setting is not available in matchback projects. However, you can modify
the pulldown phase after you log it. See “Logging Film Information” on
page 183.

The Set Pulldown Phase setting lets you log, batch capture, and capture-on-
the-fly more easily, because the correct pulldown phase of any IN point for a
particular tape is automatically determined. Setting the correct pulldown phase
prevents inaccuracies in cut lists and matchback EDLs. It also prevents
incorrectly captured clips that appear to stutter when played in 24p NTSC
projects.

For example, if you set the pulldown phase of 00:00:00:00 as A (indicating

that the A frame is located at timecodes ending in 0 or 5), any timecode you
log will calculate its pulldown phase based on the same sync point, regardless
of where you set the IN point. If you use the Capture tool to log a clip that
starts at 01:00:10:01, the Avid system automatically enters B in the Pullin

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column of the bin. If you capture on-the-fly starting at 01:00:10:01 (a B

frame), the system begins to capture at the next A frame, in this case,
01:00:10:05.

c The Set Pulldown Phase feature does not work if you capture from a
mark IN.

For information about The pulldown-to-timecode relationship might vary from tape to tape, or within
fixing an incorrectly the same tape, depending on how the footage was transferred. If you find that
logged sync point, see a tape requires a different pulldown phase, you can change the setting in the
“Modifying the
Film Settings dialog box, or use the Modify Pulldown Phase dialog box before
Pulldown Phase After
Capturing” on capturing (see “Modifying the Pulldown Phase Before Capturing” on
page 279. page 188.)

To set the pulldown phase:

1. Determine the correct pulldown phase for 00:00:00:00 in one of the
following ways:
t If you are capturing film-to-tape transfers, check the transfer log.
t If you are capturing tapes that have been downconverted from
1080p/24, check what pulldown frame was set for 00:00:00:00 on the
deck that performed the conversion.
t If you still cannot determine the pulldown phase, see “Determining
the Pulldown Phase” on page 187.
2. Double-click Film in the Settings scroll list of the Project window.
3. Select the option Set Pulldown Phase of Timecode 00:00:00:00 and then
click the pop-up menu, and select the correct pulldown phase (A, B, X,
C, D).
4. Click OK.

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Logging Directly to a Bin

You can use the Capture tool to log clips directly to a bin in one of three ways
described in this section:

For complete • Log directly to a bin with an Avid-controlled camera or deck for
information on working semiautomated data entry. See “Logging with an Avid-Controlled Camera
with bin columns and or Deck” on page 176.
clip information, see
“Using Text View” on • Log directly to a bin with an Avid-controlled camera or deck and pause
page 318. the deck while logging. See “Pausing the Deck While Logging” on
page 180.
• Log manually during or after viewing of footage offline with a non-Avid-
controlled deck or other source. See “Logging with a Non-Avid-
Controlled Camera or Deck” on page 181.

Logging with an Avid-Controlled Camera or Deck

When you log with a DV camera or compatible video deck controlled from
within the Avid application, you can automate part of the logging process
using buttons to enter frame-accurate timecode information from the camera
or deck. This method is more accurate than manual entry because timecodes
are transferred directly from tape to the bin.

To log clips directly to a bin from an Avid-controlled camera or deck:

1. Make sure the camera or deck is properly connected and turned on.
2. Open the bin in which you want to store the clips.
3. Do one of the following:
t Select Toolset > Capture.
t Select Tools > Capture.
The Capture tool opens. Playback from the deck is displayed in the client
monitor if you have one.

n (Windows only) If you are using a deck connected through a board with a
1394 connection (OHCI input/throughput), footage is not displayed in the
Client monitor until you click the Capture button and start the capturing
process. See “Viewing DV Media Before Capturing” on page 197.

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 Logging Directly to a Bin

Capture/Log Mode button

Log button

Deck Selection
pop-up menu

n If you forget to connect and turn on the power to the deck before opening the
Capture tool, you can reinitialize deck control after turning it on by clicking
the Deck Selection pop-up menu and selecting Check Decks.

4. If the Capture tool is not currently in Log mode, click the Capture/Log
Mode button until the LOG icon appears.
5. Click the Deck Selection pop-up menu, and select a deck. For more
information, see “Selecting a Deck” on page 215.

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6. Insert your tape into the deck.

The Select Tape dialog box opens.

New Tape Name button

List of tapes

Scan for
Show other projects Tapes
button

7. (Option) Select “Show other projects” to display the tape names and
associated project names for all bins that have been opened in the current
session.

n Only tapes associated with captured media from the current project are
shown.

n If the tape name you are searching for does not appear in the Select Tape
dialog box, click the Scan for Tapes button. Tape and project names are listed.

For guidelines when 8. Provide the system with a tape name in one of the following ways:
naming tapes, see
“Naming Tapes” on t Select the name of the tape from the list in the Select Tape dialog box
page 156. and click OK.
t Click New if the tape is not in the list. A new tape name line opens in
the dialog box. Type the new name and click OK, and then click OK
again.
The tape name is displayed in the Capture tool.A message that the system
is waiting for you to mark an IN point is displayed in the message bar.

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 Logging Directly to a Bin

9. Set either an IN point or an OUT point for the clip you want to log, using
one of the following methods:
t If you want to keep the deck running while you log: Start the deck.
Mark IN
At the point where you want to start the clip, click a Mark IN button
(in the upper left corner of the Capture tool or the Mark IN button in
the lower right) or press F4. The deck continues to play.

n If you want to pause the deck while you enter a clip name and comments, see
“Pausing the Deck While Logging” on page 180.

Mark IN t If you want to cue your source tape to the start or end point: Use
the deck controls in the Capture tool to cue your source tape to the
Mark OUT
start or end point, and click the Mark IN or the Mark OUT button in
the lower right corner.
Go to IN t If you want to log using timecode: If the footage starts at a known
IN point or ends at a known OUT point, type the timecode in the text
Go to OUT box next to the Mark IN or the Mark OUT button. Then enter the
mark by pressing the Go to IN or the Go to OUT button, which scans
the tape forward to the mark, or by pressing Enter (Windows) or
Return (Macintosh).
Mark IN 10. After you set the mark, the Mark IN button changes to the Mark OUT and
and Log Log button or the Mark IN and Log button, depending on the first mark
Mark OUT you set.(Option) Enter a clip name and comment in the corresponding text
and Log boxes.
11. To finish logging the clip, do one of the following:
t If the deck is running: Click the Mark OUT and Log button or press
F4. The clip is logged into the bin and the deck continues to play.
t If you want to cue the remaining start or end point: Use the deck
controls to locate the start or end point. Set the remaining IN or OUT
point either by clicking the Mark OUT and Log button or the Mark IN
and Log button. The clip is logged into the bin.
t If you want to log using timecode: Type a timecode for the clip’s IN
point, OUT point, or duration in the timecode text boxes next to the
corresponding icon. Then enter the mark by pressing the Go to IN or
the Go to OUT button, which scans the tape forward to the mark, or
Log Clip by pressing Enter (Windows) or Return (Macintosh). To log the clip
button into the bin, click the Log Clip button in the upper left corner.
The clip name, which is automatically numbered by the system, is
highlighted and ready to be changed.

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12. (Option) Rename the clip by typing a new name in the highlighted area.

n Consider changing the clip name immediately, because it is easy to forget the
contents of each clip if you are logging many clips. You can, if necessary,
accept the clip name and proceed with the logging process and change the
clip names in the bin at a later time.

13. Repeat these steps until you have logged all your clips.

n While viewing the footage, you can continuously update your marks on-the-fly
by clicking the Mark IN or the Mark OUT button repeatedly before entering
the second mark.

Pausing the Deck While Logging

If the deck is playing while you log clips, you can direct the Avid system to
automatically pause the deck after you set an IN point and an OUT point.
While the deck is paused, you can enter the name and comment for the clip
you want to log.

To pause the deck while logging:

1. In the General tab of the Capture Settings dialog box, select Pause Deck
While Logging.
2. Set up your deck and the Capture tool as described in “Logging with an
Avid-Controlled Camera or Deck” on page 176.
Mark IN
3. When you reach the point where you want to start the clip, click the Mark
IN button in the upper left corner of the Capture tool or press the F4 key.
The Mark IN button changes to the Mark OUT button and the deck
Mark OUT
continues to play.
4. When you reach the point where you want to end the clip, click the Mark
OUT button in the upper left corner of the Capture tool or press F4 again.
The Mark OUT button changes to the Log Clip button, and the deck
pauses.
5. Enter a clip name and comment in the corresponding fields in the Capture
tool.
6. Click the Log Clip button or press F4.
Log Clip
The system logs the clip in a bin, and the deck starts playing again.

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 Logging Directly to a Bin

Logging with a Non-Avid-Controlled Camera or Deck

You can use the Capture tool to log clips directly to a bin from a non-Avid-
controlled source. For example, you can log clips from a camera or deck that
is not connected to the system or from handwritten or printed log information
for a tape that was previously logged but is not currently available.

To log with a non-Avid-controlled camera or deck:

1. If there is a camera or deck connected to the system, eject the tape from
the deck.

n For NTSC projects, when you are logging within the Capture tool, you should
leave the deck empty. If a tape remains in the deck, the system determines
drop-frame or non-drop-frame from that tape, whether or not it matches your
tape’s timecode format. (Drop-frame and non-drop-frame timecode exists
only in NTSC projects.)

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

window to open the Deck Preferences dialog box.
3. For NTSC projects, click the “When the deck contains no tape Log As”
pop-up menu, and select Non-Drop-Frame or Drop-Frame.
4. Click OK to close the dialog box.
5. Open the bin where you want to store the clips.
6. Select Tools > Capture.
The Capture tool opens.

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Capture/Log Mode button

Mark IN
button
Channel
Selection
buttons

Message
bar

Mark IN text
box
Timecode
display
Clear OUT
Deck controls
button

Deck Selection Mark OUT

pop-up menu text box

Source Tape Display button Mark OUT button Mark IN button

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

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Logging Film Information

Once you have entered or imported the basic log information into a bin, you
might want to add film-related log information before capturing. This section
describes procedures and formats for adding various film headings.

The following are some important requirements for film-based projects:

• The minimum information required for capturing is the data recorded in
the Start and End video timecode columns, and the pulldown phase for
NTSC transfers, which is noted in the Pullin column (24-fps capture
only).
For information on • Each reel of film can be logged as a separate clip, and will correspond to a
capturing long clips to single master clip, only if the video transfer of the film reel has continuous
multiple files, see pulldown (NTSC format), and continuous timecode (NTSC and PAL). If
“Film Settings - Edit
the film reels for your project do not meet this condition, then you must
Play Rate Options” on
page 790. log each take on a reel of film as a separate clip, which will correspond to
a single master clip.
If you log each reel as a separate clip, you can use the F1 and F2 keys to
create subclips for each take. See “Creating Subclips While Capturing” on
page 260.

n For information on capturing long clips to multiple files, see “Film Settings”
in the Help.

• If you want to produce a cut list, or use film-tape-film-tape for

recapturing, you must log key numbers. You can add key numbers after
capturing, before you create the cut list.
• All film and video reference numbers must be in ascending order.

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Displaying Film Columns

To display film columns in the bin:
1. Click the Bin View pop-up menu, and select Film to display all the
required film column headings. The Bin View pop-up menu is located at
the bottom of the Bin window.

Bin View pop-up menu

2. To log data under optional headings (such as Ink Number, Auxiliary TC1-
Auxiliary TC5, or Film TC), select Bin > Headings and Ctrl+click
(Windows) or click (Macintosh) the specific headings you want to add
from the Bin Column Selection dialog box.

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 Logging Film Information

3. You can also track custom information for the job by creating a custom
heading. To create a new heading, type a name that describes the
information in the headings bar at the top of the bin. For more information
on customizing bin views, see “Customizing Bin Views in Text View” in
the Help.

Entering Pulldown Information

For information about To accurately capture NTSC transfer tapes in 24p projects, you need to enter
importing a log file, see pulldown information into the bin. (This information is not required for PAL
“Importing Shot Log transfer tapes.) Setting the correct pulldown phase prevents inaccuracies in cut
Files” on page 158.
lists and matchback EDLs. If you are importing a log generated during the
telecine transfer, the pulldown information is automatically included in the
bin.

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Start timecode Pullin column

(information required for NTSC

If you do not have a transfer log, or if the transfer log is incorrect, you need to
add the information manually. If you log clips by using the Capture tool, the
Avid system uses the A frame as the default pulldown phase. You might need
to edit this value.

n For 24p projects, you can set a default pulldown phase in the Film Settings
dialog box. See “Setting the Pulldown Phase” on page 173 (24p projects
only).

n For matchback projects, you need to log key-number information before you
can log pulldown information.

By specifying the pulldown phase in the Pullin column, you accomplish the
following:
• You ensure that the clips will start with the correct frame for the
pulldown. Otherwise, you might experience inaccuracies in key-number
tracking and in the cut lists.
• You indicate where the pulldown fields are located so the Avid system
can accurately eliminate the pulldown fields during the capturing process,
leaving you with a frame-to-frame correspondence between your digital
media and the original 24-fps footage (24p projects only).

To do this, you must indicate whether the sync point at the start of each film
clip transferred to tape is an A, B, C, or D frame, as described in this section.
In most cases, the sync point is the A frame.

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Determining the Pulldown Phase

It is easiest to determine the pulldown of a sync point (or pulldown phase) if

you ask your film lab to keypunch (cut a small hole in) the sync frame at the
zero frame in the original film footage before transferring the film to video.
Many film labs or transfer houses can also provide a pulldown frame indicator
displayed at the far right of the burn-in key numbers, depending on the
equipment available. Ideally, the A-frame pulldown coincides with timecode
ending in 0 and 5 (:00, :05, :10, and so on).

For instructions on If the footage has not been keypunched, you can determine pulldown
determining the according to clapsticks or any other distinctive frame at the beginning of the
pulldown phase for clip. Determining the pulldown is easier if the frames depict motion.
material already
captured, see
To determine the pulldown phase:
“Modifying the
Pulldown Phase After 1. While viewing the video transfer on a monitor, go to the keypunched (or
Capturing” in the Help. clapsticks) sync point for the beginning frame of the clip you’re logging.
2. Step (jog) past the sync point frame field-by-field, using the step wheel on
the tape deck. You will see either two or three keypunched fields. If the
footage is not keypunched, look for two or three fields with little or no
motion.
3. If there are two fields, the pulldown is either A or C. Step through the
fields again, and note where the timecode changes:
- If the timecode does not change from the first to the second field, the
fields came from an A frame.
- If the timecode changes from the first to the second field, the fields
came from a C frame.
The following illustration shows a keypunch on the A frame. Notice
where the timecode changes.

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Four film frames Five NTSC video frames (ten fields)

A1 odd
A
A even
A2
Timecode change
B1 odd
B
B2 even
B Timecode change
B3 odd
X
C1 even
Timecode change
C C2 odd
C
D1 even
Timecode change
D D2 odd
D
D3 even

4. If there are three keypunched fields, or fields without motion, the

pulldown is either B or D. Step through the fields again and note where
the timecode changes:
- If the timecode changes from the second to the third field, the fields
came from a B frame.
- If the timecode changes from the first to the second field, the fields
came from a D frame.
5. Enter or edit the information in the Pullin column in the appropriate bin,
as described in the next section.

Modifying the Pulldown Phase Before Capturing

After you determine the correct pulldown phase (as described in the previous
section) you can modify the pulldown phase before capturing in one of the
following ways.

To modify the pulldown phase directly in the Pullin column:

1. Click the Text tab to display all bin information.
2. Click the cell you want to modify.
3. Click the cell again. The pointer changes to an I-beam.
4. Type the pulldown phase and press Enter (Windows) or Return
(Macintosh).

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To modify the pulldown phase for multiple clips:

1. Ctrl+click (Windows) or Shift+click (Macintosh) the clips you want to
modify.
2. Select Clip > Modify.
3. Click the Modify Options pop-up menu, and select Pull-in.
4. Select A, B, C, or D.
5. Click OK.
The pullin for all selected clips is changed, based on the pulldown phase
you selected.

To modify the pulldown phase for multiple clips that have the same
pulldown-to-timecode relationship:
1. Ctrl+click (Windows) or Shift+click (Macintosh) the clips you want to
modify.
2. Select Clip > Modify Pulldown Phase.
The Modify Pulldown Phase dialog box opens.

3. Click the pop-up menu, and select the correct pulldown phase for
timecodes ending in 0 or 5.
4. Click OK.
The pulldown phase for each selected clip is changed, based on the
pulldown phase you selected for 00:00:00:00.
The Pulldown Phase setting also appears in the Film Settings dialog box
(24p projects only). You can override that setting with the Modify
Pulldown Phase dialog box. The selection in the Film Settings dialog box
remains the same. For more information, see “Setting the Pulldown
Phase” on page 173.

n If you want to modify the pulldown phase after capturing, you must first unlink
the clips. See “Modifying the Pulldown Phase After Capturing” on page 279.

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n After you capture an NTSC transfer, the timecode shows a loss of every fifth
frame of video. For example, don’t be alarmed if you find that your timecode
jumps at one point from 1:00:14:15 to 1:00:14:17. You haven’t lost a frame,
just an extra pulldown field.

Entering Frames-per-Second Rates for PAL Transfers

When you log in advance for PAL film-to-tape transfers, you must log the
footage as clips that have a 25-fps play rate, as listed in the FPS column of the
bin. If you want, you can capture the footage on-the-fly, without logging the
clips first. The minimum information required to capture the footage is the
data logged in the Start and End video timecode columns.

Entering Key Numbers

To add key numbers:
t Highlight the KN Start column, then type the key number for the sync
point at the start of the clip by using one of the following formats:
- Keykode™ Format: Type a two-character manufacturer and film-
type code, a six-digit prefix for identifying the film roll, a four-digit
footage count, a two-digit frame offset, and then press Enter
(Windows) or Return (Macintosh).
The Avid system adds a space, hyphen, and either a plus sign (for
35mm projects) or an ampersand (for 16mm projects) to format the
number. For example, in a 35mm project, to enter
KJ 23 6892-1234+15, type KJ236892123415. In a 16mm project,
typing the same number results in the code KJ 23 6892-1234&15.
- Other Formats: Enter other key-number formats in the Ink Number
column. Type up to eight characters for the prefix, up to five
characters for the footage count, two digits as the frame count, and
then press Enter (Windows) or Return (Macintosh).
The Avid system automatically calculates the ending key number
(KN End), based on the timecode duration.

c Make sure the correct number appears when you press Enter (Windows)
or Return (Macintosh). For key-number formats other than Keykode,
you might need to type the space, hyphen (-), and plus sign (+) or
ampersand (&) to format the number correctly.

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Entering Additional Timecodes (Option)

Consider the following when you enter additional timecodes:

• In one of the Aux TC columns (that is, Aux TC1 through Aux TC5), type
an auxiliary timecode that syncs with the video timecode logged in the
Start column. You can enter up to five auxiliary timecodes. Supported
timecodes depend on your project: 30-fps for NTSC (drop-frame or non-
drop-frame) and 25-fps for PAL. Use one of the following formats:
t Enter a two-digit format for hours, minutes, seconds, and frames. You
need not enter a leading zero. (For example, to enter 01:23:02:00,
type 1230200.)
t When working with drop-frame timecode in the NTSC format (not
applicable to PAL), enter a semicolon to indicate drop-frame
timecode (for example, to enter 01;23;02;00, type 01;230200).
• In the Sound TC column, enter the Nagra or DAT timecode for the
original audio for the start of the clip. The timecode should sync with the
video timecode logged in the Start column in the bin. Enter the source
sound-roll identifier in the Soundroll column. Supported timecodes
depend on your project: 30-fps for NTSC (drop-frame or non-drop-frame)
and 25-fps for PAL. The clip to be captured must contain an audio track.
• In the Film TC column, enter timecode generated by a film camera (using
Aaton or Arri timecode) for tracking the picture at the start of the clip. The
film timecode should sync with the video timecode logged in the Start
column. Only 24-fps timecode is supported. The clip to be captured must
contain a video track.
• In the TC24 column, enter timecode for original HDTV sources
(1080p/24) or audio DATs created for PAL feature film productions that
use in-camera timecode.

n You can use the Duplicate command to convert timecodes from one format to
another. For more information, see “Duplicating a Column” in the Help.

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Modifying Clip Information Before Capturing

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 capturing because changes would
prevent you from playing back and editing the material successfully.
• Sequence data cannot be changed even though it appears in your bin. The
only way to modify sequence data is to edit the sequence itself. You can,
however, change the name and start time for the master timecode track.

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

The Modify Command

The Modify command gives you specialized control over groups of clip
information. For example, you can use the Modify command to change the
name of source tapes for some or all of your clips, to change the timecode
format from drop-frame to non-drop-frame, or to increment or decrement the
start and end timecodes by a specified length of time for one or several clips at
once.

You can apply changes with the Modify command to master clips only;
subclips and sequences cannot be altered in this way. In addition, you can
perform only modifications that alter the end timecodes or the tracks before
capturing.

Using the Modify Command

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

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Selected clip
is
highlighted.

3. Select Clip > Modify.

The Modify dialog box opens.
4. Click the pop-up menu, and select an option, such as Set Timecode By
Field.
Depending on the modification you select, different options appear in the
dialog box that allow you to establish the specific modification, as shown
in Options for Modifying Bin Information.
5. After selecting the type of modification, select an option or type
information in the text boxes (for example, timecode values).
6. Click OK.
The modification takes effect.

The following table lists options available from the pop-up menu in the
Modify dialog box.

Options for Modifying Bin Information

Type of Modification Options Description

Set Timecode Drop, Nondrop Changes the timecode format between drop-frame
Drop/Nondrop and non-drop-frame. Setting must match the
timecode format of the tape. For more information
about drop-frame and non-drop-frame timecode,
see “Understanding Drop-Frame and Non-Drop-
Frame Timecode” on page 154.

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Options for Modifying Bin Information (Continued)

Type of Modification Options Description

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

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
capturing.

Timecode entry field Allows you to enter custom incremental timecode.

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
capturing.

Timecode entry field Allows you to enter new decremental

timecode.

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

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

entry (film and matchback projects only). For more
information, see “Logging Film Information” on
page 183.
After capturing, the clip must be unlinked. For
more information, see “Modifying the Pulldown
Phase After Capturing” on page 279.

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

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

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Exporting Shot Log Files

You can export a shot log file from the Avid system in either Tab Delimited or
Avid Log Exchange formats for making adjustments in a text editor or for
importing to another system.

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

1. Open the bin containing the clips you want to export and switch to Text
view. For more information on Text view, see “Using Text View” on
page 318.
2. Click a clip icon to select it. Ctrl+click (Windows) or Shift+click
(Macintosh) each additional clip you want to export.
3. Select File > Export.
The Export As dialog box (Windows) or a destination dialog box
(Macintosh) opens.
4. Do one of the following:
t If you have previously created an Export setting for exporting shot
log files, click the Export Setting pop-up menu, and select the setting.
Then go to step 11.
For information on creating Export settings, see “Customizing Export
Settings” on page 683.
t If you want to create a new Export setting, go to step 5.
5. Click the Options button.
The Export Settings dialog box opens.
6. Click the Export As pop-up menu, and select either one of the following:
t Select Avid Log Exchange to export the selected bin as a shot log file
that complies with ALE specifications. For information about Avid
Log Exchange, see “Converting Log Files with Avid Log Exchange”
on page 161.
t Select Tab Delimited to export the selected bin as a tab-delimited
ASCII text file.
7. Click the Save As button.
The Save Export Setting dialog box opens.

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8. Type a name in the Setting Name text box.

The export setting name is added to the list of formats available from the
Export dialog box.
9. Click OK.
10. (Option) Change the file name in the Export As dialog box (Windows) or
the destination dialog box (Macintosh), but keep the default file name
extension.
11. Select the destination folder for the file, and click Save.
The file is exported and appears at the chosen destination.

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 Chapter 6
Preparing to Capture

Capturing is the process of creating digital media from videotape or audio

input. Before you begin the capturing process in “Capturing Media” on
page 243, you need to prepare for it as described in the following sections:
• Viewing DV Media Before Capturing
• Selecting Settings
• Configuring Decks
• Setting Up the Capture Tool
• Preparing for Audio Input
• Compression Resolutions and Storage Requirements

Before capturing, see “Setting Up Your Software-Only Avid Editing System”

in the Help or “Connecting the Avid Mojo DNA” in the Help to ensure you
have properly connected your recording equipment such as a camera, deck,
DV device, or an Avid Mojo DNA device.

Viewing DV Media Before Capturing

n For information on DV hardware and connecting DV devices, see “Setting Up

Your Software-Only Avid Editing System” or “Connecting the Avid Mojo
DNA” in the Help.

When video input is configured through a 1394 connection (OHCI input), you
cannot view playback from the deck in the Client monitor until you click the
Capture button and begin the capturing process.
Chapter 6 Preparing to Capture

To view DV media before capturing:

t Connect the Client monitor to the analog video output connections of the
camera, digital video deck, or transcoder.

Selecting Settings
A number of settings have a direct effect on the capturing process. Before you
capture, review the following options:
• Setting Media Creation Resolutions and Selecting Drives
• General Settings
• Capture Settings
• Transfer Settings for Film Projects
• Transfer Settings for Film Projects
• Configuring the Sound Card

Setting Media Creation Resolutions and Selecting Drives

The Media Creation dialog box allows you to set the video resolution and to
select drives for capturing, creating titles, importing, performing audio and
video mixdowns, and creating motion effects. Because media is very large,
you can also remove your system and application drives from the list of
storage locations so you store your media on other drives with ample space.

n You can also choose a video resolution and select drives on which to save
media in other tools and dialog boxes in the Avid application.

Selecting a Video Resolution

To select a video resolution in the Media Creation dialog box:

You can also open the 1. Double-click Media Creation in the Settings scroll list of the Project
Media Creation dialog window.
box by selecting
Tools > Media The Media Creation dialog box opens.
Creation.
2. Click the tab for the area in which you want to set options.

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3. Click the Video Resolution pop-up menu, and select a video resolution.
The Video Resolution pop-up menu contains a list of the available
resolutions. The list of resolutions depends on the model of your Avid
system and the type of project.

n The default resolution for video projects is the highest two-field, compressed
resolution. The default for film projects (24p projects) is 14:1.

4. Select either OMF or MXF file format. For information on OMF and
MXF formats, see “File Format Specifications” in the Help.

n Clicking Apply to All sets your selected video resolution for the tabs that
include video resolution. Your settings are not saved until you click OK.

5. Click OK to save your settings.

Selecting Drives in the Media Creation Dialog Box

To select drives in the Media Creation dialog box:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Do one of the following:
t Double-click Media Creation.
t Select Tools > Media Creation.
The Media Creation dialog box opens. For information about options, see
“Media Creation Settings” in the Help.

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3. Click the Drive Filtering tab.

You can remove from the list of available drives the drive where your
operating system is located and the drive where the Avid application is
located. This allows you to choose to store media only on drives with
sufficient space.
4. Select one of the following:
- Filter Based on Resolution: Removes as a storage choice the drives
that cannot support the selected resolution. This option causes the
Avid editing system to utilize only Avid MediaDrives.
- Filter Out System Drive: Removes as a storage choice the drive on
which the operating system resides.
- Filter Out Launch Drive: Removes as a storage choice the drive on
which the Avid application resides.

n These are both selected by default.

The drive or drives you select do not appear in the other Media Creation
dialog box tabs as possible locations where you can store media. They
also do not appear in other drive selection menus in the application except
for the Import, Export, and Relink dialog boxes.
5. Click the tab for the area in which you want to work.
6. Choose a video drive and an audio drive. To choose the same drive for
both audio and video, click the Single/Dual Drives Mode button until only
a single drive pop-up menu appears.

n The drive that appears in boldface type has the most available space.

7. (Option) If you are working with the Capture tab, you can select a drive
group. Click the bottom of the Video Drive or the Audio Drive pop-up
menu, and select Change Group. For more information on selecting a
drive group, see “Capturing to Multiple Media Files” on page 222.

n Because no audio is associated with titles or motion effects, you can select
only a video drive in the Titles and Motion Effects tabs.

8. To apply your drive selection to all the Media Creation dialog box tabs
and the rest of the application, click Apply to All.

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 Selecting Settings

This sets your chosen video and audio drives for all the Media Creation
dialog box tabs. It also sets them for any place in the application where
you select drives.

n Your settings are not saved until you click OK.

9. Click OK to save your settings.

General Settings

General settings include options for tape formats, effect aperture, and audio
information.

To access General settings:

1. Click the Settings tab in the Project window.
2. Double-click General.
The General Settings dialog box opens.

For information about options, see “General Settings” in the Help.

Capture Settings

Capture settings include essential options for capturing, batch capturing,

autocapturing, capturing to multiple media files, DV scene extraction, and
setting key commands.

To open the Capture Settings dialog box:

1. Click the Settings tab in the Project window.
2. Double-click Capture.
The Capture Settings dialog box opens. For information about these
settings, see the following topics in the Help:
- “Capture Settings: General Tab”
- “Capture Settings: Batch Tab”
- “Capture Settings: Edit Tab”
- “Capture Settings: Media Files Tab”
- “Capture Settings: DV Options Tab”

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- “Capture Settings: Keys Tab”

Transfer Settings for Film Projects

The following settings are important for transferring media in a film project.
You should set the transfer settings for film projects immediately after you
create a new project and before capturing. For information about other film
settings, see “Film and 24p Settings” in the Help.

To select film project transfer settings:

t Select Film and 24p from the Settings tab of the Project window.
The Film and 24p Setting dialog box opens.

For information about • Video Pulldown Cadence: allows you to specify the type of film-to-tape
film-to-tape transfer transfer that you capture:
methods, see Film-to-
Tape Transfers in the
Help.

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 Selecting Settings

- Video rate, no pulldown: Select this option when working with 24-fps
footage that has been transferred MOS (roughly translated as
“without sound”) to 30 fps by speeding up the film, and the audio has
been brought into the Avid system separately at 100 percent of the
actual speed.
- Standard 2:3:2:3 pulldown: Select this option when working with 24-
fps footage that has been transferred to 30 fps by duplicating frames
(pulldown) and the audio has been synchronized to the picture.
- Advanced 2:3:3:2 pulldown: Select this option when using native DV
editing with capture over Firewire.
For NTSC projects, you can mix footage transferred with pulldown and
footage transferred without pulldown (video rate). You can also mix
sound transferred at 0.99 (with pulldown) and 1.00 (without pulldown).
• (PAL only) You define the Audio Transfer Rate in the New Project
dialog box when you create a 24p PAL film project. (It is not needed for a
25p PAL project because there is no film speedup during the transfer.) It
is important to keep the audio transfer rate constant for the project.
However, if there is a specific element that you need to capture at a
different rate, you can use the Film and 24p Settings dialog box to change
the rate. The following options are available:
- Film Rate (100%): Select this option when your 24-fps film footage
has been transferred MOS to 25 fps by speeding up the film, and the
audio comes in separately at 100 percent of the actual speed (PAL
Method 2).
- Video Rate (100%+): Select this option when your 24-fps film
footage has been transferred to 25 fps by speeding up the film, and the
audio is synchronized to the video picture. This means that the audio
speed is increased by 4.1 percent (PAL Method 1).
For PAL 24p projects, you can mix audio that has been transferred at 4.1
percent speedup (video rate, PAL Method 1) with audio that has not been
transferred (film rate, PAL Method 2). However, Avid does not
recommend this.

n The Info tab in the Project window allows you to view the audio transfer rate
you selected when you created the project. The actual audio transfer rate
might be different from the display if you used the Film and 24p Settings
dialog box to change the audio transfer rate.

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• Audio Source Tape TC Rate allows you to specify the digital audiotape
(DAT) timecode format: either 30 fps or 29.97 fps (NTSC only). This
timecode format must conform to the timecode format on your original
DAT tapes. This setting is active when capturing audio only.
This setting does not appear in 23.976p projects.
• Set Pulldown-to-Timecode Relationship allows you to set a default
pulldown phase for a 24p NTSC project.

Setting Up the Audio Project

You can use the Audio Project Settings window to check the current
configuration of audio hardware and to choose various input and output
options. The Audio Project Settings window has four tabs: Main, Input,
Output, and Hardware.

n Some options depend on the audio configuration of your system, so your

system might not contain certain features and hardware that are covered in
the documentation.

To access Audio Project settings:

1. Click the Settings tab in the Project window.
2. Double-click Audio Project.
The Audio Project Settings window opens. See “Audio Project Settings”
in the Help.

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 Selecting Settings

The following illustration shows the Main tab in the Audio Project Settings
window.

Configuring the Sound Card

Depending on the sound card installed on your Avid system, you might need
to customize the configuration of audio input and audio output. Usually this
configuration occurs automatically when you install the Avid application.
Some sound cards, however, require further customization to ensure full
compatibility between the application and the audio hardware on your system.
In these cases, you can use the Sound Card Configuration dialog box to map
audio input sources to specific audio output sources.

c Improper configuration of your audio hardware can cause the audio

input and output features of the Avid application to function incorrectly.
Use the Sound Card Configuration dialog box only if you experience
problems with your audio output.

n Configuring your sound card to ensure compatibility is necessary only if your

Avid application is a software-only model using the Windows operating
system. If Sound Card Configuration does not appear in the Settings scroll
list, you do not have to configure your sound card.

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To customize the sound card configuration:

1. In the Project window, click the Settings tab.
The Settings scroll list appears.
2. Double-click Sound Card Configuration.
The Sound Card Configuration dialog box opens.

Record/Input list Playback/Output

list

Input sources Output Source

pop-up menus

Default button
Audio device
name

3. For each input source in the Record/Input list that you want to map, click
the matching Output Source pop-up menu from the Playback/Output list
and select an output source.

n You can map an input source to only one output source at a time. The options
available for mapping depend on your audio hardware.

4. (Option) If you do not want an input source mapped to an output source,

select <No Match> from the corresponding Output Source pop-up menu.
You might need to do this, for example, if your system lists more input
sources than output sources.
5. (Option) Click the Mute Overrides pop-up menu, and select an output
source. See “Configuring the Sound Card with Surround Sound
Capabilities (Windows Only)” on page 207.

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 Selecting Settings

6. (Option) To let Windows map the input to the output, select Use Windows
Mixer.
The rest of the options in the dialog box disappear.
7. Click OK.

To reconfigure the sound card to the original application settings:

t Click the Default button.

c Clicking the Default button applies the default settings immediately. You
cannot cancel the reconfiguration once you reset the default options.

Configuring the Sound Card with Surround Sound Capabilities

(Windows Only)

If your system has a surround sound audio chip installed, the Avid application
might not be able to fully configure the Windows Mixer to properly output
audio. By default, Avid mutes all output sources except the primary audio,
which is typically WAVE.

Some surround sound devices require other audio output sources such as Front
Speakers to not be muted. To prevent the Avid software from improperly
muting these outputs, you must override the Sound Card Configuration
settings.

To override the mute feature:

1. In the Project window, click the Settings tab.
The Settings scroll list appears.
2. Double-click Sound Card Configuration.
The Sound Card Configuration dialog box opens.
3. Click the Mute Overrides pop-up menu, and select an output source to
override the Avid system and leave the mute settings as they are set in the
operating system.
For example, if the Windows operating system Volume Control panel is
set to mute the sources, then Avid leaves those sources muted. If the
Windows operating system Volume Control panel is set to not mute the
sources, then Avid leaves those sources not muted.

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

Deck Configuration settings and global deck control preferences appear as

separate items in the Settings scroll list in the Project window.

Deck control settings

n You must manually configure the appropriate hardware connections before

Deck Configuration settings can take effect. For more information, see the
documentation that came with your hardware.

To configure a deck or multiple decks:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Deck Configuration.
The Deck Configuration dialog box opens. For information about options,
see “Deck Settings” in the Help.
3. If you are configuring your system for the first time, click the Add
Channel button to add a new channel box on the left side of the Deck
Configuration dialog box and automatically open a Channel dialog box.

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 Configuring Decks

4. Click the Channel Type pop-up menu, and select one of the following
items, depending on your system configuration:
- FireWire, if you are connecting a DV camera or deck by means of a
FireWire connection.
- Direct, if you are connecting a deck directly to the serial port and
using a transcoder to bring the DV data into the system.
5. Click the Port pop-up menu, and select the port to which you are
connecting the deck:
- (Mojo DNA device systems) Avid DNA if you chose FireWire for
the channel.
- (Software-only systems) OHCI if you chose FireWire for the
channel.
- (Windows only) COM1 or COM2 if you chose Direct or
VLAN/VLSX for the channel.

n If you are not sure which port to select, check the 9-pin serial port connectors
on the back of the system. If the ports are not labeled, see the hardware
documentation supplied with your system.

6. Click OK to close the Channel dialog box.

A dialog box opens with a question asking if you want to automatically
configure the channel now.
7. Click Yes if you want to automatically configure the channel.
A new channel appears in the display area of the Deck Configuration
dialog box.

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Channel box

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

8. To add a deck or transcoder, do the following:

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

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

n Not all DV devices respond to the Auto-configure command. Due to this

limitation, Auto-configure selects only the generic devices.

b. (Option) When a digital camera or transcoder is attached to your

system, click the Device pop-up menu in the Deck Settings dialog
box, and select the proper device. When a deck with a transcoder is
attached, select the applicable deck.
If your transcoder does not appear on the list, select Generic and then
select DVTranscoder.

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n Device templates from older Avid systems are not compatible with Avid Mojo
DNA systems. Do not copy Meridien templates to Avid Mojo DNA systems,
and do not copy Avid Mojo templates to Meridien systems.

c. Select settings based on your device. For information on deck

settings, see “Deck Settings Options” on page 212.
d. Click OK to close the Deck Settings dialog box and return to the
Deck Configuration dialog box, which now displays the deck.

Deck box

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

9. Repeat steps 2 through 9 for each additional channel or deck you want to
configure.
10. (Option) Select the “Verify configuration against actual decks” option if
you want the system to check the deck configuration against the devices
physically connected to the system.
The system checks the deck configuration after you click Apply in the
Deck Configuration dialog box and when you start the Avid application.
A message warns you if the configuration does not match the deck.

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11. Type a name in the Configuration Name text box to name the deck
configuration.

n The new deck configuration will appear in the Settings scroll list of the Project
window.

12. Click Apply to complete the configurations and close the Deck
Configuration dialog box.
13. If necessary, double-click Deck Preferences in the Settings scroll list of
the Project window to adjust global deck control options. For more
information, see “Setting Deck Preferences” on page 213.

Deleting Deck Configurations

To delete a deck configuration:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Deck Configuration.
The Deck Configuration dialog box opens.
3. Click the names of the currently configured channel and deck in the
display area.
The entire display area should have a red border.
4. Click Delete.
5. Click Apply to complete the changes and close the dialog box.

Deck Settings Options

To access the Deck Settings dialog box, do one of the following:
t Click the Add Deck button in the Deck Configuration dialog box.
t Click the Deck Selection pop-up menu in the deck controller section of
the Capture tool, and select Adjust Deck.
The Deck Settings dialog box opens.

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Manufacturer Model
pop-up menu pop-up
menu

For information about options, see “Deck Settings” in the Help.

Setting Deck Preferences

Deck preferences are global settings for basic deck control. These settings
apply to all decks connected to your system, regardless of your deck
configuration. You can open the Deck Preferences dialog box from the
Settings scroll list of the Project window. For information about options, see
“Deck Preferences” in the Help.

Setting Up the Capture Tool

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

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Changing the Power Scheme (Windows)

If you install your Avid editing application on a laptop computer, an

Incompatible Power Scheme warning button might appear in the top right
corner of the Capture tool. Some of the standard power schemes available on
laptops running Windows XP might affect the performance of editing
functions, including capturing media. Avid recommends you use the “Always
On” power scheme when working with Avid applications.

You can select a new power scheme by accessing the Power Options
Properties dialog box from the Control Panel. For more information on
changing power schemes, see the Windows documentation.

Improving System Performance (Macintosh)

If you install your Avid editing application on a laptop computer, an

Incompatible Power Scheme warning button might appear in the top right
corner of the Capture tool. Avid recommends you disable reduced processor
performance in the Energy Saver settings when working with Avid
applications. Running at reduced speed might adversely affect performance of
editing functions (for example, capture and digital cuts). For more information
on disabling reduced processor performance, see the Macintosh
documentation.

You might also see a message about disks spinning down while idle. Deselect
“Hard Disk Sleep” in the Energy Saver settings for best system performance.

Opening the Capture Tool

To open the Capture tool, do one of the following:
t Select Toolset > Capture.
t Select Tools > Capture.
The Capture tool opens.

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Deck Selection pop-

up menu

Selecting a Deck

The Deck Selection pop-up menu in the Capture tool contains a list of decks or
cameras that were connected to the system, powered up, and initialized when
you opened the Capture tool. The first deck or camera in the list is selected by
default, unless all decks or cameras are offline.

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To activate playback from an available deck or camera, do one of the

following:
t Click the pop-up menu, and select the name of a previously configured
deck or camera.
t Select Auto-configure to automatically establish the default deck settings
for a VTR that is currently connected to the system.

n Not all DV devices respond to the Auto-configure command. Due to this

limitation, Auto-configure selects only the generic devices. When a digital
camera is attached to your system, click the Device pop-up menu in the Deck
Settings dialog box and select the proper device. When a deck with a
transcoder is attached, click the Device pop-up menu and select the applicable
deck.

n Device templates from older Avid systems are not compatible with Avid Mojo
DNA systems. Do not copy Meridien templates to Avid Mojo DNA systems,
and do not copy Avid Mojo templates to Meridien systems.

If you forgot to turn on or connect a deck or camera before entering

Capture mode:
1. Make sure that the deck is connected and the power is turned on.
2. Click the Deck Selection pop-up menu in the Capture tool, and select
Check Decks to reestablish deck control.

Selecting Audio Input

To select audio input in the Capture tool:
t Click the Audio pop-up menu, and select an input option.
These options vary depending on your system.

n If you are using a deck connected through a board with a 1394 connection
(OHCI input/throughput), footage is not displayed in the Client monitor until
you click the Capture button and start the capturing process. See “Viewing
DV Media Before Capturing” on page 197.

Viewing Video Input

Video input is displayed in the Video pop-up menu.

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

n If a tape is already in the camera or deck, click the Source Tape Display in the
Capture tool.

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

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

between hours, minutes, seconds, and frames. Non-drop-frame timecode
appears with colons. (Drop-frame and non-drop-frame timecode exist only in
NTSC projects.) For more information about drop-frame and non-drop-frame
timecode, see “Understanding Drop-Frame and Non-Drop-Frame
Timecode” on page 154.

For information on tape 3. Provide the system with a tape name in one of the following ways:
naming conventions,
see “Naming Tapes” on t Select the name of the tape from the list displayed in the Select Tape
page 156. dialog box, and click OK.
t Expand the list by selecting the “Show other projects” option or by
clicking the Scan for tapes button.
t Click New if the tape is not in the list. Type the new name in the
dialog box, click OK, and then click OK again.

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Selecting Source Tracks

You can select the tracks to capture from the source tape.

To select only those tracks that you want to capture:

t Click the Channel Selection buttons in the Capture tool.

The TC (timecode) track is selected by default.

n When you use an Avid-controlled camera or deck, the TC (timecode) is

selected by default, and the system captures the timecode from the source
tape. If you deselect the TC button, the system captures with time-of-day
timecode. For more information, see “Capturing with Time-of-Day
Timecode” on page 254.

n If you are not seeing the source video or hearing source audio in Capture
mode, click the Channel Selection buttons to make sure the correct tracks have
been selected.

To select or deselect all tracks at once:

t Press and hold the Alt key (Windows) or the Option key (Macintosh), and
click any Channel Selection button.

Detecting Valid or Locked Capture Input

On systems with an Avid Adrenaline DNA or Mojo device, the Capture tool
indicates the kind of signal you have selected to capture, and if the signal you
want to capture is valid or locked.

For more information When you select a video track you want to capture, the Video Lock icon
about selecting tracks appears in the Comment area of the Capture tool. If the current source has a
in the Capture tool, see valid video signal and the Avid Adrenaline DNA or Mojo device can lock to
“Selecting Source
it, the icon displays in green.
Tracks” on page 218.

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 Setting Up the Capture Tool

Video Lock icon

When you select only Audio tracks, the icon changes to the Ref (Reference)
Lock icon and displays as an unfilled circle. The Avid system checks for a
reference signal (for more information about reference signals, see “Using the
Avid Mojo DNA” in the Help). If the system is locked to the reference signal,
the icon displays in green.

n If you select both video and audio tracks, the Vid (Video) Lock icon displays.

Selecting a Resolution in the Capture Tool

To set the capture resolution:
t Click the Resolution (Res) pop-up menu in the Capture tool, and select a
video resolution.
Different options appear depending on whether you are working in an
NTSC project or a PAL project. Select 1:1 for uncompressed media.

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n You can set the resolution used for capturing in the Capture tool or in the
Media Creation dialog box, accessed through the Settings scroll list of the
Project window. See “Setting Media Creation Resolutions and Selecting
Drives” on page 198.

n For more information on compression resolutions, see “Compression

Resolutions and Storage Requirements” on page 241.

n Avid Xpress Pro supports recording and digital cuts of 44.1-kHz and 48-kHz
audio only. It does not support recording and digital cuts of 32-kHz (12-bit)
audio. If you are recording DV audio, set your camera or deck to record 16-
bit audio (48 kHz).

Selecting a Target Bin

You select a target bin as the destination for the master clips created when you
capture on-the-fly. You can also select a target bin containing the logged clips
you will use to batch capture your media.

To select a target bin, do one of the following:

t Click the Bin pop-up menu in the Capture tool, and select an existing bin.

t Activate a previously created bin by selecting File > Open Bin; then
locate and open the bin in the Open Bin dialog box.
t Create a new bin by selecting File > New bin and then naming and
opening the new bin in the New Bin dialog box.

Selecting the Target Drives

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

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Targeting a Single Drive

By default, the Capture tool targets a single media drive for capturing the
video and audio for each clip.

To target a single drive:

1. Select Tools > Capture.
2. Click the Single/Dual Drives Mode button in the Capture tool until it
displays the Single-Drive icon.

Single/Dual Time
Drives Mode remaining
button display

Target Drive
pop-up menu

3. Click the Target Drive pop-up menu, and select a drive.

The name shown in bold in the menu has the most storage available. The
time remaining is calculated based on your resolution selection.

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Targeting Separate Drives for Video and Audio

Targeting separate drives for video and audio tracks can improve performance
because the system is not required to address all the information in separate
locations on a single drive. You can also capture for the longest continuous
amount of time because the system stores material on two drives rather than
one.

To target separate drives for video and audio:

1. Select Tools > Capture.
2. Click the Single/Dual Drives Mode button in the Capture tool until it
displays the Dual-Drives icon.
3. Click each Target Drive pop-up menu, and select separate drives for video
and audio.
The names shown in bold in the menus have the most storage available.
The time remaining on each selected drive is calculated based on your
resolution selection.

n Targeting separate partitions on the same drive will slow playback

performance.

Interpreting the Time-Remaining Display

You can interpret the numbers in the Time-Remaining display in the Capture
tool based on the following factors:
• Each captured clip has a maximum file size of 2 GB. Any video clip
whose media exceeds 2 GB will have more than one media file associated
with it.
• When you select another resolution, the Time-Remaining display adjusts
accordingly.

n For more information about storage requirements, see “Storage

Requirements” on page 242.

Capturing to Multiple Media Files

You can capture video and audio to multiple media files across multiple
drives, with the following advantages:

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• You can create longer clips whose media files would otherwise exceed the
file size limitation of 2 GB.
• You can group all drives with the multiple file options, enabling the
system to capture long clips continuously; for example, satellite feeds.
• The system makes more efficient use of drive space, particularly when
capturing long clips.

To capture video or audio to multiple media files:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Capture.
The Capture Settings dialog box opens.
3. Click the Media Files tab.
4. Select the option “Capture to multiple files.”
5. Accept the default or type a different time limit in the “Maximum
(default) capture time” text box.

c If you think that any of your captured clips might exceed 30 minutes,
make sure you enter a higher estimate in this text box; otherwise, the
system stops capturing at 30 minutes.

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

7. Select Tools > Capture.
The Capture tool opens.
8. To capture to multiple files across drives, click the Target Drive pop-up
menu in the Capture tool, and select Change Group.
The Drive Group dialog box opens.
9. Ctrl+click (Windows) or Shift+click (Macintosh) multiple drives to
include in the capturing session, or click the All button to select all drives.

n If you click Clear, all selections are removed. You must select at least one
drive before you can click OK to exit the dialog box.

10. Click OK to close the dialog box and apply the changes.
11. Proceed with capturing.

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c For media file management purposes, any clip whose media exceeds the 2-
GB limit has more than one media file associated with it.

Selecting the Preroll Method

The Preroll Method pop-up menu in the Capture Settings dialog box includes
the following four methods that help you capture more efficiently when a
source tape contains timecode breaks:

• Best Available: The Avid system first checks the tape for timecode to use
for preroll.
- If there is no timecode, or not enough timecode, the system uses the
control track for preroll.
- If there is not enough control track for preroll, the system adjusts the
specified preroll time to accommodate the amount of valid control
track available.
After the system adjusts the preroll to the individual shot, it will
return to using the user-specified preroll time until it needs to adjust
the time again.

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- If the adjusted preroll time is too short to sync lock at the IN point, the
system does not capture the shot and displays an error message.
Use this method to capture material as automatically as possible. As the
system makes multiple attempts to preroll, this method might sometimes
be slower but will almost always perform the preroll without interruption.
• Standard Timecode: The Avid system uses timecode to determine the
preroll point.
If there is a not enough consecutive timecode (for example, if there is a
break in the timecode), the system does not capture the shot and displays
an error message.
Use this method if you know the timecode is consecutive or if you want to
determine if there are timecode breaks.
• Best Available Control Track: The Avid system uses the control track to
determine the preroll point.
- If there is not enough control track for preroll, the system adjusts the
specified preroll time to accommodate the amount of valid control
track available.
After the system adjusts the preroll to the individual shot, it will
return to using the user-specified preroll time until it needs to adjust
the time again.
- If the adjusted preroll time is too short to sync lock at the IN point, the
system does not capture the shot and displays an error message.
Use this method if you know there are timecode breaks and you want to
capture material as automatically as possible. Because the system does not
use timecode, it might occasionally capture the wrong frames if there is a
problem with the control track.
• Standard Control Track: The Avid system uses the control track to
determine the preroll point.
If there is a break in the control track, the system stops capturing and
displays an error message.
Use this method if you know the control track is continuous or if you want
to determine if there are breaks in the control track.

To set the preroll method:

1. Double-click Capture in the Settings scroll list of the Project window.
The Capture Settings dialog box opens.

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2. Click the Preroll Method pop-up menu, and select a method.

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

Capturing Across Timecode Breaks

For a complete description of procedures for locating and changing settings,

see “Using the Settings Scroll List” on page 96.

To capture across timecode breaks:

t Select “Capture across timecode breaks” in the General tab of the Capture
Settings dialog box. See “Capture Settings: General Tab” in the Help.

To capture all the footage following a timecode break:

t Click the Preroll Method pop-up menu in the General tab of the Capture
Settings dialog box, and select a method.
By default, your Avid system uses the Best Available preroll method (see
“Selecting the Preroll Method” on page 224). If you know that the
timecode contains breaks, you can select Best Available Control Track.

n If you don’t select the “Capture across timecode breaks” option, the system
uses approximately 1 to 6 seconds of unbroken timecode following the break
to perform the preroll before capturing begins.

The “Capture across timecode breaks” option is especially useful when you
are batch capturing across timecode breaks, but you can also select this option
when you are manually capturing one clip at a time.

Setting the Pulldown Switch

If you are capturing sound created during an NTSC film-to-tape transfer, you
need to set the pulldown switch before you begin capturing. If you are
capturing picture only, you do not need to set the switch.

If you are working in a 23.976p project, the pulldown switch is not necessary
and does not appear.

n Make sure your film preferences are set properly. For more information, see
“Transfer Settings for Film Projects” on page 202.

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To set the pulldown switch:

t Click the Pulldown button in the Capture tool.

When the pulldown switch is off, the button is dimmed (gray), and a label
explains that audio will be captured (sampled) at the same speed at which it
was recorded (1.00).

Pulldown button

When the pulldown switch is on, the button is green, and a label explains that
audio will be captured (sampled) at 0.99 percent of its recorded speed
(referenced to NTSC video), to match the slowdown rate at which the footage
was transferred.

Film Project Pulldown and Transfer Settings

The following table indicates how the pulldown switch and transfer settings
should be set, depending on your input media.

Film Project Pulldown and Transfer Settings

Project
(Set in the Pulldown
New Switch Film to Video
Project Setting and Source Transfer Settings (Set
Dialog Indicator Playback in Film Settings
Type of Input Media Box) on I/O Box Speed Dialog Box)

Original sound source synced to 24p NTSC On (0.99) 29.97 fps Picture Transfer Rate:
NTSC during transfera. With 2:3 pulldown

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Film Project Pulldown and Transfer Settings (Continued)

Project
(Set in the Pulldown
New Switch Film to Video
Project Setting and Source Transfer Settings (Set
Dialog Indicator Playback in Film Settings
Type of Input Media Box) on I/O Box Speed Dialog Box)

NTSC MOS film-to-tape 24p NTSC Off (1.00) Audio: Picture Transfer Rate:
transfer with separate audio. 30.00 fps With 2:3 pulldown
Digital audio (DAT) or analog Audio Source Tape TC
Picture: 29.97
audio (Nagra) to sync with Rate: 30.00
fps
video in the Avid systemb.

FTFT transfer or retransferring 24p NTSC NAc 29.97 fps Picture Transfer Rate:
an effect. This method allows Without pulldown
you to save time since no audio
is involved in the transfer.

PAL film-to-tape transfer with 24p PAL Off (1.00) Audio and Picture Transfer Rate: NA
synced sound or simul-DAT (Method 1) picture both Audio Transfer Rate:
tapes. 25 fps Video Rate
(100%+)

PAL MOS film-to-tape transfer 24p PAL Off (1.00) Audio: Picture Transfer Rate: NA
with separate audio. Digital (Method 2) 25 fps (100%) Audio Transfer Rate:
audio (DAT) or analog audio Film Rate
Picture:
(Nagra) to sync with video in
25 fps
the Avid system.

PAL film-to-tape transfer with 25p Off (1.00) Sound and Picture Transfer Rate: NA
synced sound or simul-DAT picture at
tapes. 25 fps

a. For capturing picture and sound from NTSC tape, or sound only from simul-DAT tapes created during telecine
transfer.
b. For direct input of audio. Digital audio requires proper AES/EBU or S/PDIF connections.
c. NA = Not applicable.

If you are capturing audio only, make sure to select the proper audio setup
options. For more information, see “Adjusting Audio Project Settings” on
page 229.

If you have set a digital sync mode in the Audio Project Settings dialog box,
the Pulldown button is inactive and a message states that the Pulldown button
has no effect.

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Preparing for Audio Input

The Avid system supports direct input of four channels of audio only when a
digital camera or a digital deck is connected via FireWire and the audio
sample rate is set to 32 kHz. If a digital camera or digital deck is not connected
and the audio sample rate is not set to 32 kHz, the Avid application supports
input of two channels of audio. Source track assignments are mapped directly
to audio tracks in the captured clips.

Adjusting Audio Project Settings

You can use the Audio Project Settings window to check the current
configuration of audio hardware and to choose various input and output
options. The Audio Project Settings window has four tabs: Main, Input,
Output, and Hardware.

n Some options depend on the audio configuration of your system. Your system
might not contain certain features and hardware that are covered in the
documentation.

To open the Audio Project Settings window:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Audio Project.
The Audio Project Settings window appears.

For information on Audio Project settings, see “Audio Project Settings” in the
Help.

Selecting the Audio File Format

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

n Select the AIFF-C format or the SDII format (Macintosh only) for all audio
media when you need to transfer media files directly to a Pro Tools system for
audio sweetening.

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Audio is written in the selected file format when you:

• Capture audio tracks in Capture mode.
• Use the Audio tool to create tone media.
• Use the Audio Mix tool to mix down audio tracks.
• Use the Import dialog box to import files.
• Apply an AudioSuite plug-in that creates new source audio.

If you switch the audio format in the middle of a project, all new audio media
files are written in the new format with the following exceptions:
• Media files written when rendering audio effects: The system uses the
file type of the A-side (outgoing audio) media for a transition. For
example, if the A-side of an audio dissolve is in OMF® (AIFF-C) format
and the B-side (incoming) is in OMF (WAVE) format, the rendered file is
OMF (AIFF-C).
• Audio media files written when using the Consolidate feature: Media
files that are copied or created during a consolidate procedure retain their
original file types. See “Consolidating and Transcoding Media” on
page 350.

To select the audio file format:

1. In the Project window, click the Settings tab.
The Settings scroll list appears.
2. Double-click Audio Project.
The Audio Project Settings window opens.
3. Click the Main tab.
4. Click the Audio File Format pop-up menu, and select either OMF
(WAVE), SDII (Macintosh only), or OMF (AIFF-C).
5. Close the Audio Project Settings window.

Using the Audio Tool

Use the Audio tool primarily for mixing and monitoring audio.The Audio tool,
along with your hardware’s audio parameters, allows you to do the following
in preparation for input:
• Check and manage your audio hardware setup.

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• Set audio levels before recording.

In addition, controls in the Audio tool allow you to calibrate, set levels, and
generate customized calibration tones for output to the speakers or a record
device. For more information about the Audio tool, see the following table.

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

t Select Tools > Audio Tool.
Audio Tool
t Click the Audio Tool button in the Capture tool.
button
The Audio tool opens and displays meters for two to eight channels,
depending on the configuration of your system.

Reset Peak Peak Hold Menu button

button

In/Out toggle buttons

Digital scale Volume unit scale

(fixed) (adjustable)

The following table describes the components in the Audio tool.

Audio Tool Components

Component Description

Reset Peak button Resets the current maximum peak measurements. It also stops the playback of
the internal calibration tone.

In/Out toggle buttons Switch the meter displays for each channel between input levels from a source
device and output levels to the speakers and record devices. I indicates Input,
and O indicates Output.

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Audio Tool Components (Continued)

Component Description

Peak Hold Menu button Displays a pop-up menu that allows you to select options for customizing the
meter displays and for setting and playing back the internal calibration tone.

Digital scale to the left of Displays a fixed range of values from 0 to –90 decibels (dB), according to
the meters common digital peak meter standards.

Volume unit (VU) scale Displays a range of values that you can conform to the headroom parameters of
(analog) to the right of the your source audio.
meters

Meters Dynamically track audio levels for each channel as follows:

• Meters show green below the target reference level (default reference level
is –20 dB on the digital scale).
• Meters show yellow for the normal headroom range, above the reference
level to approximately –3 dB.
• Meters show red for peaks approaching overload, between –3 dB and 0
(zero) dB.
• Thin green lines at the bottom indicate signals below the display range.

Adjusting Audio Input Levels

You can use the Audio tool and the Audio Project Settings window to check
the audio input levels. If the input levels are too high or too low, you need to
adjust the output level of your source signal, if possible.

To adjust global audio input levels using the Audio Project Settings
window:
1. Click the In/Out toggle buttons in the Audio tool for the channels you are
using for input.
The Audio tool displays an I for Input.

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In/Out toggle buttons

2. Play back the source audio (for example, from a digital camera or tape). If
the recording includes reference tone, cue to the tone and play it back.
3. In the Project window, click the Settings tab.
The Settings scroll list appears.
4. (Software-only systems) Double-click Audio Project.
The Audio Project Settings window opens.
5. Click the Input tab.
The Input tab displays an Input Level slider.

Input Level slider

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6. Drag the slider to raise or lower the audio input level.

7. (Option) If you want extra gain, do the following:
a. Drag the slider toward the bottom of the Input Gain control.
b. Click the +20 dB Gain check box.
c. Adjust the volume on the Input Level meter.

Creating Tone Media

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

To create tone media and tone master clips:

1. Open a bin.
2. Click the PH (Peak Hold) pop-up menu in the Audio tool, and select
Create Tone Media.
The Create Tone Media dialog box opens.
3. Set the appropriate calibration tone parameters for the project. You can
also use the default output tone media level of –14 dB (digital scale) with
a 1000-Hz signal.

n If you set the tone media frequency to 0, the system generates random noise.
Also, a value of –777 generates a tone sweep.

4. Select the number of tracks of tone you want to create (up to 8 tracks).
5. Click the pop-up menus, and select a target bin for the tone master clip
and a target drive for the tone media file.
6. Click OK.
After a few seconds, the media file is created and a master clip appears in
the target bin. The default name reflects the options you selected. You can
rename the clip by typing a new name.

Audio Meters in the Timeline

The Audio meters in the Timeline allow you to view and adjust audio levels
without opening the Audio tool. The Audio meter displays two channels of
audio.

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To display the Audio meters in the Timeline:

n You must display the Timeline top toolbar to see the Audio meters. See “Using
the Timeline Top Toolbar” on page 434.

t Click the Meter Menu button, and select Show Audio Meters.
The Audio meters display in the Timeline.

Meter Menu button

Tracks In/Out
toggle buttons

When a sequence is in the Timeline and you press the Play button, the Audio
meter displays the audio levels of the audio tracks in your sequence.

(Software-only systems) You can also adjust the volume of speakers or

headphones. See “Adjusting Volume Control (Software-Only Systems)” on
page 536.

n When the Audio meter is hidden, additional mappable buttons are available.
For more information on mapping buttons, see “Mapping User-Selectable
Buttons” on page 144.

Using the Meter Menu

The Meter Menu options are the same options as available in the Audio tool.

To adjust the audio meter:

t Click the Meter Menu button, and select one of the options described in
the following table.

n For more information on these options, see “Using the Audio Tool” on
page 230.

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Meter Menu Options

Option Description

Hide Audio Meters/Show Audio Displays or hides the Audio meters in the
Meters Timeline.

Peak Hold Keeps the highest meter value displayed in

the meters for a short duration after it is
hit.

Infinite Hold Keeps the highest meter value displayed in

the meter infinitely.

Reset Peaks Clears the meters of any values.

Set Reference Level Opens the Set Reference Level dialog box.
Allows you to change the default audio
reference level.

Set Calibration Tone Opens the Set Calibration Tone dialog

box. Allows you to choose the tone
frequency to play.

Play Calibration Tone Plays the calibration tone. Click anywhere

in the Timeline to stop the calibration tone.

Create Tone Media Opens the Create Tone Media dialog box.

Using the Console Window to Check Audio Levels

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

To check peak levels in the Console window:

1. Select Tools > Audio Tool.
The Audio tool opens.

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Reset Peak
button

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

Using the Passthrough Mix Tool

n The options in this section depend on the configuration of your system, so your
system might not contain certain features and hardware that are covered in
the documentation.

The Passthrough Mix tool allows you to select the mix and adjust the volume
and pan values of the source audio that you monitor. You can adjust the mix,
volume, and pan values of multiple monitored channels, controlling either
individual channels manually or several channels simultaneously by ganging
them together.

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n The Passthrough Mix tool adjusts monitored audio only and has no effect on
the recorded audio signal. You can adjust volume levels within a clip in the
Timeline after you record audio by using Audio Gain Automation. For
information, see “Understanding Audio Gain Automation” on page 550.

To open the Passthrough Mix tool:

1. In the Project window, click the Settings tab.
The Settings scroll list appears.
2. Double-click Audio Project.
The Audio Project Settings window opens.
3. Click the Input tab.
4. Click the Passthrough Mix Tool button.
The Passthrough Mix tool opens.

Input Mix Mode

button Stereo Mix Tracks pop-up menu
Number of Mix Panes
button Which Set of Tracks to Display
in Mix Panes button
Channel Selection
button Volume Level display
Gang button

Volume Level slider

Pan Value display

and pop-up slider

n You can open the Passthrough Mix tool by clicking the Passthrough Mix Tool
button in the Capture tool or the Audio Punch-In tool. For more information,
see and “Creating the Voice-Over” on page 595.

For information on using the Passthrough Mix tool, see “Resizing the
Passthrough Mix Tool” on page 239 and “Monitoring Audio with the
Passthrough Mix Tool” on page 239.

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Resizing the Passthrough Mix Tool

You can use the Number of Mix Panes button to change the display from
4 tracks to 8 tracks. When you select 4 tracks, a button appears that allows you
to display the first 4 or last 4 enabled tracks.

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.

Monitoring Audio with the Passthrough Mix Tool

When you record, you can monitor the mix, volume, and pan values of audio
channels with the Passthrough Mix tool. The Passthrough Mix tool adjusts
monitored audio only and has no effect on the recorded audio signal.

To adjust audio in the Passthrough Mix tool:

1. In the Project window, click the Settings tab.
The Settings scroll list appears.
2. Double-click Audio Project.
The Audio Project Settings window opens.
3. Click the Input tab.
4. Click the Passthrough Mix Tool button.
The Passthrough Mix tool opens.
5. Switch the Input Mix Mode button to select a type of input:
- Select Stereo Mix to mix audio channels to a stereo pair. Use the
Stereo Mix Tracks pop-up menu to specify which stereo pair to use.
- Select Direct Mix to send the input signal to its corresponding output
channel.

n In Direct Mix mode, the Pan Value display and pop-up sliders at the bottom of
the Passthrough Mix tool are replaced by Channel menu buttons.

6. Select the audio channel to be adjusted by clicking the Channel Selection

button for the appropriate audio channel.

n You can select only channels that exist in the source audio.

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7. Adjust the volume as needed. You can adjust the volume of multiple
channels by clicking the appropriate Gang button. See “Changing an
Audio Level in the Passthrough Mix tool” on page 240.
8. Adjust the pan values as needed. See “Adjusting Pan Values in the
Passthrough Mix tool” on page 241.

Changing an Audio Level in the Passthrough Mix tool

The following illustration shows the audio panel in the Passthrough Mix tool.

Volume Level
display Gang button

Volume Level slider

Pan Value display

Pop-up slider

To change an audio level value in the audio panel in the Passthrough Mix
tool, do one of the following:
t Click a number along the vertical edge of the Volume Level slider.
t Click the Volume Level slider, and type a value.
Values are cumulative until you press Enter (Windows) or Return
(Macintosh). For example, if you want to enter the value 12, type it.
However, if you type 1 and then want to change the value to 2, press Enter
(Windows) or Return (Macintosh) before typing the 2.
t Click the Volume Level slider, and drag the slider to a new position.
t Click the Volume Level display, and type a value.
t Alt+click (Windows) or Option+click (Macintosh) the Volume Level
slider to reset the value to 0 dB.

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Adjusting Pan Values in the Passthrough Mix tool

To adjust the pan values in the audio panel of the Passthrough Mix tool,
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 (Windows) or Option+click (Macintosh) the Pan Value display
Pan for MID.
Value Slider

Compression Resolutions and Storage

Requirements
When the Avid system captures and stores video, it employs compression
techniques that affect the size of the resulting files and the resolution of the
images they contain.

Frame Resolution

The frame resolution for the Avid application is different for NTSC and for
PAL:
• NTSC resolution is 720 x 480 non-square pixels covering all the active
video.
• PAL resolution is 720 x 576 non-square pixels covering all the active
video.

Digital Video Resolutions

The Avid application uses the following digital formats:

• DV 25 4:1:1 for NTSC DV, DVCAM, and PAL DVCPro 25
• DV 25 4:2:0 for PAL DV and DVCAM

These resolutions appear, along with other Avid resolutions, wherever a list of
resolutions appears. The exact list depends on whether you are working in an
NTSC or a PAL project.

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Storage Requirements

Your Avid application stores approximately 3.5 megabytes per second,

216 megabytes per minute, and 13 gigabytes per hour. These values are
approximate.

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Capturing Media

When you capture, you convert source material from videotape or from digital
or audio input to master clips that contain reference information. You also
create associated media files that contain the digital audio and video. Once
you prepare the capture tools, as described in “Preparing to Capture” on
page 197, you can capture the source material in one of several ways, as
described in the following sections:
• Before You Begin Capturing
• Adding Clip Names and Comments On-the-Fly
• Monitoring Audio
• Capturing Without Logging First
• Capturing from a Non-Controlled Deck
• DV Scene Extraction
• Creating Subclips While Capturing
• Changing Function Key Commands
• DV Capture Offset
• Delaying Audio
• Capturing to the Timeline
• Batch Capturing from Logged Clips
• Recapturing Your Material
• Other Capturing Functions
Chapter 7 Capturing Media

Before You Begin Capturing

Depending on your immediate needs and chosen capturing method, use the
following guidelines for working through this chapter:
• If you want to add clip names and comments on-the-fly while you capture,
see “Adding Clip Names and Comments On-the-Fly” on page 244.
• If you have no logs and want to begin capturing right away, see
“Capturing Without Logging First” on page 246.
• If you want to capture video to multiple media files across multiple drives,
see “Capturing to Multiple Media Files” on page 222.
• If you have logs already entered in a bin and want to automate the
capturing process with playback from an Avid-controlled deck, see
“Batch Capturing from Logged Clips” on page 268.
• If you are recapturing deleted media or have imported a sequence that
lacks the associated media files, see “Recapturing Your Material” on
page 271.
• If you have not already prepared a structure of bins for your project, as
described in “Managing Folders and Bins” on page 91, consider the
following tips before capturing:
- You can create one bin for each source tape. This method avoids
slowing the system with large bins, associates each bin with a source
tape for better organization, and simplifies recapturing.
- You can name the bin after the tape so that when you autocapture or
capture on-the-fly without noting a tape name, the system
automatically names each clip after the bin (tape) and numbers them
sequentially for easy reference.

Adding Clip Names and Comments On-the-Fly

The Annotate feature allows you to type clip names and comments during the
capturing of a clip. The information is saved in the clip Name and Comments
columns in the bin. You can add comments about the clip such as editing
directions.

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To add clip names and comments on-the-fly:

1. Start typing the clip name at any time during the capturing of a clip.
The Annotate window opens, allowing you to see the text as you type.
2. After typing the clip name, press the Tab key and begin typing comments.

You cannot edit the text until after the capturing is complete, but you can
backspace and retype the information.

Monitoring Audio
You can monitor audio gain levels while you capture media by clicking the
Passthrough Mix Tool button on the Capture tool. For information on using
the Passthrough Mix tool, see “Using the Passthrough Mix Tool” on page 237.

Passthrough Mix
Tool button

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Capturing Without Logging First

When you capture without entering log information in a bin ahead of time, the
system creates clips and associated media files while you capture. Capturing
in this manner involves manually cueing source footage with an
Avid-controlled deck using the deck controls in the Capture tool.

There are several ways to capture and log at the same time:
• Capturing from an IN point to an OUT point. This method lets you
specify the exact timecode location to begin and end capturing. You can
also specify only an IN point or an OUT point and enter the other mark
on-the-fly. These procedures are described in “Capturing from One Point
to Another” on page 246.
• Capturing on-the-fly. This method is easier than setting marks, but it is
less precise. It involves using the deck controls in the Capture tool to cue,
play, and stop the source footage manually while capturing. These
procedures are described in “Capturing On-the-Fly” on page 249.
• Autocapturing. This method requires the least amount of supervision and
effort but usually calls for more capturing time and drive storage space. It
involves playing each source tape from a cue point near the beginning and
letting the system capture the entire tape, automatically naming and
entering each clip into the bin. These procedures are described in
“Autocapturing” on page 251.

Additional techniques you can use when capturing and logging at the same
time are described in the following topics:
• “Capturing from a Non-Avid-Controlled Deck” on page 253
• “Capturing with Time-of-Day Timecode” on page 254

Capturing from One Point to Another

Capturing from an IN point to an OUT point allows you to specify exactly

where to begin and end capturing. You can specify only an IN point or an
OUT point, and the system enters the other mark on-the-fly.

Use this method in the following circumstances:

• If logs exist in written or printout form but not in the proper format for
quick import into the system

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• If the IN and OUT points are rough and need to be double-checked for
accuracy
• If you are familiar enough with the source material to estimate the
timecode for the IN point, the OUT point, or both, quickly and accurately

Capturing from an IN Point to an OUT Point

To capture from an IN point and an OUT point:

Mark IN 1. Cue the tape to the start of the clip you want to capture and mark an IN
point.
Mark OUT
2. Cue the tape and mark the OUT point, or set the OUT point on-the-fly
when you stop capturing.
3. Do one of the following:
Record
t Click the Record button in the Capture tool.
t Press F4 on the keyboard.
4. The Capture tool automatically rewinds the tape to the preroll point before
the IN point of the clip, and the tape begins to play. The box to the right of
the Record button flashes bright red, and the message bar displays the
message that the system is capturing.
5. While the system is capturing, you can type a clip name or enter
comments about the clip.
When the tape reaches the clip’s OUT point or you click the Record
button again, capturing stops, and the system creates a new clip in the bin.

Setting Both Marks

To capture by specifying an IN point and an OUT point:

1. Make sure you have selected the proper Capture settings as described in
“Selecting Settings” on page 198 and have set up the Capture and Audio
tools, as described in “Preparing to Capture” on page 197.
Mark IN 2. Set either an IN point or an OUT point for the clip you want to capture,
using one of the following methods:
Mark OUT
t Use the deck controls in the Capture tool. Cue your source tape to
where you want to start or end the clip, and click the Mark IN or the
Mark OUT button.

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t If the material starts at a known IN point or ends at a known OUT

point, you can type the timecode in the display area next to the mark.
Press Enter (Windows) or Return (Macintosh) to enter the mark.
Go to IN To double-check the accuracy of the IN or OUT point, click the Go to IN
button. The system cues the tape and pauses the deck at the mark. You can
play the tape and reset the mark, if necessary.
3. To finish logging the clip, use either of the following methods:
t Set the corresponding IN or OUT point.
t Type a timecode for the clip’s duration in the display area next to the
Duration mark (below the OUT point) in the format HH:MM:SS:FF.
The system automatically calculates the appropriate timecode for the
corresponding IN point, OUT point, or duration.
4. Click the Capture button in the Capture tool.
The Capture tool automatically rewinds the tape to the preroll point before
the IN point of the clip, and the tape begins to play. The box to the right of
the Capture button flashes bright red, and the message bar displays the
message that the system is capturing.
5. While the system is capturing, you can type a clip name. To enter
comments about the clip, press the Tab key after typing a clip name and
enter comments in the comment box. The information that you type does
not appear on the screen until you have completed capturing. (After you
log clips, you can modify information to correct input errors or to add
information.)
When the tape reaches the clip’s OUT point or you click the Capture
button again, capturing stops, and the system creates a new clip in the bin.

Setting Only One Mark

To set only one mark and enter the other mark on-the-fly, do one of the
following:
t Mark an IN point, and click the Capture button to begin capturing. Then,
click the Capture button again to stop capturing on-the-fly and mark an
OUT point.
This method is useful if you do not need a precise OUT point. You save
time because you do not have to shuttle to locate the OUT point before
capturing.

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t Set an OUT point only, and then move to a position on the tape that is a
few seconds before where you want to start capturing. Play the tape, and
then immediately click the Capture button to begin capturing on-the-fly.
When the tape reaches the clip’s OUT point, capturing stops.
This method is useful if you do not need a precise IN point but do need to
stop at a precise OUT point, for example, just before a timecode break.

Capturing On-the-Fly

Use the capturing on-the-fly method in any of the following circumstances:

• If you are eager to begin editing immediately and no adequate logs exist
for importing to the system or setting marks
• If you are capturing from a source deck that cannot be controlled by the
Capture tool
• If your source tape does not have timecode
• If you are capturing from a digital source such as a CD-ROM or a DV
camera
• If you are capturing from a live source, such as a studio feed or an inhouse
router

n There is a slight delay of several frames after you manually select a spot to
start and to stop capturing. Use this method when you don't need precise
beginning and end points in your clip.

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To capture on-the-fly:
1. Click the Capture/Log Mode button in the Capture tool until the CAP icon
appears. The Capture tool is ready to capture.

Capture/Log Mode button Toggle Source button

Record button
Trash button

Triangular opener
Name
(to display comments)
Comment

Deck controls

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

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Fast Forward button Step Backward button

Rewind button Step Forward button

Stop button Eject button
Play button
Pause button

4. Click the Play button and when the deck gets up to speed, click the
Capture button.

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

5. While the system is capturing, you can type a clip name in the Name text
box. Press the Tab key after typing a clip name to enter comments about
the clip.
6. Click the Pause button at any time to pause play. You can also stop the
capture procedure by clicking the Trash button in the Capture tool. The
clip is discarded.
7. To stop capturing and enter the OUT point of the clip:
t Click the Capture button.
t Press the Esc key.
The system creates a new clip in the bin.

n There is a slight delay of several frames after you manually select a spot to
start and to stop capturing. Therefore, use this procedure when you don’t need
precise beginning and end points in your clip.

Autocapturing

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

When you autocapture, you mount and cue your tape to a starting point and
start the autocapturing process through the Capture tool.

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When you have long, continuous clips (for example, footage from a live
event), the captured material for a single clip might exceed the 2-GB limit for
file sizes in the Avid application. In this case, you must select the option
“Capture to multiple files” in the Capture Settings dialog box.

Follow the tips and techniques described in the Autocapture procedure to

allow the system to complete the capturing process unattended for an
entire tape.

To autocapture:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Capture.
The Capture Settings dialog box appears.
3. Click the Media Files tab.
4. Select “Capture to multiple files” and then type a capturing time longer
than the tape length. See “Capture Settings: Media Files Tab” in the Help.
5. Click OK.
6. In the Capture tool, click the name of the camera or deck and select Adjust
Deck from the pop-up menu.
The Deck Configuration dialog box appears.
7. Double-click the deck box for the video deck from which you are
capturing.
The Deck Settings dialog box appears.
8. Set a preroll duration, and then deselect Fast Cue.
9. Click OK to close the Deck Settings dialog box.
10. Click Apply to close the Deck Configuration dialog box.
11. Create one bin for each source tape, and name the bins after the tape
names. By default, all clips are named after the tape and are numbered
incrementally beginning with .01.
12. Select Tools > Capture, and open the bin for the first tape.
13. Load the source tape and cue past any false starts.
14. (Option) If you want the system to stop capturing at a chosen point on the
Mark OUT
tape, do the following:
a. Cue the tape to a chosen OUT point.

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b. Click the Mark OUT button in the Capture tool.

c. Rewind the tape to the beginning.
15. Play the tape, and wait 4 seconds before clicking the Record button.
The system automatically captures the entire tape.

Capturing from a Non-Avid-Controlled Deck

To capture with manual deck control on a deck that cannot be controlled
directly by the system:
1. Open the Capture tool and prepare to capture, as described in “Preparing
to Capture” on page 197.
2. Select the audio input:
t Select Analog when inputting from a stereo mixer.
t Select Microphone when inputting from a microphone.
t Select 1394 when inputting directly from a camera, transcoder, or
deck.
3. Click the Toggle Source button in the Capture tool to disable the deck
controls.
The Deck Offline icon appears, and the Tape Name display remains. The
Select Tape dialog box appears.

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

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

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

n If the tape name for which you are searching does not appear in the Select
Tape dialog box, click the Scan for Tapes button. Tape and project names are
listed.

5. Identify the source tape name in one of the following ways:

t Select a tape name from the list.
Tape names and associated projects are listed in two columns.

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t Click New if the tape is not in the list, and type a new tape name in
the text box that appears at the bottom of the Tape Name list.
You can stop the process any time by clicking Cancel.

n For guidelines on naming tapes, see “Logging Tips” on page 153.

6. Click OK.
The tape name is displayed in the Capture tool.
7. Play the tape manually, and click the Record button to stop and start the
capturing of each clip.

Capturing with Time-of-Day Timecode

When you capture with an Avid-controlled deck, you can capture your footage
with time-of-day timecode rather than source timecode.

To capture with time-of-day timecode:

1. Open the Capture tool and prepare to capture, as described in “Preparing
to Capture” on page 197.
2. When selecting tracks, deselect the TC button.
3. Capture using any of the techniques described in “Capturing On-the-Fly”
on page 249.
4. Remember to select the TC button before capturing normally again.

Capturing from a Non-Controlled Deck

To capture with manual deck control on a deck that cannot be controlled
directly by the system:
1. Select Tools > Capture.
The Capture tool opens.
2. Select the audio and video inputs.
3. Click the Toggle Source button in the Capture tool to disable the deck
controls.

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Toggle Source button

Timecode Source
pop-up menu

4. Click the Timecode Source pop-up menu, and select one of the following:

n The devices that appear in the timecode Source popup menu originate from
the current Deck Configuration settings.

- Internal: Uses the internal system timecode. The footage will be

captured with time-of-day timecode generated by the system.
- LTC Input: Detects an LTC input.
- Auto Detect: Detects LTC input by default. If the LTC Input is
deactivated, the Capture tool automatically switches to internal
timecode. If the LTC Input is reactivated, the Capture tool switches
back to LTC Input.
- Firewire Timecode: Detects timecode over a FireWire connection.
FireWire Timecode will only be listed in the pop-up menu if you have
a FireWire deck configured in the Deck Configuration dialog box.
See “Using the Passthrough Mix Tool” on page 237.

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- RS422 Timecode: Detects timecode over a serial connection. RS422

Timecode will only be listed in the pop-up menu if you have a RS422
deck configured in the Deck Configuration dialog box. See “Using
the Passthrough Mix Tool” on page 237.
5. Click the Source Tape Display button.
The Select Tape dialog box appears.

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

n If the tape name for which you are searching does not appear in the Select
Tape dialog box, click the Scan for Tapes button. Tape and project names are
listed.

New Tape
Name button

List of tapes

Show other projects

option

For guidelines on 6. Provide a tape name in one of the following ways:

naming tapes, see
“Logging Tips” on
page 153.
t Select a Tape Name from the list. Tape names and associated projects
are listed in two columns.
t Click New if the tape is not in the list, and type a new tape name in
the text box that appears at the bottom of the Tape Name list.
t Click the Source Tape Display to display the tape names and
associated project names for all bins that have been opened in the
current session.

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Stop the process at any time by clicking Cancel.

7. Click OK. The tape name is displayed in the Capture tool.
8. Play the tape manually, and click the Record button to stop and start the
capturing of each clip.

n If you notice that your captured material is consistently one or more frames
off, select “Latency for no deck mode” in the General tab in the Capture
Settings dialog box to fix the problem. See “Capture Settings: General Tab”
in the Help.

DV Scene Extraction
While capturing, DV Scene Extraction allows you to automatically generate
subclips and locators based on time-of-day (TOD) information contained in
the DV video format.

Discontinuities in the DV TOD metadata indicate each place in a master clip

or subclip where a new take was initiated on a DV camera. Using this feature,
you can capture an entire DV tape as a single master clip and have the system
automatically locate all the takes for you, eliminating the need to manually
log.

You can perform a DV Scene Extraction in two ways:

• Set up the DV Scene Extraction option before capturing. When capturing
is performed, subclips and locator marks appear in the bin. See “Setting
Up DV Scene Extraction Before Capturing” on page 258.
• Perform DV Scene Extraction after capturing. Select those clips in the bin
for which you want to generate subclips and locator marks. See “Setting
Up DV Scene Extraction After Capturing” on page 259.

Consider the following:

• You can perform DV Scene Extraction on any existing clip or subclip in a
bin that has TOD information breaks.
• DVCPro format does not provide TOD metadata; you cannot use DV
Scene Extraction with DVCPro format.
• DV Scene Extraction will not work on audio-only clips.

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Setting Up DV Scene Extraction Before Capturing

To set up DV Scene Extraction before capturing:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Capture Settings.
The Capture Settings dialog box appears.
3. Click the DV Options tab.

4. Click DV Scene Extraction.

5. Select one of the following options:
- Add Locators: Creates locator marks where the TOD information
breaks occur while capturing.
- Create Subclips: Creates subclips where the TOD information
breaks occur while capturing.
- Both: Creates subclips and locator marks where the TOD information
breaks occur while capturing.
6. Click OK.

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 DV Scene Extraction

7. In the Capture tool, click the Record button.

When capturing has finished, subclips are created with the same source
clip name and the extension .sub.01 where TOD information breaks
occurred. Locator marks appear in the master clip where TOD
information breaks occurred.

Setting Up DV Scene Extraction After Capturing

To set up DV Scene Extraction after capturing:
1. Open a bin.
2. Click the clip for which you want to create subclips or locator marks.
Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple clips.
3. Select Bin > DV Scene Extraction.
The DV Scene Extraction dialog box appears.
4. Select one of the following options:
- Add Locators: Creates locator marks where the TOD information
breaks occur while capturing.
- Create Subclips: Creates subclips where the TOD information
breaks occur while capturing.
- Both: Creates subclips and locator marks where the TOD information
breaks occur while capturing.
5. If you have chosen to create subclips, select the bin where you want these
subclips stored.
6. Click OK.
In the bin, subclips are created with the same source clip name and the file
name extension .sub.01 where TOD information breaks occurred. Locator
marks appear in the master clip where TOD information breaks occurred.
If you select a clip that is non-DV or audio only, an error message
appears, informing you that an incompatible clip was selected. These clips
are bypassed during the DV Scene Extraction process.

n To cancel the process at anytime, press Ctrl+period (Windows) or k+period

(Macintosh).

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Creating Subclips While Capturing

Subclips are marked sections of a longer master clip you can view and edit
like any other object in a bin. This section describes two methods for creating
subclips while capturing: by creating subclips on-the-fly and by creating timed
subclips. The maximum number of subclips you can generate while capturing
a clip is 100.

When Subclips are created in 24p or 25p projects, they are always created as
“hard” subclips. This means 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.

To create a subclip on-the-fly:

1. Start capturing as usual.
2. At the point where you want the subclip to begin, press the F1 key.
Subclip Status This highlights the subclip IN point in the Capture tool.
indicator
3. While the system is capturing, you can type a name for the subclip. Press
the Tab key to type comments about the clip.
4. When you want the subclip to end, press the F2 key.
This highlights the subclip OUT point in the Capture tool.

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

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

c For NTSC film-to-tape transfers, you must log the correct pulldown
phase before you create subclips. For more information, see “Logging
Film Information” on page 183.

You can also capture a subclip of a preset duration. The Keys tab in the
Capture Settings window allows you to specify the duration of a subclip that is
automatically created when you press the function key mapped to the Timed

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Subclip button (the default mapping is to F3). IN and OUT points are created
at predetermined intervals before and after the point you mark in the source
media by pressing the Timed Subclip button.

For information on changing the function key mapped to the Timed Subclip
button, see “Changing Function Key Commands” on page 261.

To set the duration of a timed subclip:

1. Double-click Capture in the Settings tab in the Project window, and click
the Keys tab.
The Keys tab in the Capture Settings window appears.
2. Enter the time in minutes and seconds to be used by the timed subclip in
the Before mark (M:SS) and the After mark (M:SS) text boxes.
3. Click OK.

To create a timed subclip:

1. Start capturing as usual.
2. At the point where you want to start a timed subclip, press the F3 key.
Subclip Status This highlights the subclip IN and OUT points in the Capture tool, and the
indicator subclip is created automatically.
3. While the system is capturing, you can type a name for the subclip. Press
the Tab key to type comments about the clip.

Changing Function Key Commands

The Keys tab in the Capture Settings window allows you to customize the
commands mapped to the function keys on your keyboard that are used while
capturing.

n The functions described here only apply in Capture mode. When you are not in
Capture mode, function keys operate with their default mappings. For more
information on using function keys as keyboard shortcut keys, see ¨Shortcuts¨
in the Help.

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To change function key commands for capturing media:

1. Double-click Capture in the Settings tab in the Project window, and click
the Keys tab.
The Keys tab in the Capture Settings window appears.
2. Click the key you want to map, and then select the new function from the
menu.

3. Click OK.

DV Capture Offset
DV capture offset allows you to offset the incoming DV stream against the
timecode assigned to each frame during capturing. This offset is only used in a
transcoder configuration or in configurations where the DV stream does not
encode timecode into the incoming DV frames. DV capture offset was
primarily designed for configurations where an RS-422 controller is used to
control a DV device and the DV stream is captured over a FireWire cable. See
the following figure.

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 DV Capture Offset

DV Data Transcoder

Avid application Analog

data

RS-422 controller
Analog deck

RS-422 Controls a DV Device Configuration

The DV capture offset can also be used in a configuration where the DV

stream is captured over a FireWire cable, but the timecode of the master clip is
not received through an RS-422 controller. When you adjust the DV capture
offset in this configuration, results could vary, depending on the number of
devices involved. See the following figure.

DV data
Avid application DV device

FireWire Configuration Without Timecode

n A configuration in which FireWire control is used to control a DV device and

the DV stream is captured does not use this offset. The following figure shows
this configuration, where the DV frames contain the encoded timecode.

FireWire controller

Avid application DV device

DV data

FireWire Configuration with Encoded Timecode

The range of DV capture offset in the Avid application is from –6 to 24 frames

with the default value set to 0. To use DV capture offset, perform several
captures with the DV capture offset set to 0. Note the first frame of the master
clip for each clip. If the first frame of the master clip is not as expected, the
DV capture offset should be adjusted to account for this variation.

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For example, the following figure represents an RS-422-controlled capture

where the timecode for capture comes in through an RS-422 controller. The
first frame of the master clip is the sixth frame from the IN point on the tape.

Tape IN point

Tape frames

Master clip frames

Capture with No Offset

To adjust for this device behavior, set the DV capture offset to –6 frames. The
result should be a frame-accurate capture. However, the results are dependent
on device behavior. If the device behavior for sending streams across a
FireWire cable is inconsistent, frame-accurate results on capture will also be
inconsistent. See the following figure.

Tape IN point

Tape frames

Master clip frames

Capturing with Offset

To offset the sequence for capture:

1. Click the Settings tab in the Project window.
2. Double-click Deck Preferences.
The Deck Preferences dialog box appears.

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3. Determine the approximate offset, and then enter the offset in the Capture
Offset (frames) text box.
4. Click OK.
The delay is reflected in the DV Capture Offset box in the Capture tool.
5. Capture your material. See “Capturing from One Point to Another” on
page 246 and “Capturing On-the-Fly” on page 249.
6. Repeat this process until you achieve the appropriate offset.

Delaying Audio
Sometimes the source from which you are capturing provides an audio signal
that is one or more frames ahead of the video. For example, the Panasonic
AG-DVX100 DV camcorder always records audio one frame ahead of the
video. Also, the use of a timebase corrector (TBC) or other video processing
devices on your input signal might introduce fixed frame delays of video.

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n If the input signal is not DV when you choose your IN point, the audio that
lines up with the IN point should remain in sync with the captured media. The
video is what shifts in the captured media. If the input signal is a DV signal
however, then the audio shifts.

If the audio you are capturing is always at a fixed offset ahead of the video,
then use the Delay Audio feature to correct this problem and produce a master
clip with correct A/V sync.

To offset your audio:

1. Prepare for capturing. See Preparing to Capture in the Help.
2. Select Tools > Capture.
3. Select the number of offset frames from the Delay audio pop-up menu.
4. Capture your material. See Capturing from One Point to Another in the
Help and Capturing On-the-Fly in the Help.
5. Play the captured media to verify that the audio and video are in sync.

Capturing to the Timeline

You can capture footage directly from tape to a sequence loaded in the
Timeline in one step, bypassing several steps such as organizing and
reviewing clips, marking edit points, and performing edits.

To capture to the Timeline:

1. Prepare for capturing as explained in “Preparing to Capture” on page 197.
2. Set options in the Capture Settings dialog box:
a. Click the Settings tab in the Project window.
b. In the Settings scroll list, double-click Capture.
The Capture Settings dialog box appears.
c. Click the Edit tab.
d. Select Enable Edit to Timeline.
e. Set the handle length (the amount of footage you want to capture
before and after the IN and OUT points of the clips).
f. Click OK.
3. Load a sequence into the Composer monitor.

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4. (Option) Patch tracks you are capturing (source tracks) to the tracks in
your sequence (record tracks). See “Patching When Capturing to the
Timeline” on page 267.
5. Mark an IN point in the sequence or move the position indicator to where
you want the edit to take place.
6. Mark the source material that you want to capture using the Capture tool
logging controls.
7. (Option) Mark an OUT point based on the following:
t If you are capturing to the middle of a sequence in the Timeline, mark
both IN and OUT points for frame accuracy.
t If you are capturing to the end of a sequence, you can mark just an IN
point and then mark the OUT point later on-the-fly.
Splice-In 8. Click the Splice-in button or the Overwrite button in the Capture tool to
button choose the type of edit.
Overwrite
button 9. Click the Record button to begin capturing.
10. If you did not mark the OUT point in advance, click the Record button
again when the footage reaches the appropriate frame.
If you already marked an OUT point, capturing stops automatically.
When capturing ends, the clip appears in place in the sequence, and a
master clip appears in the bin.

Patching When Capturing to the Timeline

By default, the tracks you have selected for capturing (V1, A1, A2, and so on)
are edited into the corresponding tracks in the Timeline. You can now patch
the captured footage to any track in the Timeline.

To patch tracks when capturing to the Timeline:

1. In the Capture tool, click and hold the Channel Selection button for the
track (video or audio) that you want to patch.
2. Click the pop-up menu, and select the track to which you want to patch
the captured footage.
For example, if you want to capture video footage to track V2, click and
hold the red V button in the Capture tool and select V2. The Track
Selector panel in the Timeline displays the resulting patch.

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The result is
displayed in
the Timeline.
Select the track
to patch.

n You can also patch tracks in the Timeline in the same way that you patch
tracks when editing from the Source monitor or a Source pop-up monitor. See
“Patching Tracks” on page 474.

Batch Capturing from Logged Clips

Once you have imported a log or manually logged a group of clips to a bin,
you can automate the capture process using the batch capturing capabilities of
the Avid application. If you want to batch capture, source tapes must have
timecode that matches the timecode for the selected clips.

You can also use the batch capture process to recapture existing clips. The
recapturing process is described in “Recapturing Your Material” on page 271.

n To batch import media without timecode, see “Reimporting Files” on

page 294.

Preparing to Batch Capture

Preparing for batch capturing involves an option of resizing the Capture tool
and establishing settings that allow you to batch capture with minimal system
supervision.

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Resizing the Capture Tool

Because your clips are already logged in the bin, you can simplify the
interface during batch capturing by hiding the deck controller and logging
controls in the Capture tool.

To resize the Capture tool during batch capturing:

t Click the triangular opener to the left of the deck controller.

Preparing Settings for Unattended Batch Capturing

Unattended batch capturing allows you to capture a large number of clips with
a minimum of system supervision by selecting Capture settings that avoid
pauses in the capture process.

To prepare for unattended batch capturing:

t Select the “Switch to emptiest drive when” in the Media Files tab of the
Capture Settings dialog box.

Batch Capturing Clips

To batch capture clips:
1. Make sure you selected the correct Capture settings and set up the Capture
tool, as described in “Preparing to Capture” on page 197.
2. Open the bin that stores the clips you want to capture.
3. Select the clips to batch capture:
t Select Edit > Select All to select all the clips.
t Ctrl+click (Windows) or Shift+click (Macintosh) to select specific
clips.
4. Select Bin > Batch Capture.
The Batch Capture dialog box appears.

n If the clips that you want to batch capture are not highlighted in the active bin,
Batch Capture appears dimmed in the Bin menu.

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5. Select options in the dialog box:

For more information t If the bin contains some clips that are already captured and you do not
on handle lengths when want to recapture those clips, select the option Offline media only. If
recapturing, see this option is not selected and some of the selected clips have media
“Recapturing
files, the system deletes the media files and recaptures new media
Sequences” on
page 272. files.
t If your selections include a sequence for batch capturing, the dialog
box prompts you for handle-length information. The system creates
new master clips based on the length of edited clips in the sequence.

n If you are batch capturing the original source master clips used in the
sequence, the sequence is updated automatically. Therefore, you should
deselect the sequence during this procedure.

6. Click OK.
If you have not loaded a tape, the system prompts you to insert the first
tape.
7. Insert the tape into the video deck, and click Mounted.
The capturing process begins. The system captures each clip from the
tape, in start timecode order.
8. If the system needs another source tape, the system prompts you for the
tape. At this point, you have several options:
t Insert the new tape, and click Mounted to continue the capturing
process.
t Click “Skip Clip” to bypass just the first clip from the tape and
continue capturing the remaining clips.
t Click “Skip Tape” to bypass all the clips from the mounted tape. The
system then prompts you for the next tape.
t Click Abort to end the batch capturing process. You can also stop
capturing at any time by clicking the Trash button in the Capture tool.

n To bypass specific clips in the process of batch capturing a particular tape,

you must abort each clip manually by clicking the Trash button and then
clicking the next clip in the Abort window to continue.

When the system has finished batch capturing, a message box notifies you
that the process is complete.

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Recapturing Your Material

Recapturing is the process of capturing previously captured source footage
based on existing clips and sequences. Recapturing uses the batch capture
process and does not require extra logging time because the clip information
for items such as source tracks, timecodes, and Compression settings already
exists in the bin.

There are several situations in which you might want to recapture:

• You can recapture a sequence after you transfer it to another system.
• You can quickly recapture selected clips if you make an error while
capturing the first time (for example, if you forget to check audio levels or
set the wrong resolution).
• You can recapture clips if you accidentally delete media files.

c Recapturing requires your original source footage. Do not delete the

media files if the source footage is no longer available, unless you will not
need the material again.

Recapturing Master Clips and Subclips

The procedure for recapturing master clips and subclips is identical to the
process for batch capturing logged clips. See “Batch Capturing from Logged
Clips” on page 268.

Although the procedure is the same, the result is slightly different, as follows:
• Master clips are linked to entire media files and serve as sources for
subclips and sequences. Therefore, when you recapture a master clip,
changes in Compression settings and levels affect all subclips and
sequences created from the master clip.
• Subclips are smaller sections of master clips. When you recapture a
subclip, the system creates a new master clip that is linked to new media
files and reflects the shortened length of material. Therefore, recapturing
subclips streamlines the capturing process.
Also, recapturing breaks the link from the subclip to the original master
clip. If you edit the subclip into a sequence, however, the sequence will
reflect any changes in the newly captured subclip.

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Recapturing Sequences

Recapturing a sequence creates new master clips and associated media files
based on the length of each clip edited into the sequence. It breaks any links to
the original source clips, and only the sequence and its new master clips are
linked to the newly captured media files.

There are two approaches to recapturing a sequence:

• Use Decompose to create a bin of clips, and then batch capture the clips.
• Recapture the material without using Decompose.

When you recapture the sequence, the capture process creates media files for
each clip in the sequence. You cannot make changes after the media files are
created without repeating the entire procedure.

Saving Two Versions of a Sequence When Recapturing

To save the original version of your sequence before recapturing, you can
create a duplicate. The old sequence remains linked to the originally logged
full-length master clips, and the duplicate is linked to new, shorter clips.

To make a duplicate of the sequence:

1. Select the sequence in the bin, and select Edit > Duplicate.
2. (Option) Create a new bin by selecting File > New Bin, and move the
duplicate sequence to the bin.
This second step is optional, but it saves you from the confusion of
mingling new sequences and master clips with existing ones.

Using Decompose When Recapturing

Decompose allows you to create new, shorter master clips based only on the
material you have edited and included in your sequence, which saves system
disk space. You can specify the handle length of the new master clips.
Decompose breaks any links to the original source clips, and only the
sequence and its new master clips are linked to the newly captured media files.

Decompose creates new master clips in the bin for each clip in the sequence
prior to recapturing. Using Decompose gives you greater control during the
recapturing process. You can use this procedure to sort clips in the bin, modify
the clips, and then recapture selected clips in the sequence.

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For film projects, clips created with Decompose retain all the information
from the original master clips, including Pullin column information, key
numbers, ink numbers, or any other information formerly entered in the bin.

To use Decompose:
1. Activate the bin that stores the sequence and select the sequence.
2. Select Bin > Decompose.
The Decompose dialog box opens.

3. To preserve clips that already have existing media files, select the
“Offline media only” option. Do not select this option if you plan to
decompose and recapture the entire sequence.
4. Select other options for the types of clips to decompose: captured,
imported, or all clips in a group edit.
5. Click the Handle Length text box and type the number of additional
frames you want to capture at the heads and tails of the new master clips.
This provides enough overlap for trimming and adding transition effects.

c If you attempt to trim or add effects with no handles, you receive an error
message notifying you that there is insufficient media.

6. (Option) Select the “Extend handles beyond master clip edges” option to
allow the handles to extend before the beginning and after the end of the
original master clip. When you batch capture, deselecting this option
prevents capturing across a discontinuous timecode error.

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For example, if the starting timecode for a master clip is 1:00:10:00 and
the resulting master clip after a decompose with handles causes the new
master clip to begin at 1:00:09:00, batch capturing fails if there are any
timecode discontinuities between 1:00:09:00 and 1:00:10:00.
7. Click OK.
The new master clips appear in the bin. You can now sort and select these
clips like all other objects in the bin.
8. Proceed with the recapturing procedures described in “Batch Capturing
Clips” on page 269.

Recapturing the Sequence Without Using Decompose

When you recapture the sequence without using Decompose, the capturing
process creates media files for each clip in the sequence during the capturing
process. Bypassing the Decompose procedure saves only a small amount of
time, and you cannot make changes after the media files are created without
repeating the entire procedure. Therefore, review “Using Decompose When
Recapturing” on page 272 before proceeding.

To recapture a sequence:
1. Make sure you selected the proper Capture settings and set up the capture
tools, as described in “Preparing to Capture” on page 197.
2. Open or activate the bin that stores the sequence.
3. Select Bin > Go To Capture Mode.
4. Select the sequence you want to recapture.
5. Select Bin > Batch Capture.
The Batch Capture dialog box opens.

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6. To preserve clips that already have existing media files, select the
“Offline media only” option. Deselect this option if you plan to recapture
the entire sequence.
7. (Option) Select the “All clips in a group edit” option.
8. Click the Handle Length text box and type the number of additional
frames you want to capture at the heads and tails of the new master clips.
This provides enough overlap for trimming and adding transition effects.

c If you attempt to trim or add effects with no handles, you receive an error
message notifying you that there is insufficient media.

9. (Option) Select the “Extend handles beyond master clip edges” option to
allow the handles to extend before the beginning and after the end of the
original master clip. When you batch capture, deselecting this option
prevents capturing across a discontinuous timecode error.
For example, if the starting timecode for a master clip is 1:00:10:00 and
the resulting master clip after a decompose with handles causes the new
master clip to begin at 1:00:09:00, batch capturing fails if there are any
timecode discontinuities between 1:00:09:00 and 1:00:10:00.
10. Click OK.
The system prompts you to load the first tape.
11. Load the tape into the tape deck if you have not already done so.
12. Click Mounted to indicate to the system that the correct tape is loaded and
ready for capturing.
A dialog box opens.

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13. Click OK to confirm the tape and deck entries.

The system captures each clip from the tape, in start timecode order. If
another source tape is needed, the system prompts for the tape.
You can stop the batch-capturing process at any time by clicking the
Trash button in the Capture tool.

When batch capturing is finished, a message box notifies you that the process
is complete. The new master clips appear in the bin, and associated media files
exist on the targeted drive or drives.

Recapturing the Sequence

When you recapture the sequence, the capturing process creates media files
for each clip in the sequence.

To recapture a sequence:
1. Open or activate the bin containing the sequence or clips.
2. Select the sequences or the clips you want to recapture:
t Select Edit > Select All to select all the clips in the bin.
t Ctrl+click (Windows) or Shift+click (Macintosh) to select specific
clips.
3. Select Bin > Batch Capture. See “Batch Capturing Clips” on page 269.
The Batch Capture dialog box appears.
4. To preserve clips that already have existing media, select “Capture only
those items for which media is currently available.”
5. Click the Handle Length text box and type the number of additional
frames you want to capture at the head frames and tail frames of the new
master clips.

n The Handle Length text box appears only if a sequence is selected for batch
capturing.

c Make sure that frames you include in extended handle lengths do not
include timecode breaks or you might compromise accuracy.

6. Click OK.
If you have not loaded a tape, the system prompts you to insert the first
tape.

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7. Insert the tape into the video deck, and click Mounted.
The capturing process begins. The system captures each clip from the
tape, in start timecode order.
If another source tape is needed, the system prompts for the tape. At this
point, you have several options:
t Insert the new tape, and click Mounted to continue the capturing
process.
t Click “Skip Clip” to bypass just the first clip from the tape and
continue capturing the remaining clips.
t Click “Skip Tape” to bypass all the clips from the mounted tape. The
system then prompts you for the next tape.
t Click Abort to end the batch capture process. You can also stop
capturing at any time by clicking the Trash button in the Capture tool.

Other Capturing Functions

The following are also available when capturing:
• Controlling Decks from the Keyboard
• Naming a New Tape from the Keyboard
• Ejecting Tapes with a Button or Key
• Modifying the Pulldown Phase After Capturing

Controlling Decks from the Keyboard

You can use J-K-L keys to control a deck from the Capture tool or the Digital
Cut tool.

The J-K-L keys work the same as they do in the Source pop-up and Composer
monitors as shown in the following table.

Press To

K Stop the deck.

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

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Press To

J Shuttle the deck at –1x, –2x, –3x, –5x, –8x, –16x, or –24x normal
speed.

K+L Shuttle the deck at 0.25x normal speed.

J+K Shuttle the deck at –0.25x normal speed.

The following restrictions apply:

• The Capture tool or the Digital Cut tool must be selected for keys to be
active.
• Single-field stepping is not supported.
• If you remap the function of the J-K-L keys, you are no longer able to
control decks with those keys.

Naming a New Tape from the Keyboard

You can name a new tape without taking your hands off the keyboard.

To create a new tape name using a keystroke in Capture mode:

1. Select Tools > Capture.
The Capture tool opens.
2. Do one of the following:
t Put a tape in the deck.
t Click the Source Tape Display button.
The Select Tape dialog box appears.
3. Press Ctrl+N (Windows) or k+N (Macintosh).
A new tape name text box appears.
4. Type the new tape name.
5. Press Enter (Windows) or Return (Macintosh) to register the tape name.
6. Close the Select Tape dialog box:
t Press Enter (Windows) or Return (Macintosh).
t Click OK.

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Ejecting Tapes with a Button or Key

By pressing an eject button and ejecting a tape, the fact that the tape must be
changed can be brought to the attention of any tape operator in a remote
machine room.

To eject tapes using a button:

1. Select Tools > Command Palette.
2. Click the Play tab.
3. Select Active palette.
4. Click the Eject button.

n You can map the Eject button to any button on the Tool palette or any key on
the Keyboard palette. See “Mapping User-Selectable Buttons” on page 144.

Modifying the Pulldown Phase After Capturing

If you need to change the pulldown phase after capturing, you need to unlink
the master clip from its media file, modify the clip information, and then
recapture.

c When you change the timecode of a clip, you lose the key number of the
clip and need to enter it in the bin, adjusting it to match any changes to
the timecode.

To modify the clip information:

1. Select the clip you want to modify and press the Delete key.
The Delete dialog box appears.
2. Deselect the option “Delete master clip(s)” and select “Delete associated
media file(s).”
3. Click OK.
The original media file is deleted.
4. Make sure the clip is still selected. Press Ctrl+Shift and select Bin >
Unlink.
The clip information is unlinked and you can modify the clip information.

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5. Type the correct letter for the pulldown phase in the Pullin column. If
necessary, type a new timecode and key number.
For multiple clips, you can use the Modify command or the Modify
Pulldown Phase command. See “Modifying the Pulldown Phase Before
Capturing” on page 188.

With the new clip information in the bin, batch capture the clip. See “Batch
Capturing Clips” on page 269. If the pulldown phase is accurate, the clip
should play smoothly, with no repeated frames.

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Importing Files

When you import files, the system converts them into objects in a bin. You
can manipulate and edit these objects as you would any other clip or sequence.
Any corresponding media files are stored on a target drive that you specify.
You can import files using the procedures in the following sections:
• Preparing to Import Files
• Working with Mixed-Resolution Projects
• Creating and Using Import Settings
• Importing Files
• Importing Audio Files from a Music CD
• Using the Drag-and-Drop Method to Import Files
• Importing Photoshop Graphics
• Reimporting Files

Preparing to Import Files

Before you begin the import process, make sure the system and the files are
ready for import as follows:
• Read about issues and tips for mixed-resolution projects in “Working with
Mixed-Resolution Projects” on page 282.
• For graphics file and OMFI (Open Media Framework® Interchange) file
import, prepare the files in advance according to specifications described
in “File Format Specifications” in the Help.
• For a complete description of all options in the Import Settings dialog
box, see “Import Settings” in the Help.
Chapter 8 Importing Files

Working with Mixed-Resolution Projects

For more information You can work with mixed resolutions in the same sequence. This feature
on resolutions, see allows you to import graphics that match the resolution of the final sequence.
“Compression
Resolutions and
The only restriction is that you cannot mix clips with different frame rates. For
Storage Requirements”
on page 241. example, you cannot mix NTSC with PAL, and you cannot mix interlaced
resolutions with progressive resolutions.

n To reimport imported graphics at a higher resolution, use the Batch Import

feature, which maintains links to the original master clips and sequences. For
more information, see “Reimporting Files” on page 294.

Creating and Using Import Settings

You can create one or more sets of import parameters and save them as an
Import setting. For example, you can create one setting for importing
QuickTime files and another for importing files from another application. This
feature is especially useful when you use the drag-and-drop method to import
multiple files (see “Using the Drag-and-Drop Method to Import Files” on
page 288).

The default Import setting and any additional Import settings you create
appear in the Settings scroll list (see “Working with Settings” on page 107).
After you select a setting in the Settings scroll list, the parameters remain the
default settings for all imported files, unless you change them during import.

Creating a New Import Setting

To create a new Import setting:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Click Import.
3. Select Edit > Duplicate.
4. Name the setting:
a. Click the Custom setting name column.
b. Type a name.

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c. Press Enter (Windows) or Return (Macintosh).

5. Double-click the new Import setting.
The Import Settings dialog box opens.
6. Select the appropriate options. For information about options, see “Import
Settings” in the Help.
7. Click OK.

Once you create a new import setting, you can choose the setting whenever
you import a frame, clip, or sequence. For more information, see “Importing
Files” on page 283 and “Using the Drag-and-Drop Method to Import Files” on
page 288.

Modifying an Existing Import Setting

To modify an existing Import setting:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click an Import setting.
The Import Settings dialog box opens.
3. Select the appropriate options. For information about options, see “Import
Settings” in the Help.
4. Click OK.

Importing Files
You can access files for import from any folder, disk, or drive source mounted
on the desktop, such as a floppy disk, fixed drive, removable drive, or network
server. You can import more than one file at a time, including files of multiple
types.

Consider copying all graphics files to a single folder before you import the
files. Using this folder helps you manage graphics from multiple sources and
streamlines the reimporting process because all graphics will point to the same
original path.

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For information on To import files:

using the drag-and-
drop method, see
1. If you have created one or more Import settings, select the Import setting
“Using the Drag-and- that you want to use from the Settings scroll list (see “Creating a New
Drop Method to Import Import Setting” on page 282).
Files” on page 288.
2. Select the format MXF or OMF in the Media Creation Settings Import
tab.
3. Open the bin in which you want to store the imported files.
4. Select File > Import.
The Select Files to Import dialog box opens.

n (Windows only) For more information about the files displayed in the Select
Files to Import dialog box, click the Details button.

Windows Look In pop-up menu Views button

Source file list

File to import

Files of Type pop-up

menu
Options button

Single/Dual Drives button Video Resolution pop-up menu

Video and Audio Drive pop-up menus

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Macintosh

Show pop-up menu

From pop-up menu

Source file list

Options button

Resolution pop-up
menu

Single/Dual Drives button Video and Audio Drive

pop-up menu -

5. Click the Files of Type pop-up menu (Windows) or the Show pop-up
menu (Macintosh), and select an import file type to display only files of
the chosen file type in the source file list:
t Select either Graphic (Windows) or Graphic Documents (Macintosh)
or Audio (Windows) or Audio Documents (Macintosh) to import one
of more than 30 supported graphics and audio file types. For more
information on the various file types and their import specifications,
see “File Format Specifications” in the Help.
t Select AAF to import files that have been saved in the AAF
file format.
t Select OMFI to import files that have been saved in the OMFI file
format, such as sequences transferred from an effects or digital audio
workstation.

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t Select MetaSync Files to import XML files that have been created by
MetaSync Manager. These files must use the .aeo file name
extension. For more information, see the Avid MetaSync Setup and
User’s Guide.
t Select Shot Log to import Avid Log Exchange (.ale) files containing
clip information to a bin. For more information about Avid log
specifications, see “Avid Log Specifications” in the Help.

n By default, the system displays only file types that belong to the chosen
category in the file browser (Windows) or the Source file list (Macintosh)
section of the dialog box. Click the Files of Type pop-up menu (Windows), and
select All Files or click the Show pop-up menu (Macintosh), and select All
Documents to display all files in a chosen folder, regardless of file type. Use
this option if you want to batch import from multiple file types.

6. To import a series of sequentially numbered files, select the first file in the
sequence. To automatically select the entire sequence of files, you must
select Autodetect Sequential Files in the Import Settings dialog box.

n For sequentially numbered files (for example, myfile_001.jpg, myfile_002.jpg,

and so on), the system combines all of the files into one clip.

c If the files are sequentially numbered but they are not actually sequential,
they do not import correctly.

7. (Option) Click Options to adjust the Import settings.

The Import Settings dialog box opens, in which you can select various
parameters. The contents of the Import Settings dialog box depend on the
file type you selected.

n For information about options, see “Import Settings” in the Help.

8. (Option) Select audio options in the Audio tab to ensure that imported
media matches the current project sample rate and bit depth.
These options are deselected by default. Your Avid system attempts to
import all audio media at the source sample rate and bit depth, and only
automatically converts sample rates or bit depths to the project rate or bit
depth if the source is at a rate or depth the system does not support. Select
one or more audio options if you do not want the audio media imported at
the source sample rate or bit depth.

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9. Select the other options you want, and then click OK to save the settings.
10. Close the Import Settings dialog box and return to the Select Files to
Import dialog box.
11. Click the Look In pop-up menu (Windows) or the From pop-up menu
(Macintosh) to locate the folder containing the source files.
12. Select files or deselect files from the source file list by using the standard
selection methods for your operating system (Windows or Macintosh).

n If you are importing a sequential series of image files, you must select
Autodetect Sequential Files in the Import Settings dialog box. Then select only
the first file in the series in the source file list.

13. Click the Video Resolution pop-up menu (Windows) or the Resolution
pop-up menu (Macintosh), and select a resolution for the imported media.
See “Working with Mixed-Resolution Projects” on page 282.
14. Click the Single/Dual Drives button and select a destination drive for the
imported file from the pop-up menu.
15. Click Open.
When the system finishes importing the files, the clips appear in the
selected bin.

Importing Audio Files from a Music CD

To import audio files from a music CD:
1. Follow the procedure in “Importing Files” on page 283.
2. In step 4, select Files of Type > Audio (Windows) or Show > Audio
Documents (Macintosh).
3. In steps 8 and 9, navigate to the music CD and select the track or tracks
you want to import.
4. Finish the procedure.
Your track or tracks appear in the bin you opened in the procedure.

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Using the Drag-and-Drop Method to Import Files

To import one or more files using the drag-and-drop method:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Select the setting you want to use for import. Select either the default
Import setting or one you have created.
To view or modify the parameters, double-click the setting. For more
information, see “Creating a New Import Setting” on page 282.
3. Open the bin in which you want to store the imported files.
4. From the desktop, open the folder that contains the files you want to
import. You might have to resize the Avid application to access the
desktop.
5. Click the file you want to import and drag the file to the bin. To select
multiple files, Ctrl+click (Windows) or k+click (Macintosh) the files
and drag them to the bin.

Importing Photoshop Graphics

You can import both single-layer and multilayered graphics created in Adobe
Photoshop®. If you import multilayered graphics, you can preserve the
original layers, and then edit them individually in your Avid application.

This section contains the following topics:

• Importing Single-Layer Photoshop Graphics
• Importing Multilayered Photoshop Graphics

Importing Single-Layer Photoshop Graphics

A single-layer graphic is a graphic that was created on a single layer or a

layered graphic that was flattened in Photoshop. The Avid system imports this
kind of graphic as a matte key or master clip, depending on the format of the
Photoshop file.
• If the graphic uses a transparent background or an alpha channel, the Avid
system creates a matte key.

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• If the graphic uses a background color, the Avid system creates a master
clip.

To import a single-layer graphic, or a multilayered graphic that was

flattened in Photoshop:
t Follow the standard instructions for importing a graphic, as described in
“Importing Files” on page 283.

n Single-layer files that contain transparency gradients or feathering and a

transparent background do not import correctly. Partially transparent pixels
are displayed with either white or black blended into them, based on the
percentage of transparency. To avoid this problem, create an additional layer
in the original Photoshop file that contains at least one pixel of information,
such as a spot drawn with a paintbrush. Then import it as a layered file, as
described in “Importing Multilayered Files” on page 293. In the message box,
click Select Layers and select only the layer that contains the graphic
elements; do not select the additional layer.

Importing Multilayered Photoshop Graphics

A multilayered graphic is a graphic file that was created in Photoshop with

two or more layers. This section includes the following topics:
• Understanding Multilayered Graphics Import
• Importing Multilayered Files

n You can import multilayered graphics created in Photoshop 6.0 or later.

Understanding Multilayered Graphics Import

When you import a multilayered graphic, you can import each layer as a
separate object (a matte key or master clip). You can then manipulate
individual layers like any other matte key or master clip. You can also import
the graphic as a flattened image, or select the layers to import.

For example, a graphic artist might create a collage of still images, with a
layer of text. The goal is to edit the collage into a sequence, building it up one
image at a time, and then add the text.

The following illustration shows the graphics and layers in Photoshop.

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The Avid system imports each layer as an individual matte key with alpha
channel. In this example, the graphic uses a background image, so the system
creates the background image as a master clip. (If the graphic used a
transparent background, the background layer would be imported as a matte
key.)

The following illustration shows the layers as they appear in a bin.

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During the import, the Avid system creates a sequence with each layer on a
separate video track; this makes it easy to edit all layers into the final
sequence. This sequence preserves the names and order of the layers as
created in the original Photoshop file, as shown in the following illustration.

You can then edit the tracks to build up to the full collage.

Note the following:

• Graphics must be RGB 8 or 16 bits, or grayscale.
• Layer order and layer names are preserved during import.
• Hidden layers are imported as matte keys.
• Opacity is converted to Foreground level in the Matte Key effect.
• Text and shape layers are rasterized (converted from vector-based to
bitmap) during import.

Not all layer options and types are supported for import (see “Support for
Photoshop Layer Options” on page 292 and “Support for Photoshop Special
Layer Types” on page 292). For example, a title with a Drop Shadow and an
Outer Glow effect would not keep these effects when imported. To preserve
the effects in these layers, merge them in Photoshop (as described in the
Photoshop documentation) and then import the file.

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You can also preserve layer effects and the original structure of the file by
importing the file in two stages:
1. For the first import, click Select Layers and select all layers except the
layers that contain layer effects.
2. For the second import, open Photoshop, hide the layers you’ve already
imported, and show the layers that contain layer effects. During the
import, click Flattened Image. The resulting image contains only the
layers that contain layer effects.

Support for Photoshop Layer Options

Layer Option Supported Notes

Blending Mode No To preserve the blending mode (Dissolve, Multiply, and so on),
merge the layer into another layer that does not use a special
blending mode. Only normal mode is supported.

Opacity Yes The imported layer’s Level is set to the opacity specified in
Photoshop. You can adjust the opacity level with the Foreground
Level control in the Effect Editor.

Layer Group Partial Layer grouping is ignored. All layers, including grouped layers,
are imported as individual layers. To preserve a clipping group,
merge the grouped layers into the base layer.

Layer Set Partial All layers within a set are imported as individual layers.

Layer/Set Mask No Layer and set masks are ignored. To preserve a layer mask, apply
it to the layer. To preserve a set mask, merge the set into an
empty layer. To preserve a special layer’s mask, rasterize the
layer.

Layer Style No Layer styles are ignored. To preserve a layer style, you must
convert the style into layers.

Support for Photoshop Special Layer Types

Layer Option Supported Notes

Type Layer Yes

Solid Layer Yes Solid layers are imported as a graphic with a full screen opaque
alpha channel.

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Support for Photoshop Special Layer Types (Continued)

Layer Option Supported Notes

Gradient Layer Yes Gradient transparency is preserved.

Pattern Layer Yes

Adjustment Layer No Adjustment layers include Levels, Curves, Color Balance,

Brightness/Contrast, Hue/Saturation, Channel Mixer, Gradient
Map, Invert, Threshold, and Posterize.

Importing Multilayered Files

To import a multilayered Photoshop file:

1. Prepare the Photoshop graphic for import, as described in “Understanding
Multilayered Graphics Import” on page 289.
2. Follow the standard instructions for importing a graphic, as described in
“Importing Files” on page 283. To create the matte correctly, you need to
click the Options button and select Alpha: Invert Existing.
3. Select one or more files and click Open.
A message box opens.
4. In the message box, do one of the following:
t Click Sequence of Layers if you want to preserve all layers. If the
number of layers exceeds the number of tracks supported, the Avid
application creates a sequence that contains the number of tracks
supported. Additional layers are imported into the bin, but not as
tracks in a sequence. This choice applies to all files you have selected
for import.
t Click Flattened Image if you want to import the graphic as a single
matte key or clip. The Avid application flattens the file by combining
the layers. This choice applies to all files you have selected for
import.

n Hidden layers are not combined in the flattened image. Make sure all layers
that you want in the final image are visible. In addition, layers with partial
transparency do not display properly in the flattened, imported image. See
“Importing Single-Layer Photoshop Graphics” on page 288.

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t Click Select Layers if you want to select which layers to preserve.

The Select Layers dialog box opens. Select the layers you want to
import and click OK. If you select more than 8 layers, the additional
layers will be imported but will not be included in the sequence.

The Avid application displays messages as it creates media for each layer. At
the end of the process, the objects are displayed in the bin you have selected.

Reimporting Files
If you are working with master clips or sequences that contain imported
material, you can use the Batch Import command to reimport the imported
files. For example, you might want to create new media files when the media
files are lost or accidentally deleted.

c Reimporting requires your original source file. Do not delete the media
files for imported files if the source files are no longer available unless you
will not need the material again.

The Batch Import command allows you to reimport the imported files while
automatically linking the new imported material with the original master clips
and sequences. When you play your sequence after reimporting the files, the
new imported material plays in your sequence.

When you reimport a media file, the entire media file, including all tracks, is
reimported. For example, if only the video track of an imported file that
contains both video and audio was edited into the sequence, the reimport
process imports both the video and audio from the source file.

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

The Batch Import Dialog Box

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

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Selected
Clips section

Status line

Video
Resolution
Import Target pop-up
section menu

Video Drive
pop-up
menu
Import
Audio Drive
Options
pop-up
section
menu

Selected Clips Section

The Selected Clips section shows the clips you selected for import. The
caption at the top of the section summarizes the total number of clips shown
and how many of them were found and that are available to be imported. Clips
displayed in black were found and will be imported. Clips displayed in red
were not found in their original location. Clicking the Set File Location button
finds the source files for clips that were not found. If you select one or more
clips and click Skip This Clip, the clips are removed from the list and are not
imported.

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Import Target Section

The Import Target section allows you to select a resolution and destination
drives.
• Video Resolution pop-up menu: Allows you to select a video resolution.
• Video Drive and Audio Drive pop-up menus: Allow you to select a
destination drive for the media files.

Import Options Section

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

n If you change the Import settings in the Import Options section, the new
settings apply to all the files you are importing.

Starting the Reimport Process

n Before beginning the reimport process, consider mounting any removable

media drives that held the original graphics.

To reimport imported files:

1. Mount any removable media drives that held the original graphics.
2. Open the bin, and select the imported master clips and sequences that you
want to reimport.
3. Select the format (MXF or OMF) in the Media Creation Settings Import
tab.
4. Select Bin > Batch Import.
A message box opens.

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5. Select one of the following options:

- Offline only: Reimports only the selected imported master clips that
are missing their media files.
- All clips: Reimports all the selected imported master clips; for
example, if you need to change the video resolution of the imported
master clips.
The Batch Import dialog box opens.
6. Click Skip This Clip to remove a clip from the list. It will not be imported.
7. Locate the sources for files that weren’t found by doing the following:
a. Select a clip or clips displayed in red in the Selected Clips section.
b. Click Set File Location.
The Locate File dialog box opens.
c. Navigate to the location of the source file.
If you select more than one clip displayed in red, the system attempts
to find the rest of the clips first in the same folder as the first clip and
then, if not found there, in folders that maintain the same relationship
with the first clip’s folder.
When the clips are found, they are displayed in black.
8. Click the Video Resolution pop-up menu, and select a video resolution for
all the reimported files.
9. Click the Video Drive and Audio Drive pop-up menus, and select a
destination drive or drives for all the media files.
You can separate video and audio onto different drives.
10. (Option) By default, the file is imported using the Import settings from the
last time it was imported. You can change the Import settings for all clips
being imported by doing the following in the Import Options section:
a. Select “Override clip settings with current settings.”
b. Click Current Settings to open the Import Settings dialog box.
c. Select the appropriate options.
d. Click OK to close the Import Settings dialog box.
11. Click Import.
The file is imported.

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 Chapter 9
Organizing with Bins

Your Avid system provides powerful database tools for organizing and
managing your captured material. You can work with bins using four different
views. You can rename, sort, sift, duplicate, and delete clips and sequences.
You can also print single-clip frames or whole bins. These topics are covered
in the following sections:
• Before You Begin
• Conserving Screen Real Estate with the SuperBin
• Basic Bin Procedures
• Using Brief View
• Using Text View
• Using Frame View
• Using Script View
• Printing Bins
• Gathering Format Elements

Before You Begin

There are several procedures you might want to perform before organizing
your project because they affect the display of information in bins or the way
the clips play back during screening:
• If you want to customize the types of objects (clips, subclips, and so on)
displayed in a bin, see “Setting the Bin Display” on page 300.
• You can view bins in four display modes. See “Using Bin Display Views”
on page 302.
Chapter 9 Organizing with Bins

• Four custom bin views allow you to change the information displayed in
the bin. See “Displaying Custom Bin Views” on page 302.
• The Bin Fast menu lets you select commands. See “Using the Bin Fast
Menu” on page 304.
• If you want to center the pan between left and right speakers for some or
all of the clips in a bin, see “Adjusting Pan Defaults” on page 533.
• If you captured clips by using longitudinal timecode (LTC) recorded on
an audio track and want the system to address this timecode during
editing, see “Using Audio Timecode” on page 304.
• When you work with a 24p or 25p project, if you sync audio and video
clips and find that the audio needs to be slipped slightly at the perforation
level to achieve true sync, see “Resyncing Subframe Audio” on page 612.

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.
The following table briefly describes the icons listed in the Set Bin
Display dialog box.

Object Icon Descriptions

Object Icon 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.

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Object Icon Descriptions (Continued)

Object Icon 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 clip 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.

ITV Enhancement Clips that represent Interactive Television (ITV)

enhancements that conform to SMPTE standard
363M. For more information, see the Avid
MetaSync Setup and User’s Guide or the Help.

Opaque Enhancement Clips that represent ITV enhancements that do not

conform to SMPTE standard 363M. For more
information, see the Avid MetaSync Setup and
User’s Guide or the Help.

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.

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Using Bin Display Views

There are four different display views for working with clips in a bin: Brief
view, Text view, Frame view, and Script view. For more information about
bin display views, see “Using Brief View” on page 317, “Using Text View”
on page 318, “Using Frame View” on page 333, and “Using Script View” on
page 336.

Displaying Custom Bin Views

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

Bin View pop-up menu

Customizing Bin Views in Text View

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. For more
information about Text view, see “Using Text View” on page 318.

There are several ways to customize views of the bin:

• Alter the arrangement of existing columns in the standard Statistics view
or Film view to suit your needs, without adding or hiding columns. These
arrangements are recalled each time you select Statistics view or Film
view.

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• Add or hide columns of information to create customized Statistics or

Film views. These are saved as additional view settings in numerical
order, for example Statistics.1, Statistics.2, unless you select 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. See “Saving a Custom Bin
View” on page 303.

n You can view bin columns that you have imported from other Avid products
even if the bin columns are not available in the Avid application.

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 custom bin view from the Text tab:

1. Open a bin and click the Text tab.
2. Add or hide columns according to preference.
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.

To change a custom bin view with the Bin View dialog box:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click the custom bin view you want to change.

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The Bin View dialog box opens.

3. Select and deselect the columns you want to see.
4. Click OK.

Using the Bin Fast Menu

All Bin menu commands are also available in the Bin Fast menu. 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.

Using Audio Timecode

To use timecode on an audio track:
1. In the bin, select the appropriate clips.
2. Select Special > Read Audio Timecode.
The Read Audio Timecode dialog box opens.
3. Select User Bit Timecode to read timecode stored in the user bits of the
LTC. If this option is not selected, the system reads the LTC timecode.

c Information contained in the user bits of the LTC must be timecode only.
Other data stored in the user bits will not appear in the Avid application.

4. Click the Audio Timecode Source pop-up menu, and select the audio
track containing the timecode. A1 is the default.
5. Click the Destination Track pop-up menu, and select the target auxiliary
timecode bin column for recording the audio timecode. Auxiliary TC1 is
the default selection.
6. Select Fill Undecodeable Frames to instruct the system to fill in any
timecode breaks with continuing timecode. This is the default.
For example, in a 3-minute master clip, the audio timecode starts at
1:00:20:20. At 1:00:22:10, the timecode ends. With the Fill Undecodeable
Frames option selected, the system assigns 1:00:22:11 to the next frame
and continues assigning timecode.

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n Do not select this option if you do not want to fill timecode breaks.

7. Click OK to complete the procedure. The timecode appears in the bin in

the auxiliary timecode column that you selected.

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.

Enabling the SuperBin

To enable the SuperBin:
1. Click the Settings tab in the Project window.
2. Double-click Bin in the Settings scroll list.
The Bin Settings dialog box opens.
3. Select Enable SuperBin, and then click OK.
The next time you click a bin in the Project window, it opens in the
SuperBin.

Opening Bins in the SuperBin

To open bins in the SuperBin:
1. Enable the SuperBin. See “Enabling the SuperBin” on page 305.
2. Click the Bins tab in the Project window, and then single-click a bin icon.

n Double-clicking a bin opens it in its own window, not in the SuperBin.

The bin opens in the SuperBin. The SuperBin button appears in the upper
left corner, and the title is SuperBin: bin name.

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SuperBin
button

To view a bin previously opened in the SuperBin:

t Click the Bins tab in the Project window, and then single-click the bin
name.
t Click the SuperBin button, and then select a bin.

n If you have no other bins open in the SuperBin, you do not see a pop-up menu
when you click the SuperBin button.

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.

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.

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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 bin
displayed in the SuperBin.
The clip or sequence moves into the SuperBin.

You can copy 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 and the bin
opens in its own 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 (Windows) or the Option key (Macintosh), and
then drag a clip or sequence from another open bin window into the bin
displayed in the SuperBin.
The clip or sequence is copied into the SuperBin.

You can copy a clip or sequence from the SuperBin directly to a bin in the
Project window.

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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 (Windows) or the Option key (Macintosh), 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 and the
bin opens in its own window.

Deleting a Bin with the SuperBin Enabled

To delete a bin while the SuperBin is enabled:
t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the bin name in
the Project window, and select Delete Selected Bins.
The bin is deleted.

Basic Bin Procedures

There are some basic procedures that you can use in any of the bin display
views for manipulating clips in the bin. They include selecting, deleting,
duplicating, moving, copying, and sifting clips and sequences.

When you are working with bins, an asterisk (Windows) or a diamond

(Macintosh) precedes 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 79.

Lassoing Objects

You can select objects in your Avid system by lassoing.

To lasso an object or objects:

t Click the mouse pointer outside of the object and drag it to surround the
object or objects with a white dotted line.
The object or objects are selected.

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Selecting Clips and Sequences

To select clips or sequences in a bin, do one of the following:
t Lasso several items. See “Lassoing Objects” on page 308.
t Click the clip or sequence icon (Text view).
t Click the picture area of the clip or sequence (Frame view).
t (Windows) Ctrl+click to select multiple clips or sequences.
t (Macintosh) Shift+click to select multiple clips or sequences.

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. Click the clip or sequence that you want to duplicate. Ctrl+click
(Windows) or Shift+click (Macintosh) to select multiple clips.
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 in order to group and organize
various types of material based on project needs.

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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. Click the clip or sequence that you want to move. Ctrl+click (Windows)
or Shift+click (Macintosh) to select multiple clips or sequences.
4. Drag the clips or sequences to the new bin.

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 clone the same clip in another bin. Any
change you make to the copy affects 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 copy sequences, you can change the copy independently of the
original.

When you press and hold the Alt key (Windows) or the Option key
(Macintosh) and drag a clip to make a copy, the system does not add the file
name extension .Copy.n to the clip or sequence as it does when duplicating.

When you copy clips from one bin to another, the custom columns that you
created in the first bin are also copied to the second bin. The custom columns
appear in the order in which you created them.

To copy clips from one bin to another bin:

1. Position the bins so that you can see both of them at the same time. You
might need to resize the bins to do this.
2. In the original bin, click the clip or sequence that you want to copy.
Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple clips
or sequences.
3. Press and hold the Alt key (Windows) or the Option key (Macintosh),
drag the clips or sequences to the destination bin, and release the mouse
button.

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Deleting Clips, Sequences, or Media

You can delete subclips and sequences from a bin. For information on deleting
media files associated with subclips and sequences, see “Finding a Related
Media File” on page 359.

You can delete effect clips and their media files, motion effect clips and their
media files, rendered effects clips and their media files, and master clips and
their media files from a bin. To delete specific video and audio media files
associated with a clip, you must use the Media tool. For more information, see
“Deleting Media Files with the Media Tool” on page 348.

c If you delete media files, you no longer have access to visuals or the audio
of the deleted material. If you load a clip for which a media file has been
deleted, a black screen appears with the words “Media Offline.” If you
need to use those clips again, you must recapture or reimport the
material.

To delete clips or sequences from a bin:

1. Click the clips or sequences that you want to delete. Ctrl+click (Windows)
or Shift+click (Macintosh) to select multiple clips or sequences.
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.
3. Click the check boxes for items you want to delete.

c If you delete clips, you cannot recapture without relogging the clips.

- Select both clips and media files for deletion.

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

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4. Click OK.
If you choose to delete media files, a dialog box opens.
5. Click Delete.

Using Flat View

To view a list of only the folders and not the folder contents in a bin:
1. In the Project window, click the Bins tab.
2. Click the Fast Menu button, and select Flat View.
Open folders are collapsed into their folder icons. The Trash icon and its
contents also disappear until Flat View is deselected.

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

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

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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, click 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 and on the clip icon.

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, click the bin objects to which you want to assign
a color.
2. Select Edit > Set Clip Color > Pick.
The Windows Color dialog box or the Macintosh Color Picker appears.
3. Select a color and click OK.
The custom color appears in the Color column and on the clip icon.

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

Limiting Color Choices

When assigning colors to bin objects, you can limit the color choices to only
the colors currently used in the bin.

To limit the colors available when assigning colors to bin objects:

1. With a bin in Text view, select the bin objects to which you want to assign
a color.
2. Alt+click (Windows) or Option+click (Macintosh) in the Color column in
the bin.
A menu of all the colors you are using in the bin appears. Any custom
colors you assigned are labeled Other.

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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. Click the Color column heading in the bin.
2. Click the Bin Fast Menu button, and then select Sort.
The objects in the bin are sorted by color.

n Colors are sorted by hue, saturation, and value.

Sifting by Color

To sift bin objects by color:

1. Click the Bin Fast Menu button, and then select Custom Sift.
2. Type the name of the color in the text box.
3. Select Color as your sift parameter.
4. Click OK.
The objects in the bin are sifted by the color you specified.

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 two sets of three levels of criteria.

To sift clips and sequences:

1. Select Bin > Custom Sift.
The Custom Sift dialog box opens.

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Text to Find text box Column or Range to Search pop-up menu

Criterion
pop-up
menu

2. Click the first 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 name of the color
exactly 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 in parentheses to the bin name.

After you have sifted the clips in a bin, you can display the bin in a sifted or an
unsifted state.

To view the entire bin:

t Select Bin > Show Unsifted.

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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.

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 button, and then select Select Offline Items.
The bin highlights all items that are missing media files.

Selecting Media Relatives for an Object

When you identify the media relatives of a selected clip or sequence, the
system highlights all other clips linked to the selected clip, such as subclips or
other sequences.

To identify media relatives:

1. Open the bin that contains the chosen clip or sequence.
2. Open any other bins that might contain the media relatives that you want
to find.
3. Resize and position the bins so that you can see their contents.
Text view is best for viewing as many objects as possible.
4. Click the chosen clip or sequence, and select Bin > Select Media
Relatives.
The system highlights all related objects in all open bins.

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Highlighted item

Highlighted
media relatives

n You can also use the Media tool to look at the captured video and audio data
files stored on your media drives. See “Using the Media Tool” on page 345.

Using Brief View

Brief view can help you manage your screen real estate. It displays only five
standard columns of information about the clips and sequences in your bins.

To see Text view with only five standard bin columns showing:
t Click the Brief tab.

n You cannot customize the column headings in Brief view.

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n A different set of column headings appears for film projects.

Using Text View

Text view provides the most complete view of clip information. It uses
database columns that you can rearrange and customize to suit your needs.

To enter Text view:

t Click the Text tab in the Bin window.

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Bin Column Headings

You can select individual or multiple headings to be displayed or hidden in a

bin. The following table describes the Bin Column headings. For more
information on selecting column headings, see “Showing and Hiding
Columns” on page 323.

Bin Column Headings

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.

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Bin Column Headings

Heading Description

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 You can enter an auxiliary timecode, such as Aaton® or Arri®, or another timecode
for editing film or audio timecode for film.

Aux TC 24 The original HDTV sources (1080p/24) or audio DATs created for PAL feature
film productions that use in-camera timecode.

CFPS The captured frames per second.

Cadence The type of pulldown present on the source NTSC tapes when in a 23.976 or 24p
project.

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.

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.

IN-OUT The length of the marked segment, if any.

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.

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Bin Column Headings

Heading Description

KN Mark IN The key number for the IN point, if you set one for the clip. Used for 24p and 25p
projects only.

KN Mark OUT The key number for the OUT point, if you set one for the clip. Used for 24p 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.

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)

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.

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Bin Column Headings

Heading Description

Start The timecode of the clip’s head frame.

TC 24 The 24-fps timecode.

Take The take number of the scene.

Tape The source tape name.

TapeID The Tape ID number.

Tracks All tracks used by this media object.

Video The resolution under which the media for that clip was captured.

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.

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 remaining after you move or
rearrange columns.

To align bin columns, do one of the following:

t Select Bin > Align Columns.
t Press Ctrl+T (Windows) or k+T (Macintosh).

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Showing and Hiding Columns

You can select individual or multiple headings to be displayed or hidden in the

bin.

To select column headings:

1. With a bin in Text view, 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 select or deselect all of the headings in the bin.
3. Click OK.
Only the headings highlighted in the dialog box appear in the bin.

Deleting a Column

Deleting a statistical column is the same as hiding the column; you can restore
the column at any time using the Bin Column Selection dialog box. When you
delete a Custom column, however, you must re-create the column.

To delete a column:
1. Click the column heading.
2. 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 a Column

You can duplicate existing columns containing timecode information in other

compatible columns that you target in a dialog box.

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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 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. Click an empty area to the right of the current headings in the headings
box.
2. Move any existing column to the right or left to create an empty area.
3. Type the column heading you want, and press Enter (Windows) or Return
(Macintosh). Column headings must contain fewer than 30 characters,
including spaces.

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Headings Custom
box 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 (Windows) or Return (Macintosh)
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 (Windows) or Option+click (Macintosh) the heading to
highlight it.
2. Type the new text for the heading, and press Enter (Windows) or Return
(Macintosh).

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Tracking Frames Based on File Names

Bins can display a digital file name for each frame in addition to key
numbers, ink numbers, and other reference numbers. Tracking frames with
the frame number is useful when using the film-scanning process, where
each frame is an independent file. It is also useful when working with
effects and animation processes that depend on a frame-based counting
scheme. You can include the frame number when generating a cut list
using FilmScribe.

The naming and counting scheme consist of a prefix (8-character

maximum), separated by a dash (-), and followed by 6 characters that
count as total frames. For example, FXS32v01-000001 identifies the first
frame of a series of frames that belong to an FX shot for Scene 32
version 1. As the FX shot progresses during the creative process, the
version number increases.

n To compensate for offsets, you can subtract the number of header and
information frames from 999999 when entering the frame number. For
example, if the first frame of picture is 1 and there are 8 frames of header
and identification frames, you would enter FXS32v01-999993 for the
frame number.

To display the frame count numbers in a bin and cut list:

1. In the Film Settings dialog box of the Avid editing application, select
Frame Count from the “Ink Number displayed as” option or the
“Auxiliary Ink displayed as” option.
2. In a bin, select Ink Number or Auxiliary Ink from the Bin Headings
dialog box.
The Ink Number and Auxiliary Ink columns display the frame count
numbers in the bin.
3. Open the bin in FilmScribe and choose Ink Number or Aux Ink
options. Then generate the cut list.
The cut list includes the frame count numbers.

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To display the frame count numbers above the Source or Record

monitors in the Avid editing application:
1. Follow the steps for displaying the frame count numbers in a bin.
2. From the Tracking Information Menu above the monitor, select either
Ink Number or Aux Ink.

Managing Clip Information in Text View

There are several ways to manage clip information in Bin columns. These
methods include moving information with columns, modifying clip data,
moving information between whole columns, copying information between
cells, and sorting clip information, as described in this section.

Moving Within Column Cells

To move within column cells:

1. Click in one of the columns.
The line is highlighted in yellow.
2. Use the keyboard shortcuts to move from cell to cell in bin columns, as
shown in the following table.

Shortcuts for Moving in Text View

Press To

Tab Move the pointer to the parallel cell in the next column. You can continue to press
the Tab key to scroll through the cells to the right until the cell in the last column is
highlighted. The next time you press the Tab key, the cell in the first column is
highlighted.

Shift+Tab Move the pointer to the cell in the previous column. You can continue to press
Shift+Tab to scroll through cells to the left until the cell in the first column is
highlighted. The next time you press Shift+Tab, the cell in the last column is
highlighted.

Enter (on the main Enter any new information typed in the cell and move the pointer down to the cell
keyboard) (Windows) or in the next row. You can continue to press the Enter key (Windows) or the Return
Return (Macintosh) key (Macintosh) to scroll down the column until the last cell in the column is
highlighted. The next time you press the Enter key (Windows) or the Return key
(Macintosh), the first cell in the column is highlighted.

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Shortcuts for Moving in Text View (Continued)

Press To

Shift+Enter (on the main Move the pointer up to the cell in the previous row. You can continue to press
keyboard) (Windows) or Shift+Enter (Windows) or Shift+Return (Macintosh) until the cell in the top row is
Shift+Return highlighted. The next time you press Shift+Enter (Windows) or Shift+Return
(Macintosh) (Macintosh), the cell in the last row is highlighted.

Modifying Clip Information

You can change or modify the information in certain columns for your master
clips, subclips, tapes, and other objects stored in the bin. This is especially
useful if some of the data is incorrect or if you need to conform information
for organizational purposes.

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 capturing 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 Sequence Information” on page 453.

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

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.

To modify the clip data directly:

1. Click the Text tab in the Bin window.
2. Click the cell that you want to modify. Select only one item at a time.

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3. Click the cell again to enter text.

If the pointer does not change to an I-beam, you might be attempting to
modify a column that cannot be directly modified.
4. Type the new information, and press Enter (Windows) or Return
(Macintosh).

Using the Modify Command to Modify Data

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
capturing, as described in the following table.

Modify Command Options

Option Restrictions

Set Timecode Setting must match the timecode format of the

Drop/Nondrop tape.

Set Timecode By Field Only start timecode can be altered after

capturing.

n When you change start timecode, end

timecode changes by the same amount; the
clip duration remains the same.

Increment Timecode Only start timecode can be incremented after

capturing.

Decrement Timecode Only start timecode can be decremented after

capturing.

Set Key Number Generic Allows you to enter a custom generic key number.
(Prefix) Only for 24p, 25p, and matchback projects.

Set Pullin Selects the pulldown phase to match to the

timecode entry. Only for 24p and matchback
projects.

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Modify Command Options (Continued)

Option Restrictions

Set Tracks For clips that haven’t yet been captured.

Set Source Should match the original source tape name.

To modify selected data using the Modify command:

1. Open the bin.
2. Click the icon to the left of the clip, sequence, or other object you want to
modify. Ctrl+click (Windows) or Shift+click (Macintosh) each additional
object you want to modify.
3. Select Clip > Modify.
The Modify dialog box opens.

Modify Options
pop-up menu

4. Click the Modify Options pop-up menu, and select an option, such as Set
Timecode By Field.
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.

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Copying Information Between Columns

To copy information between columns:

1. Select the column that you want to copy.
2. Do one of the following:
t Select Edit > Duplicate.
t Press Ctrl+D (Windows) or k+D (Macintosh).
A dialog box prompts you to target a column for the data.
3. Select the target column for the data, and click OK.

Sorting Clips

Sorting clips arranges them in either numerical or alphabetical order, based on

the data in the column you select as the sorting criteria. You can sort clips in
several different ways, including an ascending sort, a descending sort, and a
multilevel sort.

n You can sort clips and sequences in Text view only. If you need to view sorted
clips in Frame view or Script view, sort them in Text view first and then return
to Frame view or Script view. In Frame view, to display the clips in the order
they were sorted in Text view, select Bin > Fill Sorted.

To sort clips in ascending order:

1. Click the Text tab in the Bin window.
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 (Windows) or Ctrl+Shift+click (Macintosh) the column
heading, and select Sort Ascending.
t Select Bin > Sort.
t Press Ctrl+E (Windows) or k+D (Macintosh).
The objects in the bin are sorted in ascending order. For information on
sorting order, see “Sorting Clips in Descending Order” on page 332.

n If the Sort command appears dimmed in the menu, you have not selected a
column.

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To reapply the last sort:

t Select Bin > Sort Again with no column selected.
This step is especially useful after you have added new clips to a
sorted bin.

Sorting Clips in Descending Order

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 view or Script view, sort them in Text view first and then return
to Frame view or Script view.

To sort clips in descending order:

1. Click the Text tab in the Bin window.
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 (Windows) or Ctrl+Shift+click (Macintosh) the column
heading, and select Sort Descending.
t Press and hold the Alt key (Windows) or the Option key (Macintosh)
while you select Bin > Sort Reversed.
t (Macintosh only) Press and hold the Option key while you press
k+E.
The Sort Descending or Sort Reversed command displays the objects in
descending order. For information on sorting order, see “Sorting Clips” on
page 331.

Performing Multilevel Sorting with Columns

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.

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You can select multiple columns in a bin and perform a multilevel sort, using
the information in the columns.

n You can sort clips and sequences in Text view only. If you need to view sorted
clips in Frame view or Script view, sort them in Text view first and then return
to Frame view or Script view.

To perform a multilevel sort:

t Rearrange the columns in the bin to establish the primary columns.
Columns that are farthest to the left in Text view have higher sort priority.

Using Frame View

In Frame view, each clip is represented by a single frame, with the name of the
clip displayed below the frame. The system uses the head frame as the default,
but you can play back the footage within any clip and select any frame to
represent the footage. You can make the pictures larger to see more detail or
smaller to see more clips in the window. You can also rearrange the frames in
any order.

Each frame appears on your screen with its assigned name directly beneath it.

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Clip frame
Clip name

n A long clip name might not appear in its entirety.

Changing the Bin Background Color

Bin color changes affect one bin at a time. Bin color changes can be applied to
Frame view or Script view only. Text view remains black and white.

To change the bin background color:

1. Activate the bin you want to change, and make sure you are in Frame
view or Script view.
2. Select Edit > Set Bin Background, and select a color from the pop-up
palette.
The bin color changes, based on your selection.

Enlarging or Reducing Frame Size

You must enlarge or reduce all frames in the bin together. You cannot change
the size of an individual frame.

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 Using Frame View

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 Frames

Frame view allows you to rearrange the display of the frames in the bin by
moving them.

To rearrange frames:
t Click a single frame, and drag it to its new position.

To rearrange more than one frame at a time:

t Ctrl+click (Windows) or Shift+click (Macintosh).
t Lasso multiple frames and drag them to a new position in the bin. See
“Lassoing Objects” on page 308.

To deselect the clips:

t Click the background area of the bin

n When you return to Text view, the order of the clips is changed there as well.

Changing the Frame Identifying the Clip

By default, Frame view displays the first frame of each clip in the bin. You
can, however, change the displayed frame.

To change the frame identifying the clip:

1. Select the clip that you want to change.

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2. Do one of the following:

t Press and hold the K key on the keyboard (Pause), and press the L key
(Play) to roll the footage within the frame forward at slow speed. To
move backward through the footage, press and hold the K key and
press the J key (Reverse Play).
t Press the 3 key or the 4 key on the keyboard (Step Forward or Step
Backward) to move from frame to frame.
3. When you see the frame that you want use, release the keys.
The Avid application saves the displayed frame as part of the bin
configuration.

Arranging Frames in a Bin

You can tidy up the frames in a bin after you have changed their display.

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.

Using Script View

In Script view, the system combines the features of Text view with Frame
view, and adds space for typing notes or script. The frames are displayed
vertically on the left side of your screen with a script text box to the right of
each clip. Clip information is displayed above the text box. You cannot
change the size of the frames displayed in Script view.

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Entering Script View

To enter Script view:
t Click the Script tab in the Bin window.

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, you can
use the Page Up or the Page Down key on the keyboard to scroll through the
text.

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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.

Printing Bins
The Avid application allows you to print entire bins or individual frames in
hardcopy form.

To print entire bins:

1. Make sure your printer is correctly configured. See your printer
documentation, your Windows or Macintosh documentation, or your
system administrator.

n To print a frame in Script or Frame view, you must use a printer capable of
printing graphics.

2. Select a view.
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 your printer.
6. Select the print options in the Print dialog box, and then click OK.
The system prints the active bin.

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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:

• Digital 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” on page 281.

Preparing Digital Bars and Tone

Your Avid system includes a set of test pattern PICT files. You can choose the
type of test pattern you want to use and import it to the system at any time.

When you are ready to output a digital cut, you can use the calibration tone
features of the Audio tool to generate tone to go along with bars. For more
information, see “Preparing for Output” on page 631.

Importing Color Bars and Other Test Patterns

To import a test pattern from a PICT file:
1. Open an existing bin, or create a new one for the test pattern.
2. Select the destination bin.
3. (Option) If you are going to import Color Bars, set Color Levels to 601 in
the Image tab of the Import Settings dialog box. See “Import Settings:
Image Tab” in the Help.

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4. Select File > Import.

The Select Files to Import dialog box opens.

Windows

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Macintosh

5. Navigate to the Test_Patterns folder in the following location:

- (Windows) drive:\Program Files\Avid\
Avid Xpress Pro\SupportingFiles\
- (Macintosh) Macintosh HD/Applications/
Avid Xpress Pro/SupportingFiles/
6. Import any test pattern file to the Test_Patterns folder by following the
procedures in “Importing Files” on page 281.
7. Create a clip of tone media using the Audio tool. See “Using the Audio
Tool” on page 230.
Consider recording tone at both 44.1 kHz and 48 kHz for use in various
projects. Match the resolution of the tone to the audio resolution of the
sequence.
8. Create a new sequence with the SMPTE bars, and edit the tone media clip
onto audio tracks 1 and 2.

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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

Film editors traditionally use standard head and tail leaders for cueing and
syncing material. You can use digital leader in the Avid application to mark
the beginning and ending of tracks, and to help you maintain sync. You can
create your own leader for video or film, as described in this section.
Whatever your choice for specification, be sure to make all your leader clips
the same length, with common sync points.

Creating Video Leader

To create leader for picture tracks:

1. Create a black screen in the Title tool for tail leader or a white screen for
head leader.
For information on using the Title tool, see the effects guide for your
system or the Help.
Optionally, you can type a title on the screen that says “Tail Leader” or
“Head Leader.”
2. Name this clip Head Leader or Tail Leader when you save the title.
3. Create a subclip from an appropriate length of the clip, according to your
chosen specifications.
4. (Option) Mark a sync frame in the subclip as follows:
a. Load the clip into the Source pop-up monitor.
b. Find an appropriate sync point and add a locator. For more
information about locators, see “Using Locators” on page 437.
c. (Option) Double-click the locator in the Source pop-up monitor to
add a sync point notation that appears on the monitor.

Once the leader is prepared, you can splice the leader during editing onto the
tracks that you want to keep in sync. You can use the sync points for visually
aligning tracks.

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Creating Audio Leader

To create tail leader for audio tracks:

1. Load a clip that includes a section of captured tone into the Source pop-up
monitor.
2. Create a subclip from an appropriate section of the clip, according to your
chosen specifications.
3. Name this new subclip Head Leader or Tail Leader.
4. Load this subclip into the Source pop-up monitor.
5. Prepare the sound levels for leader without a sync point (no audio pop) by
opening the Audio Mix tool and bringing the audio level all the way down
for the entire clip.
6. For leader that includes a sync point (audio pop), do the following:
a. 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.
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 487.

Once the leader is prepared, you can splice the leader during editing onto the
audio tracks that you want to keep in sync. You can use the sync points for
visually aligning tracks.

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 Chapter 10
Managing Media Files

When you 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 system provides useful tools and features for directly
managing media files for storage and playback efficiency, for backup, and for
transfer between systems.

The following sections describe these procedures:

• Using the Media Tool
• Consolidating and Transcoding Media
• Refreshing Media Databases
• Backing Up Media Files
• Finding a Related Media File
• Relinking Media Files
• Unlinking Media Files

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.
Chapter 10 Managing Media Files

Basic Media Tool Features

The Media tool provides many of the same controls for viewing and managing
information that you use with bins:
• The four display views in the Media tool function like those in bins: Brief
view, Text view, Frame view, and Script view.
• You can use the same Brief view information described in “Using Brief
View” on page 317.
• You can use Text view headings and options for columns of clip and
media file data. You can also use procedures such as customizing the
display of columns, moving within columns, and sorting information, as
described in “Using Text View” on page 318.
• You can use the same Frame view options described in “Using Frame
View” on page 333.
• You can use the same Script view options described in “Using Script
View” on page 336.
• The Media Tool Fast menu gives you quick access to the same commands
available in the Bin Fast menu.
• You can highlight, move, copy, duplicate, delete, sort, and sift clips in the
Media tool. You can also select media relatives, sources, and
unreferenced clips, as described in “Basic Bin Procedures” on page 308.
• Media Tool database and display options are saved as User settings. When
you close the Media tool, the view you are in (Brief, Text, Frame, or
Script) is saved and any customizations of columns are saved.
• You can print Media Tool data using the same procedures for printing
bins, as described in “Printing Bins” on page 338.

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.

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• The following Bin menu commands do not apply to the Media tool: Batch
Capture, Batch Import, Relink, Modify, and AutoSequence. You must
perform these functions from a bin.

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:

- Select individual media drives or all drives.

n The Media tool loads the media database only for the drives you select. The
more drives you select, the more memory is required for the Media tool to
open.

- Display files for the current project, for selected projects, or for all
projects.

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n Only projects with associated online media and the current project appear in
the Project(s) list in the Media Tool Display dialog box.

- Display captured master clips, precompute (rendered effect) clips, or

media files, or any combination of the three.
3. Click OK.
The Media tool opens.

Master clip

Precompute
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 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.

Depending on your needs, you can do one of the following:

t Delete selected audio or video media files associated with a clip and retain
other media files.
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 and Transcoding Media” on page 350.

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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:
- Video media file (V). The master clip linked to that file is black, and
the message “Media Offline” is displayed in the Source pop-up or the
Composer monitor. Related subclips and sequences are affected in the
same way.
- Audio media file (A1, A2, A3, A4). The master clip linked to that
file is silent. Subclips and sequences created from the master clip are
affected in the same way.
- Precompute media file (V, A). The section of the sequence with the
effect is black, and the message “Media Offline” is displayed.
7. Click OK.
A dialog box opens.
8. Click Delete.
The selected media files are deleted.

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Consolidating and Transcoding Media

When you consolidate media files, the system finds the media files or portions
of media files associated with selected clips, subclips, or sequences. It then
makes copies of them and saves the copies on a target drive that you specify.
Because the Media tool displays only master clips, you cannot consolidate
subclips or sequences with the Media tool. You can consolidate master clips,
subclips, and sequences in the bin.

You can also use the Transcode option to create a playable sequence from
clips that have different target resolutions.

Understanding the Consolidate Feature

The Consolidate 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 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 does not copy an entire 1-hour audio file to consolidate a single
10-second clip.

The Consolidate feature operates differently depending on whether you are

consolidating master clips, subclips, or sequences. There are also different
advantages in each case, as follows:
• Master clips: When you consolidate a master clip, the system creates
exact copies of the media files. If you link the original master clip to the
new files, the system creates a master clip with the file name extension
.old that remains linked to the old files. If you maintain the link between
the original master clip and the old media files, the system creates a new
master clip with the file name extension .new that is linked to the new
files. The new clips are also numbered incrementally beginning with .01.
Consolidating master clips does not save storage space because the system
copies the same amount of media for each clip.

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Consolidating a Master Clip

Link the master clip

to new or old files.
Original media files Copy of media files

Master Clip.old.01 Master Clip Master Clip.new.01

• Subclips: When you consolidate a subclip or group of subclips, the

system copies only the portion of the media files represented in the
subclip, and creates a new master clip that is the duration of the subclip
and a new subclip. The file name extension .new is attached, along with
incremental numbering beginning with .01.

Consolidating a Subclip

Original media files Subclipped copy of media files

Master Clip Subclip Master Clip.new.01 Subclip.new.01

• 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

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attached to the master clips, along with incremental numbering beginning

with .01. The sequence is not renamed but is automatically relinked to the
new media files.

Consolidating a Sequence

Original media files

Edited copy of media files

Clip A Clip B Clip C Clip A.new.01 Clip B.new.01 Clip C.new.01

New links are established.

Original links are broken.
Sequence

n 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.

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.

Using the Consolidate Command

c Do not make copies of media files from the Windows or Macintosh

desktop while the Avid application is running. Also, do not keep duplicate
copies of media files online; either delete the originals, take the backups
offline, or store the backups in a folder with a different name.

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To consolidate master clips, subclips, or sequences:

1. If you are consolidating a sequence, duplicate the sequence to maintain
links to the original files, if necessary, and render any unrendered effects.

n For more information on rendering effects, see the effects guide for your
system or the Help.

2. Select a clip or sequence.

3. Select Bin > Consolidate/Transcode.
The Consolidate/Transcode dialog box opens.

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4. Select the Consolidate option in the upper left corner.

5. In the Target Drive(s) area, select a drive or drives.
6. Select options as described in the following table.

n Your Avid application now allows you to group up to four clips. See the
“Consolidate all clips in a group edit” option in the following table.

Consolidate 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.

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.

Relink selected clips to target drive before Select to ensure that all selected clips are linked to media on
skipping the target drive. This option appears when you select “Skip
media files already on the target drive.”

Do Audio Sample Rate Conversion
Select the “Do Audio Sample Rate Conversion” check box to
convert any sample rates not set in the Sample Rate pop-up
menu in the Main tab in the Audio Project Settings dialog box.
For information on setting the sample rate, see “Changing the
Sample Rate” on page 604.

Target Audio Sample Rate Select a sample rate for the sequence. The default sample rate
for DV is 48 kHz.

7. Click the Consolidate button in the lower right corner.

8. Select a target drive from the Target Drive(s) list.

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9. If you are consolidating subclips or sequences, type a handle length for

the new clips, or use the 2-minute default at 60 frames (NTSC), 50 frames
(PAL), or 48 frames (24p). The handle length is the number of safety
frames before and after the chosen media.
10. If you are consolidating a group clip or a sequence that contains group
clips, select the option “Consolidate all clips in a group edit” to copy
media for all the clips in the group.
11. Select “Do Audio Sample Rate Conversion” to convert any sample rates
not set at the rate set in the Audio Project Settings window. For
information on setting the sample rate, see “Transfer Settings for Film
Projects” on page 202.
12. Click OK.
If you are consolidating master clips and did not choose to delete the
original media files, a second dialog box opens and offers you a choice.
13. Link the original master clips to the new or old media files, according to
preference.
14. Click OK.
Another way to back up media files is to copy them directly onto another
hard drive using the Windows or the Macintosh desktop. You cannot,
however, take advantage of the storage-saving features of the Consolidate
command, and it is more difficult to identify particular media files when
searching directly through folders.

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. Even
though you are changing the resolution to a possibly higher quality resolution,
your footage will not look better than the resolution you selected for capture.
For example, if you capture your video at 15:1 to save space and then
transcode the sequence to 1:1, the sequence will not look uncompressed.

To use the Transcode option:

1. Select a clip or sequence in a bin.
2. Select Bin > Consolidate/Transcode.
The Consolidate/Transcode dialog box opens.

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3. Select the Transcode option in the upper left corner.

4. In the Target Drive(s) area, select a drive or drives. To select additional
target drives, Ctrl+click (Windows) or Shift+click (Macintosh) the drive
name.
5. Click the Target Video Resolution pop-up menu, and select a video
resolution.
6. Select options as in the following table.

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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 Video Conversion Select this option to convert the video to the target video resolution.

Target Video Resolution Select a video resolution for the sequence.

OMF/MXF Select a file format. For more information on OMF and MXF, see File
Format Specifications in the help.

Do Audio Format Conversion Select this option to convert the audio to the target audio format.

Target Audio Format Select either OMF (WAVE), OMF (AIFF-C), or MXF (PCM) audio format.
See Audio File Formats in the help.

Do Audio Sample Rate Select the “Do Audio Sample Rate Conversion” check box to convert any
Conversion sample rates not set in the Sample Rate pop-up menu in the Main tab in the
Audio Project Settings dialog box. For information on setting the sample
rate, see “Changing the Sample Rate” on page 604.

Target Audio Sample Rate Select a sample rate for the sequence. The default sample rate for DV is
48 kHz.

7. Select a file format: OMF or MXF.

8. Click the Transcode button in the lower right corner.

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.

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Bins also contain references to some of the media files based on the contents
of the bin. The Avid 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:
• Recapturing: When you recapture the master clips while the sequences
bin is closed, quit the Avid application, 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 the Avid
application, restart it, 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 You need not load the media database more than once during a single editing
session because the database remains in memory until you quit the application
or restart the Avid system.

c 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 360.

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.

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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 to 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,
move, or label the media file.

To find a related media file:

1. Select the clip in a bin for which you want to find the media file.
The clip is highlighted.
2. Select File > Reveal File.
- (Windows) The system searches all available drives, opens the
Windows Explorer, and highlights a related media file.
- (Macintosh) The system searches all available drives, and highlights a
related media file in the folder where it is stored.

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Clip Related media file

If more than one file is related to the clip, the Reveal Next dialog box asks
if you want to see the next file. Click OK to reveal the next file.

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.

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.

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You can also relink master clips to appropriate media files, and can relink
based on resolution. 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 options as described in the following table.

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Relink Dialog Box Options

Option Description

Relink by • Source Timecode and Tape

• Key Number (KN Start) - picture only

Relink offline non-master clips to Relinks clips and sequences to the master clips that contain the same
any online items material.

Relink all non-master clips to Relinks related subclips or sequences to the highlighted clip in the bin.
selected online items When you select this option, the option “Allow relinking to offline
items” is available.

n When you select “Allow relinking to offline items,” all available

drives are searched regardless of the setting for “Relink to
media on volume.”

Relink offline master clips to online Relinks master clips to media files that share similar database
media files information.

Relink to Media on Volume • All Available Drives: Searches across all media drives that are
online
• A specific drive volume: Relinks to media on a specific media
drive

Relink only to media from the Restricts relinking to the current project.
current project

Match case when comparing tape Makes tape name search case sensitive.
names

Relink Method • Most Recent: Relinks to the most recently created clip. This
option is selected by default.
• Highest Quality: Relinks to the highest quality clip; for online
work.
• Most Compressed: Relinks to the most compressed clip; for
offline work.
• Specific Resolution: Relinks to clips of a specific resolution. See
“Relinking by Resolution” on page 363.

Create new sequences Leaves existing sequences alone and relinks only to copies with
.relinked appended to their names. This option is selected by default.

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4. Click OK.
The system searches the selected media drives, and relinks clips and
sequences if possible.

The system disregards audio sample rate 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.

Relinking by Resolution

You can relink to clips of a specific resolution.

1. Select the unlinked object or objects in the bin.
2. Select Bin > Relink.
The Relink dialog box opens.

Resolution
pop-up
menu
Unlink option

3. Select Relink Method > Specific Resolution.

4. Select an option from the “Relink if quality” pop-up menu, as described in
the following table.
When you select an option from the “Relink if quality” pop-up menu, the
text of the Unlink button changes, as shown in the following table. The
button is selected by default.

Relink Specific-Resolution Options

Option Menu option Dependent option

Relink if quality Is greater than or equal to resolution Unlink lower quality media

Is equal to resolution Unlink media that is not resolution

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Relink Specific-Resolution Options (Continued)

Option Menu option Dependent option

Is less than equal to resolution Unlink higher quality media

5. Select the Unlink option.

If you are working in an offline resolution and want to capture in a higher
resolution, select Unlink to ensure that you recapture all the media at the
higher resolution. You can check for offline media in the Timeline by
selecting Timeline Fast menu > Clip Color > Offline, which displays
offline clips in red.
6. Select a resolution from the Resolution pop-up menu.
The default resolution is determined by the current Media Creation setting
for Capture. See “Setting Media Creation Resolutions and Selecting
Drives” on page 198. If you select a different resolution in the Relink
dialog box, the Media Creation setting does not change.
7. Select other Relink options as described in “Relinking Media Files” on
page 360.
8. Click OK.
The system searches the selected media drives, and relinks clips and
sequences if possible.

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.

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5. Click the Relink to Media on Volume pop-up menu, and select an option:
- All Available Drives: Searches across all media drives that are online
- A specific drive volume: Relinks to media on a specific media drive
6. (Option) Select “Relink only to media from the current project.”
7. (Option) Select “Match case when comparing tape names.”
8. Click OK.
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 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 have the file name extension .new), and unlink them.
For information on unlinking, see “Unlinking Media Files” on page 366.
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 file.
5. (Option) Select “Relink only to media from the current project.”
6. (Option) Select “Match case when comparing tape names.”
7. Click OK.
The clips are relinked to the original media files.

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Relinking Moved Projects

If you move projects between systems with similar media existing at each site
but that were captured separately, your clips and sequences display the
message “Media Offline.” You can use the Unlink and Relink commands to
reconnect the files at either site.

For example, if you have a project that requires sharing work between two
different sites, you can capture the source material once at each site and
exchange only the project folder at each stage, rather than move large media
drives back and forth. The project folder can be exchanged on floppy disks or
instantly across a network. Because the media files maintain slightly different
parameters at each site, you must relink the material each time.

Unlinking Media Files

You can use the Ctrl and Shift keys to modify the Relink command for
unlinking clips from their media files.

To unlink master clips from their current links:

1. Select the master clips to unlink.
2. Press Ctrl+Shift and 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 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.

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Using Script Integration

The lined script is traditionally used as a tool for managing scene and take
information during postproduction on a dramatic feature film or television
production. With the Avid system, script integration allows you to adapt the
lined script to the digital realm for use in any type of production, from drama
to documentary to spot advertising. The following sections describe these
methods:
• Lined Script Basics
• Script Window Basics
• Manipulating Script Text
• Searching Through Script
• Linking Clips to the Script
• Interpolating Position for Script Integration
• Manipulating Slates
• Manipulating Takes
• Using Script Marks
• Finding Clips and Script
• Editing with the Script Window

n To use script integration, you need to have Avid Xpress Pro.

Chapter 11 Using Script Integration

Lined Script Basics

The conventional lined script — which evolved during decades of trial and
error in Hollywood — provides assistant editors and chief editors with a road
map that helps them find the coverage they need to edit scenes in a film or
television show.

Traditionally, the continuity person creates the lined script on the set at the
time of shooting. All notes are handwritten. The following is an example of a
scene from a lined script:

33/1
33A/1 33A/2

33B/133B/2 33B/3 33C/1 33C/2

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Explanation of Symbols

Each vertical line drawn through the scene represents a single take from the
moment the director says “Action” to the moment the director says “Cut.”
Each scene might require several camera angles and positions, with one or
more takes, all of which are lined and identified alphanumerically.

The following is a brief summary of the lining techniques and numbering

system shown in the previous example:
• Master shot: The line labeled 33/1 is the master shot that usually covers
all the action in a wide shot. The first number in the label indicates the
scene number as written on the script (scene 33). The number following
the slash indicates that this is the first take captured on film for the master
shot. A second take of the master shot, for example, would be labeled
33/2.
• Additional setups: The lines for each subsequent camera setup within the
scene are labeled with the scene number (33 in our example) followed by
a letter for each setup (A, B, C, and so forth), followed by a slash and the
number of the take within that setup. These lines can be any length,
depending upon what portion of the script is covered by the particular
shot.
• Off-screen dialog: The jagged lines in the script represent the parts of
dialog where the actor is off screen. For example, the character Mary Sue
is off camera during the action described in the second paragraph (when
the waitress character enters), so a jagged line is drawn through the shots
that cover Mary Sue (33A/1 and 2).

When the scene is recorded on videotape — in a sitcom shoot, for example —

the lined script can also include timecode notes written next to specific lines of
dialog that represent a sync point between the dialog on the page and the
recorded dialog on tape. These sync points provide assistant editors or chief
editors with a quick path to specific points in the source material.

Lining in the Digital Realm

Script integration in the Avid application provides a number of enhancements

to this traditional system. These enhancements allow you to shorten
dramatically the distance between the concepts captured on the page and the
source materials used to assemble a finished program.

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Unlike the traditional lining of a script, digital script integration is usually

performed after the shoot — by the assistant editor, for example — using the
notes of the continuity person. The following is an example of the script
shown in the previous section, prepared and lined using script integration.

Toolbar

Slates

Takes tabs

Takes

Off-screen indicator

Color indicator
Script mark

In addition to the standard lining conventions, script integration includes the

following enhancements:
• Slates: Takes are organized into slates that display a representative frame
and clip name for the take that is currently selected.
• Takes: The Takes tabs and lines extending from the bottom of each slate
indicate the number of takes for that scene. Click a Takes tab to select the
take.
• Indicators: You can apply off-screen dialog indicators or colors to
indicate such things as preferred takes, takes used in the current active
sequence, or line changes in dialog.

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• Script marks: The double arrows marking the takes at various points
represent marked lines of dialog in the script that have been synchronized
to matching dialog in the source clip. Script marks are especially effective
during editing, allowing the editor to quickly locate dialog and piece
together parts of a scene.

The Script window provides additional controls for matching back to clips in
the source bins, loading and playing back takes, and searching for takes and
script text.

Script Integration Workflow

The basic workflow for script integration is as follows:

1. The continuity person or an assistant creates the lined script in hardcopy
form on the set during shooting.
2. Source footage from the shoot is prepared and captured by using methods
described in “Capturing Media” on page 243.
3. The assistant editor uses the lined script from the shoot, a text file of the
script itself, and methods described throughout this chapter to import and
line the script, link clips to the script, place script marks, and customize
the display of takes prior to editing.
4. The editor uses the fully prepared Script window to edit the program.

Using Script Integration in Video Projects

Script integration can be an effective tool for editing any type of production,
not just feature films and television drama. For example:
• You can adapt many of the procedures described in this chapter for use in
audiovisual scripts for documentaries, corporate spots, news magazine
segments, and spot advertisements.
• You can turn script integration into a quick storyboarding tool by
positioning selected slates in the Script window and printing storyboard
bins that include your script.

The following is an example of an audiovisual script for a news magazine

piece imported into the Script window, with the basic features of script
integration applied.

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All possible B-roll shots are ready to be loaded

Narration track is synced to the script. and cued. Color indicates preferred shots.

Music cuts
are linked to
appropriate
sections of
the script.

Script Window Basics

This section describes basic procedures for creating and manipulating Script
windows, including importing script text; navigating through the script;
displaying clip information; opening, closing, and saving windows; and
adjusting margins.

Before you begin creating Script windows, make sure you have established the
proper defaults in the Script Settings dialog box for font, margin, and display
of frames and takes. For information on Script settings, see “Script Settings
Options” on page 373. These parameters can also be changed manually, as
described throughout this chapter.

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Script Settings Options

Before you open a script in the Script window, you can select default
preferences using the Script Settings dialog box. After the Script window is
open, any changes you make in the Script Settings dialog box are ignored by
the Script window. You must close the Script window and then reopen it for
the new settings to take effect. However, the Script menu provides several
commands that allow you to override the Script settings.

You can modify Script settings in the Script Settings dialog box.

To open the Script Settings dialog box:

t Double-click Script in the Settings scroll list of the Project window.

For information about options, see “Script Settings” in the Help.

Importing a Script

The first step in script integration is to import a script in the correct format.

c The imported script must be in ASCII text format. To maintain the

original formatting, however, export the script from your word processor
by using the “Text Only with Line Breaks” option. If you export the script
as “text” only, the formatting will be lost.

To import a new script:

1. Place the file in a directory that is available to your Avid system in one of
the following ways:
t Transport the file on a floppy disk and copy it to your hard drive.
t Place the file in a network location that you can access from your
Avid system.
2. Click the Bins tab in the Project window of the Avid application.
The Bins list appears.
3. Select File > New Script.
A dialog box opens.

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4. Locate the file and double-click it, or select the file and click Open.
A script bin appears in the Bins list of the Project window. The script,
with its original layout, appears in the Script window.

5. Change the name of the script bin:

a. Click the title in the Bins list of the Project window.
b. Type a new name.

Opening, Closing, and Saving the Script Window

The Script window behaves in many respects like a bin:

• When you make changes in the Script window, an asterisk (Windows) or
a diamond (Macintosh) appears in the title bar to indicate that the changes
have not yet been saved.
• You save changes by selecting File > Save Script.
• Auto-save functionality also applies to the Script window, based on
parameters established in the Bin settings.
• You can save a copy of the Script window by selecting File > Save a
Script Copy As.
• Script window files are saved in the project folder along with bins, and
backup copies are automatically stored in the Avid Attic folder.

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n When you save a Script window, the saved file is given an .avc file name
extension.

• You can select File > Open Bin to open existing Script window (.avc) files
and add them to the Other Bins folder in the Bins list of the Project
window.
• You can select File > New Script to open a new script (.txt) file and add it
to the Bins list of the Project window.
• You can select File > Close to close Script windows.

Displaying Clip and Sequence Information in a

Script Window

The Info window displays statistical information about a clip or sequence. The
window updates the information automatically.

To open the Info window from a Script window:

1. Press the Alt key (Windows) or the Option key (Macintosh) and click the
Takes tab.
2. Drag the window to a new location to leave the Info window open.

Exploring the Script Window

After importing a script, you can navigate to any point in the text by using
basic techniques available in most word processors:
• Use the scroll bar on the right to scroll up or down.
• Resize the window by dragging the size box in the lower right corner.
• Press the Page Down or the Page Up key to move one screen at a time.
• Press the Home or the End key to move to the beginning or end of the
script.
• Press the Up Arrow or the Down Arrow key to move your line selection
up or down by one line.

n You can also use several search features, as described in “Searching Through
Script” on page 380.

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Adjusting the Script Margins

To resize a Script window at any time to show more script or to enlarge
the right margin:
t Drag the size box in the lower right corner.

The default size of the left margin is established on import, based on the
current Script settings. You can also override the margin setting and adjust the
left margin after importing the script.

To adjust the left margin of an imported script:

1. Select Script > Left Margin.
The Left Margin dialog box opens.
2. Type a new margin size (in pixels) into the text box, and click OK.
The Script window reflects the new setting.

Manipulating Script Text

After importing a script, you can customize its appearance by changing the
font and font size. You can also cut, copy, paste, or remove lines of script to
reflect changes that might occur during the course of a project.

Changing the Font of the Script

The default font and font size used in the script are established on import,
based on the current Script settings. You can override the settings and change
the font and size after importing the script.

To change the font and size of imported script:

1. Select Edit > Set Font.
The Set Font dialog box opens.
2. Click the Font pop-up menu, and select a new font. The menu includes all
fonts currently installed in the system.
3. Type a new font size into the text box, and click OK.
The Script window reflects the new settings.

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n As you enlarge font size, the available sizes for the slate frames also increase.
This can be useful for presentation or screening purposes, when you need to
display extra-large text and slate frames for a large audience or across a
room. For information on enlarging slate frames, see “Resizing Slates” on
page 386.

Selecting Text

Selecting text in the Script window is similar to making selections in a word

processor, except that the smallest unit you can select is an entire line of text.

To select a single line of script:

t Click anywhere in the line to highlight it.

Selected lines
are highlighted.

To select several lines of script, use one of the following methods:

t Lasso the selection:
a. Lasso the first line of the selection and drag through the text. As you
drag, a box outlines your selection.

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Lasso a portion
of script to
select it.

b. Release the mouse button when you finish lassoing the chosen lines.
The text is highlighted. See “Lassoing Objects” on page 308.
t Click the first line of the selection, and then Shift+click the last line.
The entire block of text is highlighted.

n You can also extend a selection by pressing the Shift key and clicking a line of
text preceding or following the current selection.

Cutting, Copying, and Pasting Script

You can cut, copy, and paste text in the script just as you would in a normal
word processor. However, because you cannot select individual words or
characters, you can move only lines or paragraphs.

n To rearrange or rewrite individual words or characters in the script, you

should make the changes in a word processor before importing them into a
separate Script window. You can then use the procedures in this section to
copy and paste the new lines into the existing Script window, overwriting the
incorrect lines.

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c You cannot undo cut, copy, or paste procedures in the Script window.

To cut or copy and paste lines of script:

1. Select the lines.
2. Do one of the following:
t Select Edit > Cut.
t Select Edit > Copy.
3. Select the line below the location where you want to insert the text.
4. Select Edit > Paste.
If you selected only one line at the insertion point, a message box asks if
you want to replace the selected line.

n If you selected more than one line at the insertion point, no message box
opens. When you select Edit > Paste, the selected lines are replaced with the
text you cut or copied in step 2. You cannot use the Undo command after
performing this step.

5. Make a choice based on your needs:

t Click Replace to overwrite the selected line.
t Click Insert Before to insert the text above the selected line.
t Click Insert After to insert the text below the selected line.
The text is pasted into the script.

Removing Script Text

You cannot delete lines of text from the Script window by using the Delete
key as you would in a normal word processor. Use the Cut command to
remove the text.

To remove lines of script:

1. Select the lines of script you want to delete.
2. Select Edit > Cut.

Unlike a normal deletion, the text remains in the Windows Clipboard or

Macintosh Clipboard until the next time you copy or cut a selection.

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Searching Through Script

Script integration provides a number of search tools you can use during the
preparation phase, during editing, or during screenings. You can apply and
search for scene or page numbers, or you can conduct a full-text search.

n You can use the Find Bin and Find Script buttons to match back and forth
between script and clips. For more information, see “Finding Script” on
page 399.

Using Scene and Page Numbers

When you add scene and page numbers to the Script window, you gain the
ability to search for them during preparation of the script and during editing.
You can customize scene and page numbering by adding, changing, and
moving the numbers as necessary.

Adding a Scene or Page Number

To add a scene or page number:

1. Select the line of the script at the beginning of the scene or page.
2. Do one of the following:
t Click the Add Scene or the Add Page button in the Script window
toolbar.
t Select Script > Add Scene or Script > Add Page.
A dialog box opens.
3. Type the number for the scene or page, and click OK.
The scene number appears in the left margin and the page number appears
in the right margin next to the first line of the selected region.

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New page number

New scene
number

Scene/page
status bar

Scene and page numbers both appear in the status bar at the bottom of the
Script window, and reflect your current position within the script. Each
scene or page number will continue throughout the script until you mark
another line as the beginning of a new scene or page.

Changing a Scene or Page Number

You can change a scene or page number to correct any errors that occur when
adding numbers, and to reposition scene and page numbering to match script
changes during postproduction.

To change a scene or page number:

1. Select the beginning line of the scene or page.
2. Do one of the following:
t Click the Add Scene or the Add Page button in the Script window
toolbar.
t Select Script > Add Scene or Script > Add Page.
A dialog box opens.
3. Type a new number for the scene or page, and click OK.
4. If the renumbering affects scene or page numbers that precede or follow
the current change, then repeat these steps as necessary.

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Deleting a Scene or Page Number

To delete a scene or page number:

1. Select the first line of the scene or page.

n You can also delete all scene or page numbering throughout a range of the
script by selecting the range of lines or the entire script.

2. Press the Delete key.

The Delete dialog box opens.
3. Select the options for Delete scene or Delete page break(s) as appropriate,
and then click OK.
The numbering is deleted from the Script window.

Searching for a Scene or Page Number

Once you have added scene and page numbers, you can search for them
quickly during editing.

To search for a scene or page number:

1. Select Script > Go To Page or Script > Go To Scene.

n You can also click on the scene or page display in the status bar at the bottom
of the Script window.

The Go To Scene or the Go To Page dialog box opens.

2. Type the number of the scene or page, and click OK.
The Script window scrolls to the scene or page, and the first line is
highlighted. If you type a page or scene number that is not in the script,
then no action occurs.

Conducting a Text Search

To search for text in the script:
1. With the Script window active, select Edit > Find.
The Find dialog box opens.
2. Type the text you are looking for.

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3. Select one of the optional search parameters, when appropriate:

t Select Ignore Case if you do not want the search to be case sensitive.
t Select Whole Word if you do not want the search to highlight
instances where your text is part of another word.
4. Click OK.
The first occurrence of the text is highlighted in the Script window.
5. Select Edit > Find Again from to search for the next occurrence of the
text.

Linking Clips to the Script

To link clips to the script:
1. Open the script bin by double-clicking the Script Bin icon.
2. Open the source bin for the clips that you want to link to the script.
3. (Option) Sort the source clips to make the job easier:
t You can sort the Scene/Take column for an alphanumeric list of clips
that matches their relative order in the script.
t If you are not working with scene and take information (for example,
in a video documentary project), you can provide your own
numbering for the clips in a custom column, or you can sort the clips
manually in Frame view according to their order in the script. For
more information on adding a custom column, see “Adding
Customized Columns to a Bin” on page 324.
4. Select the portion of the script that is covered by the first clip or clips.
5. Select the clip or clips in the source bin and drag them to the highlighted
text.

n Make sure the pointer is over the highlighted text before releasing the mouse
button.

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Drag a clip or several clips to

the highlighted text.

A slate frame appears above the text, with one or more of the takes
covering the scene as lines.

The slate
appears.

6. Continue to apply clips to additional portions of the script until you have
finished creating all your slates.
Alternatively, you can create slates one at a time, place script marks, and
fine-tune the lining of each scene before proceeding to the next portion of
the script.

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Interpolating Position for Script Integration

Interpolate Position matches a clip to a take and allows you to see where a
particular line in the script would appear in the clip footage.

When you set Interpolate Position, the length of the take in the script is
matched to the length of the clip in the Source pop-up monitor. The position
indicator in the Source pop-up monitor corresponds to wherever you double-
click in the take.

If you set a script mark in the take, the portions of the take on either side of the
script mark are matched to the portions of the clip on either side of the IN
point in the Source pop-up monitor.

To set Interpolate Position:

t Select Script > Interpolate Position.

n You can change the default behavior before opening a script in the Script
window by selecting Interpolate Position in the Script Settings dialog box. See
“Script Settings Options” on page 373.

Manipulating Slates
Once you create a slate by dragging a clip into the Script window, you can
manipulate the slate’s appearance and position.

Selecting Slates
To select slates, do one of the following:
t Click a slate to select it.
t Shift+click additional slates to select all the active takes.
t Drag a lasso through a region of the script containing slates. All slates and
takes within the lasso are selected. See “Lassoing Objects” on page 308.

n Selecting multiple slates is especially useful when you add or delete color or
off-screen dialog indicators across takes. See “Manipulating Takes” on
page 389.

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Resizing Slates

You can resize the slates the same way you resize frames in the bin in Frame
view.

To enlarge the slates:

t Select Edit > Enlarge Frame.

To reduce the slates:

t Select Edit > Reduce Frame.

n You can enlarge the font size of the script to increase the size of the slate
frames. This can be useful for presentation or screening purposes when you
need a large display for an audience. For information on resizing the font, see
“Changing the Font of the Script” on page 376.

Holding Slates On Screen in the Script Window

When you are working with slates in the Script window, you can choose to
hold slates on screen. As you scroll a script in the Script window, each slate
remains on screen as long as the take lines to which it is linked remain on
screen.

To hold slates on screen:

t Select Script > Hold Slates Onscreen.

n You can change the default behavior before opening a script in the Script
window by selecting Hold Slates Onscreen in the Script Settings dialog box.
See “Script Settings Options” on page 373.

Hiding Slate Frames

By default, the system displays a representative frame for each take in the
slates. You can hide this frame display and show only the clip name to
simplify the interface or speed up scrolling and movement in a complex Script
window.

n You can change the default behavior before opening a script in the Script
window by selecting Show Frames in the Script Settings dialog box. See
“Script Settings Options” on page 373.

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To hide the slate frames:

t Select Script > Show Frames.
The Script window shows only the clip names for the takes.

To restore the frames:

t Select Show Frames again.

Showing One Take Per Slate

You can minimize clutter on the screen by showing only one take per
nonactive slate.

To show one take per nonactive slate:

t Select Script > Show All Takes.
The check mark to the left of the command is removed, indicating Show
All Takes is disabled.
The Script window shows only the first take in each nonactive slate.

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A single take is shown.

To display all the takes:

t Select Show All Takes again.

Moving a Slate

You can adjust the position of slates to make room for more slates, to avoid
blocking words, or to display takes over specific lines.

To move a slate, use one of the following methods:

t To move a slate horizontally, click the slate and drag it to the left or the
right. (If necessary, resize the Script window by dragging the size box.)
t To move a slate vertically without moving the position of the take lines in
the script, click the slate and drag it up or down. The take lines remain
fixed over the text to which they have been previously linked.
t To move the slate and all its take lines vertically to a new location in the
script, press the Ctrl key (Windows) or the k key (Macintosh), and then
drag the slate to the new location.

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n As you move the slate, the takes continue to cover the same number of lines in
the script. To lengthen or shorten the number of lines covered in the takes at
the new location, see “Adjusting Take Lines” on page 392.

Deleting a Slate

Occasionally, you might need to delete a slate — for example, when you find
that the takes in the slate are no longer needed.

n When you delete slates and takes from the Script window, the captured source
clips remain in the source bins.

c You cannot undo the deletion of slates. To restore a slate after deletion,
you need to re-create the slate. See “Linking Clips to the Script” on
page 383.

To delete a slate:
1. Select all the takes in the slate by pressing the Shift key and clicking the
tab for each take.
2. Press the Delete key.
The Delete dialog box opens.
3. Select Delete Takes, and click OK.
The slate and all its takes are deleted from the script.

Manipulating Takes
Script integration provides a number of tools and techniques for manipulating
the relationship between lined takes in the Script window and their source
clips, as described in this section.

Selecting Takes
To select takes, use one of the following methods:
t Click any take tab to select it. The outline of the take changes to red to
indicate that the take is active.
t Shift+click additional takes in the same slate or across slates to select
them.

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t Drag a lasso through an entire region of the script. All takes within the
lasso are selected. See “Lassoing Objects” on page 308.

n Selecting multiple takes is especially useful when you add or delete color or
off-screen dialog indicators. See “Using Color Indicators” on page 393 and
“Indicating Off-Screen Dialog” on page 392.

Adding Takes
To add another take to an existing slate:
1. Select the region of the script that the take covers.
2. Open the bin where the clip for the take is located.
3. Drag the clip to the slate.
The new take appears in the slate and is applied to the selected region of
the script.

n You need to manually adjust the take lines if the new take covers a region
different region from the existing slate. See “Adjusting Take Lines” on
page 392.

Deleting Takes

As you screen clips, you might find that a take has been applied to the wrong
scene and should be deleted from the slate. You might also decide to delete a
bad take to simplify the script interface for the editor.

c You cannot undo the deletion of takes. To restore a take after deletion, see
“Adding Takes” on page 390.

To delete one or more takes:

1. Select the takes in the Script window.
2. Press the Delete key.
The Delete dialog box opens.
3. Select Delete Take, and click OK.
The takes are deleted.

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Displaying Take Numbers

To display the take number in the tab of each take:
t Type the numbers in the Take column of the source bin for the clips.

Numbers in the Take column

appear in the tabs for each take.

Changing the Representative Frame for a Take

To change the representative frame that appears in the slate for a take:
1. Click the Takes tab in the Script window.
2. Press the appropriate arrow keys or step keys on the keyboard to advance
the footage displayed in the slate forward or backward to the frame you
want.

You can also select multiple takes and advance them all at once.

Loading Takes
To load individual takes into the Source pop-up monitor:
t Double-click any Takes tab.

To load multiple takes into the Source pop-up monitor:

t Select multiple takes, and then double-click any take you selected.

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Playing Takes
To play back a take, do one of the following:
t Double-click a take to load it into the Source pop-up monitor, and then
click the Play button or press the Play key.
The clip plays back and stops when it reaches the end.
t Select a take in the script, and then click the Play button at the top of the
Script window.
The clip loads and plays back in a continuous loop until you press the
space bar. If you selected more than one take, each take will play in
sequence.

Adjusting Take Lines

As you screen clips in the script, you might find that a take or group of take
lines should begin earlier or end later in the script. You can adjust the take
lines by moving the beginning mark, the end mark, or both.

To change the length of a take line:

1. Press the Ctrl key (Windows) or the k key (Macintosh).
Notice the movement icon that appears when you place the pointer at
either end of the take.
2. Click the end mark or beginning mark of a take and drag it until you reach
the correct line in the script.
3. Press the Ctrl key (Windows) or the k key (Macintosh) and drag the
opposite end of the take to a new location, if necessary.
4. Repeat the procedure for other takes in the slate as necessary.

Indicating Off-Screen Dialog

In the traditional lined script, you indicate off-screen dialog by drawing a

jagged line next to the dialog. You can apply a similar effect to lines in the
Script window.

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To indicate off-screen dialog:

1. Select the range of script containing the off-screen dialog.
2. Select one or more takes that you want to mark with the off-screen
indicator.
3. Click the Set Offscreen button in the Script window toolbar.
The off-screen indicator appears, superimposed on the selected takes of
the highlighted range of the script. You can switch the indicators on or off
by clicking the button repeatedly.

n You must select the range of the script that contains the off-screen dialog
before you enable the off-screen function.

To remove one or more off-screen indicators:

1. Select the range of script containing the off-screen indicators.
2. Select only those takes that display the indicators.
3. Click the Set Offscreen button.

Using Color Indicators

You can use color to indicate several pieces of information, including:

• Preferred takes or takes used in the current active sequence
• Picture versus audio track used in the current active sequence
• Line changes in dialog
• Use of multiple cameras

To apply color to takes:

1. Select Script > Color > color.
2. Select the region of the script that covers the range within the take or takes
that you want to highlight with color.
3. Select one or more takes.
4. Click the Set Color button in the Script window toolbar.
The color appears only in the highlighted script region of the selected
takes. You can switch the indicators on or off by clicking the button
repeatedly.

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n You must select the range of the script that you want to highlight with color
before you enable the color indicator function.

To remove one or more color indicators:

1. Select the range of script containing the color indicators.
The first take in the selected region determines the color indicator status
displayed in the Set Color button.
2. Select only those takes that display the indicators.
3. Click the Set Color button.

Using Script Marks

Script marks allow you to synchronize individual lines of script with matching
points in captured clips. When you place a mark in the script, an IN point also
appears in the clip when you load it into a monitor for editing. This provides
line-by-line control over alternative takes that the editor can instantly load and
edit into the sequence.

You can place script marks one take at a time, or you can automate the process
of screening and marking selected takes in a playback loop.

Placing Script Marks Manually

To place script marks manually:
1. Map the Add Script Mark button from the Other tab on the Command
palette to a user-customizable palette or to the Keyboard palette. See
“Mapping User-Selectable Buttons” on page 144.
2. Double-click in the Script window at the intersection of a take and the line
of dialog that you want to mark.

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Play button

Intersection of
take and line
of dialog

The take is selected in the slate, the chosen line of the dialog is
highlighted, and the clip loads into the Source pop-up monitor.
3. Click the Play button or press the Play key. The take plays in the monitor.
Alternatively, you can step (jog) or shuttle through the footage, place the
position indicator on the exact frame, or scrub the audio to find the exact
line of dialog. The clip does not have to be playing.
4. When the playback reaches the chosen line of dialog, click the Add Script
Mark button or press the Add Script Mark key.
The line is marked in the Script window with a small horizontal bar, and
play stops.

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The script mark

appears.

5. Repeat these steps to add more script marks.

Automating Screening and Marking

The Script window provides controls for automating the process of screening
and placing script marks for a single take or across multiple takes.

To use automated screening and marking:

1. Select one or more takes.
2. Click the Record button in the Script window toolbar.
The first selected take changes to green in the Script window, the system
automatically loads the clip into the Source pop-up monitor, and the clip
begins to play.

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Several takes are

selected for automated
playback.

Current playback is
highlighted in green.

3. As you hear a line of dialog (or see a particular clip) that you want to
mark, click the matching line in the Script window.
A script mark appears at that location in the take, and the clip continues to
play.
4. Continue to mark additional sync points by using one of the following
methods:

You can scroll through t Click a line that already contains a mark in order to replace the
the Script window previous mark and update the sync point in the clip.
without affecting
playback. t Click a line in the script before or after the range of the existing take
line, and the mark will be added while the take line is extended to
include the new line.
t Use variable-speed play controls (J-K-L keys on the keyboard) to
shuttle, step, or pause during playback.
t Press the Tab or Shift+Tab keys on the keyboard to begin playback of
the next or the previous take.
As each take reaches its end, the system automatically loads and plays the
next take.
5. Continue to place marks until all takes have been screened.

To stop the playback loop:

t Press the space bar.

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Loading and Playing Marked Segments

Once you have placed marks syncing lines in your script to points in the
source clips, you can quickly load and cue takes for selected lines of dialog.
You can load a single take, or you can load all the coverage for any given
range of lines.

To load the marked segment of a take:

t Click the script mark at the line of dialog that you want to cue.

The take is loaded into the Source pop-up monitor and is cued to the synced
line of dialog. An IN point is placed at the sync location.

To load all the coverage for a range of lines:

1. Select the lines in the Script window, dragging through all intersecting
takes.
The script lines and takes are highlighted.
2. Click the Play button in the Script window if you want to screen the takes
for those lines, or click the Record button if you want to add script marks.
The takes load and play back one after another. You can use the Tab key
or J-K-L keys to jump between takes and control playback.

Moving a Script Mark

When you move a script mark up or down, the mark in the source clip remains
at the same frame, but is resynced to a new line in the script.

To move a script mark:

1. Press the Ctrl key (Windows) or the k key (Macintosh).
Notice the movement indicator that appears when you move the pointer to
a mark in the script.
2. Click the mark and drag it to the new position.

Deleting a Script Mark

When you remove a script mark, you do not delete the marked portion of the
take, only the sync point between the script and the source clip.

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c You cannot undo the deletion of script marks. To restore a script mark
after deletion, see “Placing Script Marks Manually” on page 394.

To delete a script mark:

1. Click once on a script mark to select it. (If you double-click, you load the
clip and make the Composer window active.)

n You can select multiple script marks for removal by highlighting an entire
region of text and selecting the takes containing the script marks you want to
remove.

2. Press the Delete key.

The Delete dialog box opens.
3. Select Delete 1 mark(s), and click OK.
The mark is deleted.

Finding Clips and Script

After you have placed script marks, which synchronize lines in the Script
window to frames in the source clips, you can use the Find Bin or Find Script
buttons to search back and forth between the two items.

Finding Script

The Find Script button allows you to quickly match back from currently
loaded clips to portions of script in the Script window to which the clip has
been linked.

To find the script linked to a loaded clip:

1. Place the position indicator in the clip at the line of dialog (or within a
range of dialog) that you want to find.
2. Click the Find Script button in the Other tab of the Command palette.
The Script window instantly scrolls to and highlights the portion of script
that most closely matches the clip location.

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Finding Clips and Bins from the Script Window

Script integration allows you to search instantly through bins and to find the
source clips for takes that have been linked to the script. You can search on a
single take, or on multiple takes across several slates.

To find source clips and bins:

1. Select the takes that you want to find.
2. Click the Find Bin button in the Script window toolbar.
The system searches through bins linked to the project, opens the bin
containing the linked clips, and highlights them in the bin.

Editing with the Script Window

Using the Script window, you can edit in a highly streamlined manner. To use
the Script window most effectively during a session, make sure the Script
window is fully prepared, including preferred takes, alternative takes
(indicated with colors), and script marks for matching lines of text to sync
points in the clips.

Assembling a Rough Cut

To quickly assemble a rough cut from the Script window:
1. Open the Script window for the current cut.
2. Double-click the first preferred take and load it into the Source pop-up
monitor. The IN point is already marked and cued.
3. Play the take until the appropriate OUT point is reached, and stop play.

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4. Click the Splice-in or the Overwrite button to make the first edit.
5. Prepare the sequence for the next edit:
a. Create new tracks, if necessary.
b. Enable the appropriate source and record tracks.
c. Patch the tracks, if necessary.
d. Mark an IN point in the sequence for the next edit.
6. Double-click the next preferred take to load it.
7. Play the clip until you reach the appropriate OUT point, and stop play.
8. Perform the edit on-the-fly.
9. Repeat steps 5 through 8 until you have moved through the entire scene or
segment.
10. Fine-tune the edits by using normal trimming and editing procedures.
Continue to use the Script window to quickly load and cue alternative
takes as necessary.

Splicing a Script Range

During editing, you can use the Ctrl and Alt keys (Windows) or the Ctrl key
(Macintosh) to instantly splice clips linked to ranges of script directly from the
Script window into the sequence. To use this feature with accuracy, you
should carefully mark with script marks the ranges of script during the
screening and marking phase.

To splice a range:
1. Mark an IN point or place the position indicator at the location in the
sequence where you want to splice in the segment.
2. Press the Ctrl key and Alt key (Windows) or the Ctrl key (Macintosh).
Notice that the Splice-in arrow appears when you point to a take.
3. Double-click the preferred take within the range of dialog that has been
marked with script marks.
The marked section of the clip is spliced into the sequence.

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Revising the Script

During or after each session, or when a scene or segment is completed, the

editor or assistant editor can update the Script window to reflect the final edit
decisions made during the day. In this way, you can maintain a complete
record of the elements used to construct the scene or segment, as well as all
existing alternatives. When further changes or repackaging are required, you
can quickly retrieve all the source material in one window.

Interactive Screenings

The Script window can be a valuable tool during screenings of work in

progress, allowing you to:
• Quickly search for scenes and pages with clips attached for instant
retrieval.
Sequences cannot be • Match back and cue source material to compare alternative takes.
loaded into the Script
window. Instead, you • Quickly find and open bins for retrieval of additional material not
can perform a video included in the Script window.
mixdown and load the
• Enlarge script font and slate frames for better viewing by your audience.
resulting master clips.
For more information,
see “Mixing Down The Script window provides a visual, interactive look at the content of the
Video Tracks” on original script against the elements in the final piece.
page 678.

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All alternative takes are Matching colors indicate takes You can mix down alternative
available for viewing and used in the preferred cut as cuts to form master clips and
comparing. well as alternative cuts. place them next to the script.

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Viewing and Marking Footage

Before making your first edit, you can review your footage, add locators to
clips, mark IN and OUT points, or create subclips. By viewing and marking
your material in advance, you can concentrate on editing and refining your
sequence at a later time without having to pause and set marks each time you
load a new clip. Techniques for playback, viewing, and subcataloging clips are
described in the following sections:
• Customizing the Monitor Displays
• Playing Video to the Client Monitor
• Adjusting the Play Delay Offset
• Viewing Methods
• Loading and Clearing Footage
• Controlling Playback
• Marking and Subcataloging Footage
• Finding Frames and Clips

Customizing the Monitor Displays

The monitors can be customized by changing the background color, the size,
and the kind of display. You can also display a variety of information about
your sequence.

Changing the Source Pop-up Monitor Size

You can resize the Source pop-up monitor for better viewing.
Chapter 12 Viewing and Marking Footage

To resize the Source pop-up monitor:

t Click the lower right corner of the monitor and drag it to the size you
want.

Using Dual Monitors

You can stretch your Composer monitor into two monitors. This lets you open
a source clip in the left monitor (Source monitor); the right monitor (Record
monitor) displays your sequence and provides the usual Composer monitor
functions.

To view dual monitors:

t (Windows) Click either edge of the Composer monitor and drag it to the
outside.
t (Macintosh) Do the following:
a. Click the Composer monitor title bar and drag it to the left.
b. Click the bottom right corner of the Composer monitor and drag it to
the right.
The monitor splits into two. When you double-click a sequence icon in a
bin, the sequence appears in the right (Record) monitor.

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To open a clip in the left monitor:

t Drag a clip from the Bin window into the left monitor.
The clip appears in the left monitor.

n If you have the “Double-click loads object in” option set to “Source or
Record Monitor” in the Bin Settings dialog box, you can also double-click a
clip or a sequence in the Bin window to have it appear in the right or left
monitor as appropriate. See “Bin Settings” on page 102.

To switch between the monitors:

t Press Esc.

To view a single monitor:

t (Windows) Click an edge of the dual monitors and drag it to the center.
t (Macintosh) Click the lower right corner of the Record monitor and drag
it to the left.
The Composer monitor returns to a single monitor.

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n When you are using a single monitor, double-clicking a clip opens it in a free-
standing Source pop-up monitor.

Resizing Monitors

You can resize the Composer monitor and any Source pop-up monitor to
provide more area for displaying the Timeline or other windows. You can
either hide the video completely or resize the monitor.

Hiding the Video in the Composer Monitor

You can resize the Composer monitor, displaying only the position bars, the
editing buttons, and the information portion above the monitors. No video is
displayed.

To hide the video in a monitor:

t Click the bottom right corner and drag up until the video disappears
(Windows) or click the Zoom button on the top right corner of the monitor
(Macintosh).
t Right-click (Windows) or Shift+Ctrl+click (Macintosh), and select Hide
Video.

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Drag
from
here.

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 Click the bottom right corner and drag down until the video reappears
(Windows) or click the Zoom button on the top right corner of the monitor
(Macintosh).
t Right-click (Windows) or Shift+Ctrl+click (Macintosh), and select Hide
Video.

Resizing the Composer Monitor

You can resize the Composer monitor to a variety of sizes.

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To resize the Composer monitor:

1. Click in the Composer monitor to make it active.
2. Click the lower right corner of the window, and drag to the new size you
want the monitor to be.
The monitor is displayed with the new size.

Using the 16:9 Display Format

The Avid system 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, the camera stores the media anamorphically (into a standard 4:3
frame) as opposed to in a letterbox format. When you select the 16:9 option in
the Avid application, the anamorphic 16:9 media is displayed in the Composer
monitor, the pop-up monitor, and the Title tool.

Titles and effects are also created in the correct aspect ratio.

To enable the 16:9 display:

1. Click in the Composer monitor to make it active.
2. Select Clip > 16:9 Monitors.
A check mark appears next to the 16:9 option. The Composer monitor
displays media as 16:9.

n If you shoot footage as anything other than 16:9 and choose to display the
Composer monitor as 16:9, the media appears distorted.

Using 16:9 for 24p or 25p Editing

For 24p or 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.

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2. After capturing the footage, select Clip > 16:9 Monitors to return the
squeezed image to its normal aspect ratio.
The picture is larger. Any masked letterbox area at the top and bottom of
the footage is 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 Composer 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 is not displayed when you
don’t have material loaded in the monitor. If you load a clip and no
information is currently displayed, you can still open the submenu by clicking
in the area above a monitor.

To select a tracking information format:

1. Load a clip or sequence into the Composer monitor.
2. Click in the gray information display area above the Composer monitor
(to the left of the sequence name), and select a format from the Tracking
Information menu.

Tracking Format Options

The Tracking Information menu contains options for information to be

displayed above the monitors. 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:

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Tracking Information menu

Pane 1

Pane 2

Pane 3

• Pane 1 allows you to choose the Sequence tracking information or the

Source clip tracking information.
- The Sequence submenu allows you to choose from timecode type and
timecode (Timecode), feet and frames for 24p and 25p projects
(Footage), or a sum total of frames for either film or video (Frames).
When you are working with a 24p or 25p project, the Timecode
submenu allows you to select an output timecode format. The
Footage submenu allows you to select a supported film type. The
final Timecode, Footage, and Frames submenu then displays the
master timecode (Mas), duration of the entire clip (Dur), IN to OUT
duration (I/O), absolute timecode (Abs), and time remaining (Rem).

Pane 1 example
when you choose
Sequence > Timecode >
and TC1.

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- The Source submenu displays the information 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. The item you select
is displayed above the monitor.

Pane 1 Example when you

choose Source and V1.

• Pane 2 lists Sequence timecode options, such as master timecode

(Master), duration of the entire sequence (Duration), IN to OUT duration
(In/Out), absolute timecode (Absolute), and time remaining (Remain).
The format type that you select from pane 1 Timecode submenu
determines the tracking format to be displayed.

Pane 2

• Pane 3 displays the timecode for the source track of all tracks that exist at
the current point of a specific track (V1, A1, A2, and so forth). The
timecode options available from pane 3 depend on the columns displayed
in the bin. The information is continuously updated based on the location
of the position indicator.

Pane 3

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Displaying the Info Window

The Info window displays statistical information about the clip. You can open
the Info window from a bin, from the Source pop-up monitor, or from the
Composer monitor. This window also updates information automatically.

To open the Info window from a bin:

1. Click in a bin.
2. Press Ctrl+Alt (Windows) or k+Shift (Macintosh) and click and hold the
clip for which you want to display information.
The Info window opens.
3. Drag the window to a new location to leave the window open.

To open the Info window from the Source monitor or a Source pop-up or
from the Composer monitor:
1. With the monitor active, click and hold in the gray area at the border
between the title bar and the clip or sequence window. If the Info window
doesn’t appear, keep holding.
The Info window opens.

Click and hold here.

2. Drag the window to a new location to leave the window open.

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n If no clip is loaded in a monitor, the Info window does not open.

Displaying the Timecode Window

Each Source pop-up monitor can display one line of timecode. The Timeline
also displays one line of timecode. The Timecode window allows you to
display two lines of timecode in a separate window.

To set a timecode display:

1. Select Tools > Timecode Window.
The Timecode window opens.

2. Click anywhere in the Timecode window, and select an option.

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Timecode pop-up menu

The window displays the timecode you have chosen. The Timecode
pop-up menu contains the same options as the Tracking Information
menu. For a description of the Timecode options, see “Displaying
Tracking Information” on page 411.

n Some options only appear if you have Avid Xpress Pro and a matchback
project. For more information about matchback projects, see “How
Matchback Works” on page 652.

3. (Option) Click Add Line to add an additional line of timecode.

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 Composer monitor active, select Edit > Set Font.
The Set Font dialog box opens.
2. Click the Font pop-up menu, select a font, and then type a point size in the
Size text box.

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3. Click OK.
The new font and point size are applied to the sequence name or clip
name.

Playing Video to the Client Monitor

You might want to see your sequences and effects as they will appear on an
external display monitor. To do this, connect a Client monitor to your Avid
system.

n When you display video through an external monitor, you might see less
responsiveness during certain system functions, such as scrub, single-frame
play, effect editing, and effect preview.

n Video and audio might appear to be out of sync when you have a DV device
and a Client monitor attached to your system. The system, however, is
functioning normally. For more information, see “Setting Up Your Software-
Only Avid Editing System” in the Help.

The following sections describe how to configure your system to play video to
the Client monitor.

Connecting a Client Monitor

There are two ways to connect a Client monitor to the Avid system:
• Connect a Client monitor via FireWire. Connect through a camera,
transcoder, or digital deck. This process doesn’t allow you to view real-
time effects.

n For details on connecting a camera or deck and a Client monitor to your

system, see “Setting Up Your Software-Only Avid Editing System” in the
Help.

• Connect a Client monitor via a dual-head video card. This process allows
you to view real-time effects.

n The only video card capable of supporting viewing video on two monitors (a
Client monitor and a desktop monitor) is a dual-head video card.

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n For more information about viewing real-time effects, see the effects guide for
your system or the Help.

Selecting the Client Monitor Setting

After you connect the camera or digital deck and Client monitor to your Avid
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. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Video Display.
The Video Display Settings dialog box opens. For more information about
options, see “Video Display Settings” in the Help.
3. 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 continues 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.
4. (Option) Select the OpenGL® mode for your video display in the OpenGL
Hardware section. Select one of the following:

You get better performance selecting a hardware OpenGL.

t All video boards installed in your Avid system are listed in the pop-up
menu. Select your OpenGL video board.
t Select Software OpenGL to bypass the OpenGL video board. If you
do not have an OpenGL video board, this option is selected by
default.

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5. (Option) Select 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.
6. Type in the Stream Limit text box the number of video streams you want
the Record monitor to display.

n If you do not have a Client monitor connected, you can still view the video
through the camera eyepiece or through a monitor attached to a deck.

Adjusting the Play Delay Offset

The Avid application uses a combination of hardware to provide for full audio
and video playback capabilities. The use of an OHCI (Open Host Controller
Interface) or a 1394 card to input and output DV signals along with the output
to a computer’s desktop monitor and consumer audio chip could present
playback sync issues.

If you do not have a Mojo attached, the Desktop Play Delay dialog box allows
you to adjust the offset between audio and video playback on the Avid system.

With a camera or transcoder connected to your system, when you play a

sequence in the Timeline and the Composer (desktop) monitor plays back
video and audio ahead of the camera or transcoder, you can adjust this offset.
Playback on the Composer monitor can be delayed by the number of frames
chosen as an offset so that the video and audio play simultaneously to the
camera or transcoder and the Composer 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.

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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 using
Frame view. See “Using Frame View” on page 333. You can also list the
clips by name using Text view. See “Using Text View” on page 318.
• Viewing in the Source pop-up monitors: You can load clips and
sequences into the Source pop-up monitors to view and mark or
subcatalog clips for use in a sequence that you build in the Composer
monitor.
• Viewing in the Composer monitor: You can load a sequence into the
Composer monitor to view, mark, or modify an existing sequence. You
cannot load clips directly into the Composer monitor.
• Viewing in the Timeline: Use the Timeline to view individual tracks for
either a sequence.

Loading and Clearing Footage

You load individual or multiple clips into the Source pop-up monitor, and you
load sequences into the Composer monitor using different methods. You can
also use the Clip Name menu to display clips and sequences.

Loading Footage
To load a clip or sequence into the Source pop-up monitor:
1. Open a bin and locate the clip or sequence.
2. Double-click the clip or sequence. Ctrl+click (Windows) or Shift+click
(Macintosh) to load multiple clips or sequences.
For each clip or sequence that you selected, a Source pop-up monitor
opens.

n You can also load sequences by clicking the sequences and dragging them
from the bin to the monitor.

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To load a sequence into the single Composer monitor:

1. Open a bin and locate the sequence.
2. Drag the sequence into the Composer monitor or the Timeline.
Ctrl+click (Windows) or Shift+click (Macintosh) to load multiple
sequences.

n When you start a new sequence, you must drag the first clip into the Timeline;
you cannot drag it into the Composer monitor.

To load a sequence into the dual Source/Record monitors:

1. Open a bin and locate the sequence.
2. Double-click the sequence icon.
The sequence loads into the Record monitor and the Timeline, clearing
the Timeline of the previous sequence and resetting the Undo list.

Using the Clip Name Menu

When you have clips loaded in a monitor, you use the Clip Name menu
located above each monitor to switch between various loaded clips or to clear
clips from monitors.

Switching Between Loaded Sequences

If you load multiple sequences into the Composer monitor, you see only one
sequence displayed at a time.

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To view an alphabetical list of the loaded sequences and select an

alternative sequence for viewing:
1. Click the name of the current sequence displayed above the monitor to
reveal the Clip Name menu.

Clip Name
menu

2. Select a different sequence name.

The selected sequence replaces the current sequence in the monitor.

n To see the list of sequences sorted in the order in which they were loaded into
the monitor, press the Alt key (Windows) or the Option key (Macintosh) while
opening the Clip Name menu.

Clearing Sequences from Monitors

To clear the monitor or the sequence names from the menu:

1. Click the name of the sequence currently displayed above the Composer
monitor to display the Clip Name menu.

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2. Do one of the following:

t To remove the displayed sequence from the screen, leaving black,
select Clip Name menu > Clear Monitor.
The sequences are still loaded.
t To delete the list of all loaded sequence names and leave only the
sequence currently displayed, select Clip Name menu > Clear Menu.

Controlling Playback
There are several ways to play, view, and cue clips:
• Instantly access frames or move through footage using the position
indicator within the position bar under the monitors.
• Play, step (jog), or shuttle through the footage using user-selectable
buttons or the mouse.
• Play, step, or shuttle using keyboard equivalents.

n (Windows only) If you try to play a sequence and the outline of the Composer
monitor flashes, another window is covering the Composer monitor. Click the
Composer monitor to bring it forward or move the window that is covering it.

Using Position Bars and Position Indicators

To quickly access frames within a clip loaded into a monitor or to move
through the footage, do one of the following:
t Use the position indicators that appear in the position bars under the
Source pop-up and Composer monitors. The position indicator also
appears in the Timeline when you are viewing a sequence.
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 bar

Position
indicator

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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 Composer
monitor’s position bar.
t Click at the far left or far right of the position bar or the Timeline to go
directly to the beginning or end of a clip or sequence.

Position indicator in Timeline

Using Buttons

You can use the buttons that appear under the Composer monitor and in the
Source pop-up monitors to play and step (jog) through your footage. You can
also use the keyboard to manipulate footage.

To play the clip backward or forward in one-frame increments:

t Click the Step (or Jog) buttons under the monitors.

To play forward or backward in 10-frame increments:

t Press the 1 key (backward) or the 2 key (forward) on the keyboard.
t Press and hold the Alt key (Windows) or the Option key (Macintosh)
while clicking the Step (or Jog) buttons under the monitors.
t In the Move tab of the Command palette, click the Step 10 Frames button
or the Step 8 frames (24p) button.

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Step Backward button Step Forward button

To step (or jog) through footage:

1. Load a clip into the Source monitor or a Source pop-up monitor or a
sequence into the Composer monitor.
2. Click the appropriate button to:
- Step one frame forward.
- Step one frame backward.

Understanding the Keyboard

The Keyboard palette varies, depending on the type of keyboard attached to

your Avid system. If an Avid-supported international keyboard is attached to
your Avid system, then the Keyboard palette matches that keyboard. Some
international keyboards might differ from this picture.

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Step buttons Workspace buttons Delete key

Play
button Home key

End key

Stop/Play button Play buttons Arrow keys

The J-K-L keys on the keyboard allow you to play, step (jog), and shuttle
through footage at varying speeds. This feature, also referred to as three-
button or variable-speed play, allows you to use three fingers to manipulate
the speed of playback for greater control.

n F9 to F12 are reserved for the first four workspaces you customize. See
“Assigning a Workspace Button” on page 137.

The Keyboard palette reflects any buttons you map to it. For more information
on mapping buttons, see “Using the Command Palette” on page 142.

To view your Keyboard settings:

t Double-click Keyboard in the Settings scroll list of the Project window.
The Keyboard palette appears.

Shuttling with J-K-L Keys

To shuttle through the footage using the J-K-L keys on the keyboard:
1. Load a clip into the Source pop-up monitor or a sequence into the
Composer monitor.

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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 the K key and tap the L key or the J key to step through footage
one frame at a time.

n Audio plays back at up to 3x normal speed.

To slow or change play direction one speed at a time:

1. Press Alt (Windows) or Option (Macintosh) while you tap the J or L
key.
Play slows or changes play direction one speed at a time from the
speed at which you are currently playing.

Backward Forward

-8x -5x -3x -2x -1x 0 1x 2x 3x 5x 8x

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For example, you are shuttling backward with the J key at 2x normal
speed. Press and hold Alt and tap the L key once. Play slows to
backward at normal speed (1x speed). Hold Alt (Windows) or Option
(Macintosh) and tap L once again. Play stops. Continue to hold Alt
(Windows) or Option (Macintosh) and tap L once again. Play goes
forward at normal speed. Continue to hold Alt (Windows) or Option
(Macintosh) and tap L once again. Play goes forward at 2x normal
speed. Continue to hold Alt (Windows) or Option (Macintosh) and tap
L once again; play goes forward at 3x normal speed. Release the keys
to continue playing forward at 3x normal speed.

To pause the shuttling:

t Press the K key.

To stop shuttling:
t Press the space bar.

n You can also perform smooth audio scrub with the J-K-L keys. For more
information, see “Using the J-K-L Keys to Perform Smooth Scrub” on
page 530.

Navigating with Home, End, and Arrow Keys

In addition to using the buttons in the application, you can use the following
keys on your keyboard to navigate through clips and sequences:

Press To

Home key Move to the beginning of a clip or sequence.

End key Move to the end of a clip or sequence.

Left Arrow key Move the footage one frame backward. Pressing and
holding the Alt key (Windows) or the Option key
(Macintosh) while pressing the Left Arrow key
moves 10 frames backward (8 frames in
24p projects).

Right Arrow key Move the footage one frame forward. Pressing and
holding the Alt key (Windows) or the Option key
(Macintosh) while pressing the Right Arrow key
moves 10 frames forward (8 frames in 24p projects).

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Play Length “In Use” Indicator

The Play Length function lets you play a portion of a sequence. This is useful
when you want to play only part of a long, complex sequence with many cuts
or effects. The Play Length function restricts playback to 1 minute.

The Play Length indicator reminds you to turn off the Play Length function
before an important play and review session where you want to playback the
entire sequence.

To use the Play Length function

1. Select Tools > Command palette, and then click the Play tab.
2. Select Active Palette.
3. Click the Play Length Toggle button.
The Play button highlights in white. When the Play Length function is
active, the sequence stops playing after 1 minute.

Marking and Subcataloging Footage

You can speed the editing process by marking clips with IN and OUT points
in advance, using locators to subcatalog footage, and by creating subclips.

Marking IN and OUT Points

You can mark IN and OUT points for your clips in advance, which provides
several advantages:
• You can quickly build a sequence by splicing the marked clips into place
one after another.
• You can use the process of rough cut or storyboard editing, which allows
you to instantly splice several prepared clips into a sequence. See
“Creating an Instant Rough Cut” on page 457.
• 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, the Avid application allows you to
trim the edit points and fine-tune the sequence later without reediting the
material.

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To mark IN and OUT points before adding them to a sequence:

1. Load a sequence into the Composer monitor, or load a clip into the Source
monitor or a Source pop-up monitor. See “Loading Footage” on page 420.
2. Play or step through the material. Use the J-K-L keys when playing a clip
in a bin. See “Shuttling with J-K-L Keys” on page 426.
3. Mark an IN point by doing one of the following:
t Click the Mark IN button under the monitor to mark an IN point and
stop playback.
t Press the Mark IN key on the keyboard to mark a clip in a bin. (Mark
IN on the keyboard does not stop playback.)
The Sawtooth icon appears on the left side of the monitor to indicate the
mark IN frame.

Sawtooth
icon

Mark IN button Mark OUT button

4. Continue playing or stepping (jogging) through the material.

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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
and stop playback.
t Press the Mark OUT key on the keyboard to mark a clip in a bin.
The Sawtooth icon appears on the right side of the monitor to indicate the
mark OUT frame.

Clearing a Mark and Setting a New One

You can clear marks and set new ones.

To clear the IN point:

t Click the Clear IN button (or press the D key).

To clear the OUT point:

t Click the Clear OUT button (or press the F key).

To clear both the IN and OUT points:

t Press the Clear Both Marks key (or press the G key).

To set a new IN point:

t Click the Mark IN button when you reach a different frame.

To set a new OUT point:

t Click the Mark OUT button when you reach a different frame.

Dragging IN and OUT Points

To more easily position IN and OUT points based on visual feedback:

t Press the Alt key (Windows) or the Option key (Macintosh) and drag
marked IN and OUT points to visible locations.

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Marking an Entire Clip or Segment

To mark an entire clip or segment:

n A segment in a sequence consists of the material between any two edit points.

1. Load a sequence into the Composer monitor, or load a clip into the Source
monitor or a Source pop-up monitor. See “Loading Footage” on page 420.
2. For 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. See “Using the Track
Selector Panel” on page 467.
4. Click the Mark Clip button under the monitor.

Mark Clip button

Marking Audio Clips

You can use the Audio Mark buttons to mark audio and video separately for
an edit. This feature is useful for creating an overlap edit (split edit or L-cut).

To mark IN and OUT points on audio tracks:

1. Load a clip or sequence into a monitor.
2. Select the tracks corresponding to the cuts you want to mark.

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3. Place the position indicator where you want to mark the audio clip.
4. Select Tools > Command Palette.
The Command Palette window opens.
5. Click the Edit tab.
6. Select Active Palette.
Audio Mark 7. Do one or both of the following:
IN
t Click the Audio Mark IN button to mark an IN point.
Audio Mark
OUT t Click the Audio Mark OUT button to mark an OUT point.

You can also create an overlap edit for an audio track using the Audio Mark
buttons. See “Creating Overlap Edits” on page 520.

Using the Tool Palette

The Tool palette provides additional buttons for editing and navigating. You
can have the Tool palette buttons appear with or without labels. You can “tear
off” the Tool palette to have it displayed in another screen location. You can
also map other tools or functions to the Tool palette. See “Using the Command
Palette” on page 142.

To open the Tool Palette window:

t Click the Fast Menu button under the Source pop-up or the Composer
monitor.
The Tool Palette window opens.

n If a subset of the buttons appears on the Tool palette, click the lower right
corner and drag it to the right and down to reveal the full Tool palette and
blank, mappable buttons.

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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 display labels on the Tool Palette buttons:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Interface.
The Interface dialog box opens.
3. Select “Show Labels in Tool palette.”
4. Click OK.
The names of the buttons appear on the buttons under the icons.

To tear off the Tool palette and move it to another location:

1. Click the Fast Menu button under the Source pop-up or the Composer
monitor.
2. Click the Tool palette and drag it to another location in the application.

Using the Timeline Top Toolbar

The Avid application provides you with a top toolbar in the Timeline.

You can use the top toolbar for editing; you can also map additional buttons to
it. For information about mapping buttons, see “Mapping User-Selectable
Buttons” on page 144.

You can choose to hide or show the Timeline top toolbar.

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To show the Timeline top toolbar:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Timeline.
The Timeline Settings dialog box opens.
3. Click the Display tab.
4. Select Show Toolbar, and then click OK.

Creating Subclips

When you mark footage with IN and OUT points, you can either save the
entire clip along with the new marks, or you can create subclips based on the
marks you set to break up longer master clips into smaller segments of
selected footage.

This is similar to creating circle takes of all of your best footage before
editing. Subclips do not directly reference the original media. Subclips remain
linked to the master clips from which they are created, and the master clips, in
turn, reference the 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
“Working in Trim Mode” on page 505.

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.

You can create subclips directly from the marked section of material in the
monitors using one of the following methods.

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To use the Alt key (Windows) or the Option key (Macintosh) to create a
subclip:
1. Press and hold the Alt key (Windows) or the Option key (Macintosh).
2. Drag the picture from the monitor to the bin in which you want to store
the subclip.

To use the Make Subclip button to create a subclip:

1. Click the Fast Menu button under the monitor.
The Tool palette appears.
2. Click the Make Subclip button to create the subclip and place it into the
active bin by default.
If you press the Alt key (Windows) or the Option key (Macintosh) while
you click the Make Subclip button, a dialog box allows you to select the
destination bin for the subclip.

The new subclip is listed in the bin, preceded by a subclip icon and identified
with a numbered .Sub.n file name extension, as shown in the following
illustration.

A new subclip

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 Marking and Subcataloging Footage

Subclips and Audio Sync for 24p and 25p Projects

The system allows for the 1/4-frame resyncing of audio for the purpose of
adjusting audio sync for intended online mixing; 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 “Resyncing Subframe Audio” on page 612.

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
access the clips quickly. You can display information about the locators using
the Locators window.

There are eight Add Locator buttons in the More tab of the Command palette.
Each Add Locator button is a different color, which allows you to group
locators by color. For example, you can use the red Add Locator button to
identify color correction frames and use the blue Add Locator button to
identify cutaway shots.

Ways to Use Locators

There are many possible uses for locators. A few examples are:
• Visual track alignments: Use locators at matching points in
synchronized audio and video tracks so that if the tracks lose sync, you
can visually realign the locators in the Timeline to restore sync.
• Music cues: Use locators to mark the IN and OUT points for music.
• Trim markers: Use locators in the Timeline to return directly to an edit
you have designated for further trimming at a later time.
• Cutaway markers: Use locators to identify cutaway shots with
comments so that when you return to cover jump-frame edits with
cutaway footage, you can use Find procedures to quickly access the shots.
• Replace markers: Use locators to mark filler segments with comments to
identify the items that should replace the filler.

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• Semipermanent IN or OUT points: Use locators with the Mark Locators

button to put multiple sets of locators on a long clip, and so on.
• Add comments for EDLs: Use locators to add comments to sequence
clips to appear in lists that you create, such as an EDL or cut list.
• 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 an oval in the Timeline, in the position
bar, and at the bottom of the frame in the monitor. The color of the oval
corresponds to the color of the locator button you used.

Locator displayed in
the monitor, the
position bar, and the
Timeline

You can add locators and comments to your source material while you are in
an editing session, as described in “Adding Locators While Editing” on
page 439.

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 Marking and Subcataloging Footage

Adding Locators While Editing

To add locators and comments during an editing session:

1. Load a sequence or clip. See “Loading Footage” on page 420.
2. (Option) Select a specific track, using the Track Selector panel. See
“Using the Track Selector Panel” on page 467.
3. Cue to the frame and click an Add Locator button. The Add Locator
buttons are found in the More tab of the Command palette.
The locator oval appears in the Timeline, in the position bar, and at the
bottom of the frame in the monitor.
4. Double-click the locator in the position bar under the monitor or click the
large oval on the frame in the monitor.
The Locators window opens. See “Using the Locators Window” on
page 441.

Locator
information
area

Comment entry
area

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 entry area of the Locators window.
7. Press the Tab key or close the Locators window to save your comments.
You can also press the Enter key on the numeric keypad to save your
comments.
The information is stored with the marked frame. The first line of the
information appears at the bottom of the frame in the monitor.

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To quickly go to a frame with a locator while editing:

t Select Find > Edit to search for a particular comment.

Moving to the Previous or Next Locator

To move to the previous or next locator:

1. Select Tools > Command Palette.
The Command Palette window opens.
2. Click the Move tab.
3. Select Active Palette.
Go to Previous 4. Click the Go to Previous Locator button or the Go to Next Locator button.
Locator

Go to Next The position indicator moves in the direction you have indicated and the
Locator monitor displays the frame containing the locator.

n You can map this button to your Tool palette or Keyboard palette. See
“Mapping User-Selectable Buttons” on page 144.

Using Locators to Mark an Area

You can use the Mark Locators button to mark the area between two locators.

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 a Locator

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
“Using the Locators Window to Delete Locators” on page 446.

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Using the Locators Window

The Locators window allows you to quickly add comments, go to locator

marks, copy and paste locators, 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.
• 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.
• Copy and paste locators from one clip or sequence to another.
• Delete a single locator or multiple locators.

The Locators window is divided into two sections:

• The top section displays information in text columns about the locators.
• The bottom section allows you to type comments about the frame marked
by the selected locator.

The following illustration shows a Locators window with three locators.

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Locator
information
area

Comment entry
area

Fast Menu
button

Viewing and Navigating in the Locators Window

To view locators in the Locators window:

1. Load a sequence or master clip containing locators into the Composer
monitor.
2. Select Tools > Locators.

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 in 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 Fast Menu button, and select Sort.
The locators are sorted.

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To sort the locators in descending order:

1. Select the column that you want to sort.
The column is highlighted.
2. Click the Fast Menu button.
3. Press and hold the Alt key (Windows) or the Option key (Macintosh)
while you select Sort Reversed from the Locators Fast menu.

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 Fast Menu button, 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
Avid system uses the same color in the Timeline, position bar, and monitor.

To change the color of the locator icon:

1. Select a locator in the locator information area of the Locators window.
2. Click the Fast Menu button, 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.

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Printing 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.

Copying and Pasting Locators Using the Locators Window

You can use the Locators window to copy a single locator or multiple locators
and then paste them into another clip or a sequence.

To copy locators from a clip and paste them into a new clip using the
Locators window:
8. 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.
9. Do one of the following:
t Select Edit > Copy.
t Right-click the Locator window, and select Copy.
t Press Ctrl+C.
10. Load a new clip in the Source/Record monitor.
11. Click the Locator window and do one of the following:
t Select Edit > Paste.
t Right-click the Locator window, and select Paste.

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t Press Ctrl+V.
The locator is pasted into the new clip.

To copy locators from a clip and paste them into a sequence 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. Do one of the following:
t Select Edit > Copy.
t Right-click the Locator window, and select Copy.
t Press Ctrl+C.
3. Load a sequence into the Source/Record monitor or into the Timeline.
4. Click the Locator window and do one of the following:
t Select Edit > Paste.
t Right-click the Locator window, and select Paste.
t Press Ctrl+V.
The locator is pasted into the sequence.

You can also use a text editor (such as Notepad) to cut and paste locators in
the Locators window. This allows you to move locators easily between clips,
sequences, tracks, or different users on your system.

To copy and paste locators using the Locators window and a text editor:
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. Do one of the following:
t Select Edit > Copy.
t Right-click the Locator window, and select Copy.
t Press Ctrl+C.

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3. Open a text editor application, and paste the selection into the document.
The locator information appears the text document.

Tabs separate items in the locator entry, which include timecode, clip data,
locator identification, and comments. You can edit the entries before pasting
them into a new clip or sequence using the Locators window, or you can save
the locator information as a text file and distribute it as needed.

Using the Locators Window to Delete Locators

You can use the Locators window to delete a single locator or multiple
locators.

To delete locators 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 (Windows) or Shift+click (Macintosh) multiple locators.
2. Press the Delete key.
The selected locators are removed.

n You can also delete locators in the Timeline or in the position bar. See
“Deleting a Locator” on page 440.

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 NetReview™ 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

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 Finding Frames and Clips

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 441.

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 quickly locate and cue
footage.

Using Frame Offset Timecode to Cue a Frame

To cue a frame using frame offset timecode:
1. Using the numeric keypad, type a plus (+) sign to move forward or a
minus sign (–) to move backward from the current position.
2. Type a number for the frame offset, and press Enter on the numeric
keypad. Use the following formats:
- One or two digits: Type 1 through 99 to specify a number of frames
forward or backward. For instance, type –42 to move backward 42
frames.
- Three digits: Type 100 or a greater number to move forward or
backward a specified number of seconds and frames. For instance, if
you type +100 and the master track timecode is selected on the
Tracking Information menu, you move forward 1 second and
0 frames.

n If you type “f” after a 3-digit frame number, the Avid system interprets the
number as frames, not as seconds and frames. For example, +123f moves
forward 123 frames, not one 1 second and 23 frames.

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Using Timecode to Find a Frame

At any time during editing you can type timecode values, 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 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 chosen in the row of
information displayed above the monitor.

To cue to a frame based on a known timecode:

1. Type the timecode for the frame using the numeric keypad on the right
side of the keyboard.
2. Use one of these formats:
- SMPTE timecode: Use two digits each for the hours, minutes,
seconds, and frames with no leading zeros. For example, type
1230200 to enter 01;23;02;00.
- Current timecode: If you are finding a timecode that starts at the
same time as the current timecode, just type the last digits. For
example, if the current timecode is 1;05;12;13 and you type 4;25, the
system finds the frame at 1;05;04;25.
3. Press Enter on the numeric keypad.

Searching a Clip

You can use the Find command to search a clip loaded in the Source pop-up
monitor or a sequence in the Composer monitor or Timeline for:
• Clip names
• Locator text
• Text displayed in the Timeline

To do a text search of a loaded clip or sequence using the Find

command:
1. Load the clip or sequence into the monitor or Timeline.
2. Select Edit > Find.

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 Finding Frames and Clips

The Find Text dialog box opens.

3. Enter part or all of the text for which you are searching. If the exact text is
unknown, enter only a known word or portion of a word.
4. Select one or more options:
- Locators causes the system to search for matching text entered into
Locator comments 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 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 either the Source pop-up or the Composer monitor, loads it into
the Source pop-up or the Composer monitor (the Source monitor if you are
using dual monitors), cues to the matching frame, and marks an IN point. It
removes the source clip’s original IN and OUT points.

In addition to helping you relocate and reedit master clips during a session, the
Match Frame feature can be used to locate clips quickly, based on media
relatives when you have forgotten their location.

Track selection determines the match frame. If you select a video track, the
system matches a frame from the video. If you enable several tracks, the
system matches the frame from the highest selected track level, in descending
order: V1, A1, A2, and so on.

To use the Match Frame feature:

1. Load a sequence into the Source pop-up or the Composer monitor. See
“Loading Footage” on page 420.
2. Move to the frame that you want to match.

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3. Make sure you select the correct track for the frame that you want to
match in the Track Selector panel.
4. Click the Fast Menu button, and drag to tear off the Tool palette.
5. Click the Match Frame button on the Tool palette.
This loads and marks the source clip in the Source monitor or a Source
pop-up monitor.

n If you do not want to mark the source clip and remove the original marks,
press the Alt key (Windows) or the Option key (Macintosh) as you click the
Match Frame button.

Matchframing Motion Effects

You can locate the source clip (a master clip or subclip) of a motion effect by
using the Match Frame feature. For more information about using match
frame, see “Using Match Frame” on page 449.

To matchframe 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 to match.
3. Press and hold Alt+Ctrl (Windows) or Option+k (Macintosh) and click
the Match Frame button.
The source clip of the motion effect is loaded into the Source pop-up
monitor.

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First Edits

After you have viewed and marked your clips or have created subclips, you
are ready to create a sequence. This chapter introduces you to procedures that
you use to build a basic sequence, as described in the following sections:
• Setting Up a New Sequence
• Making the First Edit
• Editing Additional Clips into the Sequence
• Lifting, Extracting, and Copying Material
• Playing the New Sequence
• Proceeding with Editing

Setting Up a New Sequence

For information about setting up a new sequence, see the following sections:
• Creating a New Sequence
• Changing Sequence Information
• Changing the Start Timecode for Sequences
• Setting Up Tracks for the New Sequence
Chapter 13 First Edits

Creating a New Sequence

To create a new sequence:
1. Select Clip > New Sequence.
One of the following occurs:
- If just one bin is open, or if several bins are open and you clicked a
specific bin to activate it, the new sequence appears in the bin. It also
appears in the Composer monitor and in the Timeline, with the
generic title “Untitled Sequence n.” Each new sequence is numbered
incrementally until you rename it.
- If several bins are open but none is activated, the Select dialog box
appears.
2. Select the bin in which to store the new sequence, or click the New Bin
button to create and open a new bin.
3. Click OK.
An untitled sequence appears in the bin, in the Composer monitor, and in
the Timeline.

To rename the new sequence:

t Immediately type a new name while the name is highlighted in the bin.

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.

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Changing Sequence Information

The following optional procedure allows you to rename the new sequence and
to set a customized start timecode using the Get Sequence Info command.

To rename a sequence and set a customized timecode:

1. With your sequence loaded and the Composer monitor active, select File
> Get Sequence Info.
The Sequence Info dialog box appears.
2. Type a new name in the Name text box.
3. Drag the pointer across the Start timecode, and then type a new timecode.
4. (Option) 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.

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 using the New Sequence command, and no
material is loaded into the Source pop-up monitor, the Timeline is empty.

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To add a new track to a sequence loaded in the Composer monitor:

t Select Clip > New Audio Track or select Clip > New Video Track.
The new track appears in the Timeline.

When you add a new track to a sequence, the Avid system assigns a
consecutive number to it. You can change the numbering scheme of tracks
rather than use the consecutive numbering default.

You can add a Meta track for MetaSync™ editing. For information about
MetaSync, see the Avid MetaSync Setup and User’s Guide or the Help.

To add a new track and change the numbering system:

1. Press and hold the Alt key (Windows) or the Option key (Macintosh), and
select Clip > New Audio Track or select Clip > New Video Track.
The Add Track dialog box opens.

Track Type pop-up menu Track Number pop-up menu

2. If you want to switch from the type of new track you chose (for example,
from a new video to a new audio track), click the Track Type pop-up
menu, and 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.
4. Click OK.
The new track appears in the Timeline and in the Track Selector panel.

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Making the First Edit

Making the first edit involves the following procedures:
• Beginning to Edit
• Creating an Instant Rough Cut
• Undoing or Redoing Edits
• Monitoring Audio While Editing

Beginning to Edit
To begin editing:
1. Load the first clip into the Source monitor or into a Source pop-up
monitor. If you have not already marked IN and OUT points for the clip in
advance or created a subclip, view and mark the clip as necessary.

Source Track
buttons
Source Track
Monitor buttons

2. Click buttons in the Track Selector panel to select the tracks you want to
include in the edit.
Only the tracks that have been captured 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 467.
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 captured, and
deselect V1.

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Splice-in 3. Click the Splice-in button on the Tool palette to add the edit to the
button sequence in the Composer monitor. See “Using the Tool Palette” on
page 433.
The Composer monitor displays the end of the last frame of the new edit.
(You can drag the position indicator in the Timeline or the position bar
under the Composer monitor to review the clip.) The edit also generates a
graphical display of the cut in the Timeline.

Screen display of the first edit in a sequence The end of the

last frame of the
new edit

Source clip

Timeline generated by the edit

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 Making the First Edit

Creating an Instant Rough Cut

As an alternative to creating a new sequence by editing clips one at a time, you

can quickly create a rough cut by selecting and loading multiple clips directly
from the bin in Frame view and by dragging them into the Timeline.

To create a rough cut from a bin:

n To create a more accurate rough cut, view and mark clips in the bin in
advance. See “Marking IN and OUT Points” on page 429.

1. Click the Frame tab to enter Frame view.

2. In the bin, sort the clips in the order in which you want them to appear in
the sequence.
3. Select the tracks for the edit.

n If no sequences are loaded in the Composer monitor, the Timeline has no

features.

4. Do one of the following:

t Ctrl+click (Windows) or Shift+click (Macintosh) the clips.
t Lasso the clips by dragging left to right and down to select more than
one clip. See “Lassoing Objects” on page 308.
t Select Edit > Select All if there are no other clips in the bin.
5. Drag the highlighted clips to the Timeline to splice the clips into place.
The clips are spliced together to form a new sequence based on the order
in which they were listed in the bin.

Undoing or Redoing Edits

You can undo or redo up to 32 previous actions listed in the Edit menu.

To undo only the previous edit or function:

t Select Edit > Undo.

To redo only the previous edit or function:

t Select Edit > Redo.

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Monitoring Audio While Editing

You can use the Audio tool to monitor audio levels while you edit. 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” on page 230.

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 monitor or a Source pop-up
monitor into the sequence without replacing material already in the sequence.
Existing material in the sequence is moved beyond the new material,
lengthening the overall duration of the sequence.

New Clip

Insertion point
Before
Clip X Clip Y Clip Z
Splice-in

After Existing clips are moved down.

Splice-in Clip X Clip Y New Clip Clip Z

To perform a splice-in edit:

1. Double-click a clip to open the Source monitor or a Source pop-up
monitor.
Mark IN 2. Mark an IN point.
button
3. Mark an OUT point.
Mark OUT
button

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 Editing Additional Clips into the Sequence

4. Mark an IN point in the sequence as follows:

a. Move the position indicator in either the Timeline or the position bar
of the Composer monitor to the point where you want to splice the
clip into the sequence.
b. Click the Mark IN button, or press the Mark IN key on the keyboard.

n If you don’t mark an IN point, the system splices the new clip into the sequence
at the current location of the position indicator.

5. Click the Fast Menu button.

The Tool palette appears.
6. Click the yellow Splice-in button, or press the Splice-in key on the
keyboard, to complete the edit.

Performing an Overwrite Edit

An overwrite edit replaces a section of the sequence with the material you
select from the Source monitor or a Source pop-up monitor. Unlike a splice-in
edit, an overwrite edit replaces existing material and therefore does not
lengthen the overall duration of the sequence.

New Clip

Material to be overwritten

Before
Overwrite Clip X Clip Y Clip Z

After
Overwrite Clip X Clip Y New Clip Clip Z

To perform an overwrite edit:

1. In the Source pop-up monitor, mark an IN point or an OUT point, but not
both, to show the start or end of the clip you want to use.
2. In the Composer monitor, mark both an IN point and an OUT point to
select the material in the sequence you want to overwrite. You can also
mark an OUT point and move the position indicator in the Timeline or
position bar to the IN point.
Overwrite 3. Click the red Overwrite button on the Tool palette, or press the Overwrite
button key on the keyboard, to complete the edit.

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Performing a Replace Edit

To perform a replace edit:
1. Choose a sync frame in the source clip by moving the position indicator to
display that frame in the Source pop-up monitor.
The sync frame can be an IN point, an OUT point, or any frame in-
between that you want to sync to a frame in the existing shot in the
sequence.
2. Choose the sync frame in the sequence for the edited shot that you want to
replace by moving the position indicator in either the Composer monitor
position bar or in the Timeline to that frame.
3. Select Tools > Command Palette.
4. Click the Edit tab.
5. Select Active Palette.
6. Click the Replace Edit button (blue).
The system replaces the clip.

n 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 Lifting, extracting, and copying allow you to remove or reposition material
Lift/Overwrite are quickly in your sequence. For example, you can move a clip from the end of
Segment mode your sequence to the beginning; or you can remove the material from the
functions you can also
sequence altogether. Lifting, extracting, and copying place the removed
use to remove and
reposition segments. material into the Clipboard. You can then paste the material elsewhere in the
For more information, sequence or in another sequence altogether.
see “Performing
Segment Mode Edits”
on page 493.

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 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 Material is placed in

the Clipboard.

Clip W Black Filler Clip Y Clip Z

To lift material:
1. Mark IN and OUT points in the sequence at the start and end of the
material that you want to lift.
2. Select the tracks containing the material.
The system performs the function on selected tracks only. See “Using the
Track Selector Panel” on page 467.
Lift 3. Click the Lift button in the Timeline top toolbar, or press the Lift button
button on the keyboard, to complete the edit.

Extracting Material

The Extract function removes selected material from a track in the sequence
and closes the gap left by its removal. As a result, when you extract material,
you shrink the duration of the track or sequence.

Extracted Clip Y Material is

placed in the
Clipboard.
Before
Extract Clip X Clip Y Clip Z

Track is shortened.
After
Extract Clip X Clip Z

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To extract material:
1. Mark IN and OUT points in the sequence at the start and end of the
material that you want to extract.
Select the tracks containing the material.
The system performs the function on selected tracks only. See “Using the
Track Selector Panel” on page 467.
Extract 2. Click the Extract button in the Timeline top toolbar, or press the Extract
button key on the keyboard, to complete the edit.

Copying Material

The Copy to Clipboard function makes a duplicate of selected material in the

sequence and leaves the material intact. When you copy material, the
sequence remains unaffected. The material can then be inserted into the
sequence elsewhere or into another sequence.

To copy material to the Clipboard:

1. Mark IN and OUT points in the sequence at the start and end of the
material that you want to copy.
2. Select the tracks containing the material.
The system performs the function on selected tracks only. See “Using the
Track Selector Panel” on page 467.
3. Select Tools > Command Palette, and click the Edit tab.
Copy to 4. Click the Copy to Clipboard button.
Clipboard
button The system copies the selected material to the Clipboard and leaves the
sequence untouched.

Using the Clipboard

The Avid Clipboard is a cut, copy, and paste tool adapted to the special needs
of the editing environment.

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 Lifting, Extracting, and Copying Material

Placing a Sequence into the Clipboard

To place a marked section of the sequence into the Clipboard at any

time:
t Click the Lift button or the Extract button located in the Timeline top
toolbar, or the Copy to Clipboard button in the Edit tab of the Command
palette.

n You can map these buttons to buttons on the Tool palette or to keys on the
Keyboard palette. See “Mapping User-Selectable Buttons” on page 144.

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 use the Undo function to restore the material,
the system also removes all edits performed in the meantime. The Clipboard
provides the benefit of restoring the material while maintaining subsequent
edits.

n If you lift or extract any further material, it is replaced in the Clipboard. Make
a subsequence if you need to keep the material for more than a few minutes.

To restore material from the Clipboard:

1. Do one of the following:
t Open the Clipboard in its own monitor by selecting Tools >
Clipboard Monitor.
t Display the clipboard contents in the Source monitor (for clips) or the
Record monitor (for sequences) by clicking Command Palette > Edit
tab > Clipboard Contents
2. Edit the clipboard contents into your sequence.

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Playing the New Sequence

You can play a sequence at any time and view it in the Composer monitor.

Playing a Sequence
To play a sequence:
1. Make sure that the Video Track Monitor icon is located on the topmost
video track to display all video tracks and effects during playback.

Video Track Monitor button with Monitor icon

Audio Track Monitor button with gold speaker icon

2. Make sure the Audio Track Monitor buttons for the audio tracks are
selected to ensure proper playback of all audio tracks.
3. Go to the start of the sequence in the Composer monitor or Timeline by
clicking the left side of the position bar to reposition the position indicator
at the beginning or by pressing the Home key on the keyboard.
4. Use the position indicator, buttons, or keyboard to play or step (jog)
through footage, viewing it in the Composer monitor.

Starting a Playback Loop

You can play back your sequence in a continuous loop by augmenting the Play
IN to OUT command with the Alt key (Windows) or the Ctrl key (Macintosh).
You must mark IN and OUT points in the sequence to determine the range of
the playback loop.

n You can also use this technique to isolate and continuously play back a small
portion of the sequence during a difficult edit.

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To start a playback loop:

1. Mark IN and OUT points in the sequence. To play back the entire
sequence, mark the IN point at the beginning and the OUT point at the
end.
2. Press the Alt key (Windows) or the Ctrl key (Macintosh) and the Play IN
to OUT key.

The playback loop begins and continues until you press the space bar or click
anywhere with the mouse.

Proceeding with Editing

When you have finished a rough cut, you are ready to fine-tune the sequence.

To See

Learn about the Timeline and Segment mode editing “Using the Timeline” on
techniques page 467

Make frame-accurate adjustments to your edits, “Working in Trim Mode”

using Trim mode on page 505

Edit with audio or to mix audio tracks in preparation “Working with Audio”
for playback or output on page 525

Add effects to your sequence The effects guide for your

system or the Help

Edit with synced tracks

Output the finished sequence

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Using the Timeline

The Avid system represents each edit and effect in a graphical Timeline
structure to help you track and manipulate the elements of your sequence. In
addition, the Timeline has its own set of editing tools that you can use to create
and revise edits and transitions across multiple tracks.

The audio and video tracks in the Timeline play in the Composer monitor.
You can continually edit your sequence and review your changes in the
Composer monitor until you are pleased with the result. These features are
described in the following sections:
• Using the Track Selector Panel
• Customizing Timeline Views
• Navigating in the Timeline
• Editing in the Timeline
• Printing the Timeline

Using the Track Selector Panel

As your project progresses, you might need to add an edit with additional
audio or video tracks. You use multiple tracks of video primarily for effects.
The Avid system allows you to edit up to eight tracks of video and eight tracks
of audio.

While working with multiple tracks, you can use the Track Selector panel to
select, manipulate, delete, lock, patch, and monitor your tracks. You can use
multiple tracks to layer audio effects and sound or to add video titles and other
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Chapter 14 Using the Timeline

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 Audio Track Monitor button with black Speaker icon
icon

Sync Lock All button Timecode button

The source side of the panel displays only those tracks available for the clip
currently loaded. For instance, a clip that has audio captured only for track A1
does not display an A2 track in the Track Selector panel.

The record side of the panel displays only those tracks currently in use for the
sequence. However, if you edit source material with a track 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.

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• You cannot edit deselected tracks on the record side into the sequence,
regardless of source track selections.

There are several methods for selecting tracks:

• Use standard keyboard keys to select tracks, as shown in the Keyboard
palette. See “Understanding the Keyboard” on page 425 and the following
table.

Track Selection Keys

Key Track Key Track

7 V2 Shift+7 V4

8 V1 Shift+8 V3

9 A1 Shift+9 A5

0 A2 Shift+0 A6

- (hyphen) A3 Shift+- (hyphen) A7

= A4 Shift+= A8

• Click the Track button of any inactive track to select the track. (To
deselect the track, click the Track button of any active track.)
• Drag a lasso around multiple tracks to select all of them at the same time.
See “Lassoing Objects” on page 308.
• With the Timeline window active, select Edit > Select All Tracks to select
all tracks on the record and source sides.
• Click the Cycle Picture/Sound button in the Edit tab of the Command
palette to cycle among selected video tracks, audio tracks, and all tracks.
• Click the V and A buttons in the Edit tab of the Command palette.

For example, you might select the source and record tracks for V1, A1, and A2
to edit the picture and audio from the source clip into the sequence. Select only
V1 source and record tracks to edit the picture without the sound, or select
only A1 and A2 source and record tracks to edit the sound without the picture.

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Monitoring Tracks
To determine the monitoring of tracks:
t Click the monitor column of either the source-side or record-side tracks to
activate or deactivate the monitor buttons. Video and Audio Track
Monitor buttons behave differently in some circumstances.

Monitoring Video

The Video Track Monitor button determines whether you see video during
playback. You can turn it off at any time to monitor only audio during editing.
When there are multiple video tracks, all tracks below the monitored track are
active during playback.

When you edit with multiple tracks, you can activate the monitor on a lower
track to monitor only the video on that track. This feature is especially useful
when you have multiple layers of video effects and need to see one track
without additional layers. You can also monitor a solo track, as described in
“Monitoring a Solo Track” on page 471.

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 gold Speaker icon. Your Avid system
allows you to monitor up to eight audio tracks at a time, depending on your
configuration.

Consider the following:

• The system pans odd-numbered tracks to the left speaker and
even-numbered tracks to the right speaker by default.

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• If your sequence includes more than eight audio tracks, you can select any
eight tracks to monitor at one time by clicking the Audio Track Monitor
button for each audio track you want to monitor. The Audio Track
Monitor button changes to purple with either a black or gold Speaker icon
when the audio track is selected for monitoring playback and output.
• To hear more than eight tracks at once, you must mix down some of them
to a maximum of eight. For more information, see “Mixing Down Audio
Tracks” on page 603.
• 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 528.
• A gold Speaker icon on the Audio Track Monitor button indicates that the
track is not 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 529.
• 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 471.

Monitoring a Solo Track

You can isolate an individual video or audio track for monitoring when editing
without having to deselect monitoring of all other tracks. Solo monitoring has
several advantages:
• You can monitor the upper layers of a composited effect apart from the
lower layers.
• You can isolate an individual audio track for monitoring without having
to click several audio tracks to deselect monitoring of all other audio
tracks.
• You can overcome slow cueing and playback when working with a
complex sequence by isolating tracks for monitoring.

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To select a track for solo monitoring:

t Ctrl+click (Windows) or k+click (Macintosh) the Track Monitor button
for the chosen track.
The Track Monitor button changes to green with a black Monitor icon
(video track) or black Speaker icon (audio track) to indicate solo
monitoring.

To deselect solo monitoring:

t Click the soloed track monitor in the Track Selector panel.
The Monitor icon returns to normal functionality.

Cycling Through a Selection of Tracks

To cycle through the selection of tracks in the Track Selector panel:
1. 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 You can map the Cycle Picture/Sound button to any button on the Tool palette
or to any key on the Keyboard palette. For information on mapping buttons,
see “Using the Command Palette” on page 142.

Locking and Unlocking Tracks

You can lock selected tracks to prevent further editing from being performed
on them.

The middle row of the Track Selector panel displays the Sync Lock icon (slash
mark) for sync-locked tracks, and the Lock icon (padlock) for locked tracks.

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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.

For more information about sync-locking tracks, see “Sync Locking Tracks”
on page 475.

To lock tracks:
1. Select the tracks you want to lock (source, record, or both) by clicking to
select each in turn.
2. Do one of the following:
t Right-click (Windows) or Ctrl+Shift+click (Macintosh) in the
Timeline, and select Lock Tracks.
t Select Clip > Lock Tracks.
The Lock icon indicates that the selected tracks are locked; no further
editing can occur on locked tracks.

To unlock tracks:
1. Select the tracks you want to unlock.
2. Do one of the following:
t Right-click (Windows) or Ctrl+Shift+click (Macintosh) in the
Timeline, and select Unlock Tracks.
t Select Clip > Unlock Tracks.
The Lock icon disappears and the tracks are unlocked.

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Patching Tracks

When working with multiple tracks, you occasionally encounter a

circumstance where you must edit source audio or video onto a track other
than the parallel track displayed in the Track Selector panel. To edit the source
material onto another record track above or below it, you must patch the
source track to the targeted record track.

You can perform only one patch per edit, but there is no limit on the number of
times you can patch from the same source track, and you can perform several
patches prior to an edit. Audio can patch only to audio, and video only to
video.

n You can also patch tracks using the Auto-Patching option in the Edit tab of the
Timeline Settings dialog box. For more information, see “Timeline Settings:
Edit Tab” in the Help.

To perform a patch:
t Drag from a source track (audio or video) to the targeted record track.
A white arrow appears during the patch.

An audio patch from New source track

a source track to a order identifies the
record track. patch.

During patch After patch

To undo a patch:
t Manually repatch to the previous track.

The selected source track moves beside the record track to which it is patched
as soon as you draw the arrow and release the mouse. The patched track
remains highlighted in preparation for your edit. You can proceed to select any
other tracks required for the edit.

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c When you patch from one video track to another, the Video Track
Monitor icon moves to the track you are patching if Auto-monitoring is
selected in the Edit tab of the Timeline Settings dialog box (see “Timeline
Settings: Edit Tab” in the Help). Return to monitoring 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 or in Source/Record
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 aspects unique 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 is especially useful when you are working with multiple tracks
and want to maintain sync between two or more tracks while trimming.

To sync lock the tracks:

t Click in the center column between track selectors to activate the Sync
Lock icon for each synchronized track.

To resume editing on individual tracks:

t Click again to remove the Sync Lock icon.

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Adding Tracks
To add a new track to a sequence, do one of the following:
t With a sequence loaded in the Composer monitor or the Source pop-up
monitor, select Clip > New Audio Track or select Clip > New Video
Track.
The new track appears in the Timeline.

To manage the numbering scheme of new tracks rather than use the
consecutive numbering default:
1. Press and hold the Alt key (Windows) or the Option key (Macintosh) and
select Clip > New Audio Track or select Clip > New Video Track.
The Add Track dialog box opens.
2. (Option) Click the New Track Type pop-up menu, and select the type of
track you want to add by selecting that option.
3. (Option) Select a track number other than the default number displayed in
the dialog box by selecting another number from the Track Number pop-
up menu.
4. Click OK. One of the following occurs:
- The new track appears in the Timeline and in the Track Selector
panel.
- If you chose the number of an existing track in step 3, a dialog box
asks if you want to insert the new track. Click the Insert button to add
the new track below the current track with that number. The new
track is labeled with the number you chose and the existing tracks are
renumbered in consecutive order.

Renaming Tracks

To add a custom name to a track in the Timeline:

1. Right-click (Windows) or Ctrl+Shift+click (Macintosh) the Track
Selector button, and select Rename Track.
The Comments window opens.
2. Type a new name for the track.
3. Click OK.

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To remove a custom track name:

1. Right-click (Windows) or Ctrl+Shift+click (Macintosh) the Track
Selector button, and select Rename Track.
The Comments window opens.
2. Click Remove.
The track name returns to the default track name, such as V1.

Deleting Tracks
To delete one or more tracks from the sequence:

n Make sure you deselect any tracks you want to keep before you delete others.

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.

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.
• 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 434.

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Accessing the Timeline Settings

The Timeline Settings options allow you to customize the Timeline.

To access the Timeline Settings options:

t Right-click (Windows) or Shift+Ctrl+click (Macintosh) the Timeline, and
select Timeline Settings.
For information about options, see “Timeline Settings” in the Help.

Using the Timeline Fast Menu

You can customize the appearance of the Timeline using various options from
the Timeline Fast menu.

To select an item from the Timeline Fast menu:

t Click the Fast Menu button, and scroll through the menu to select or
deselect an item. Selected items have check marks next to them.

The following table lists the Timeline Fast menu items.

Timeline Fast Menu Options

Option Suboption Description

Default Setup Sets the Timeline display back to the default.

Clip Frames Displays the first frame within a clip 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.

Clip Comments Switches on and off the display of clip comments 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 file names in
the Timeline.

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Timeline Fast Menu Options (Continued)

Option Suboption Description

Clip Resolutions Switches on and off the display of the video and audio
resolutions of each clip in the Timeline.

Dupe Detection Shows color-coded dupe display for V1 track.

n Dupe Detection is available only if you have Avid Xpress

Pro. See “Using Film Options” on page 651.

Render Ranges Indicates unrendered or partially rendered effects; see

“Customizing Render Ranges Display” in the Help.

None Turns off the display of render ranges.

Partial Only Displays a red line on the portion of any partially rendered
effect that is currently unrendered (but does not mark
completely unrendered effects).

All Displays a red line on the portion of any partially rendered

effect that is currently unrendered and on all completely
unrendered effects.

Audio Clip Gain Displays audio clip gain information. See “Automation Gain
Values and System Clip Gain Values” on page 550.

Audio Auto Gain Displays audio automation clip gain information. See
“Automation Gain Values and System Clip Gain Values” on
page 550.

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.

n You must mark IN and OUT points in the Composer

monitor to display sample plots. Mark only the area you
want to see, because the longer the marked region, the
longer it takes to display.

Clip Color Displays local, source, and offline colors assigned to clips.

Offline When this option is selected, any clips in the Timeline with
media offline are highlighted in red.

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Timeline Fast Menu Options (Continued)

Option Suboption Description

Track Color Displays a Color palette from which you can select a color for
the tracks displayed in the Timeline. If no tracks are selected or
no sequence is loaded, you can change the background color.

n Track Color is overridden by color selections in the

Appearance tab of the Interface Settings dialog box. See
“Appearance Tab Options” on page 117.

Show Track Displays a submenu for displaying tracks.

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 select Show Track
> Film

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

The Avid system allows you to highlight offline media clips, enlarge and
reduce the sizes of the Timeline tracks, and change the colors of the tracks and
background. These procedures include:
• Highlighting Offline Media Clips
• Enlarging and Reducing Tracks
• Changing the Timeline Track Color

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Highlighting Offline Media Clips

You can choose to highlight the clips in the Timeline that have offline media.
The clips appear red, indicating their media is offline. Selecting Offline
overrides any previous source or local color selections.

To highlight the clips that have offline media:

1. Click in the Timeline to activate it.
2. Click the Timeline Fast Menu button, and select Clip Color > Offline.
Any offline media is displayed in red in the Timeline.

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

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:
• Enlarge all tracks to view waveform plots or other displays in multiple
tracks.
• Reduce and view all the tracks in a multilayer sequence, and enlarge them
when finished.

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 468.
2. Do one of the following:
t Select Edit > Enlarge Track or Edit > Reduce Track.
t Press Ctrl+L (Windows) or k+L (Macintosh) to enlarge the track, or
press Ctrl+K (Windows) or k+K (Macintosh) to reduce the track.
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.

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Changing the Timeline Track Color

To change the color of selected tracks in the Timeline:

1. Click the Timeline to make it active.
2. Click the Timeline Fast Menu button, and select Track Color.
3. Select a color for the tracks from the Color palette.

If you want to select a custom color for the tracks, press the Alt key
(Windows) or the Option key (Macintosh) while performing this procedure.
When you release the mouse button on the Color palette, the Windows Color
dialog box or the Macintosh Color Picker opens.

Saving a Custom Timeline View

After you customize the Timeline, you can save it and access the view as you
switch between projects and workspaces.

To save a custom Timeline view:

1. Click the View Menu button at the bottom of the Timeline.
If you have not yet saved a view, the button is labeled Untitled.
2. Select Save As.
The View Name dialog box opens.
3. Type a name for your Timeline view.
4. Click OK.

Replacing a Timeline View

If your saved views become extensive and there are views you no longer use,
you can replace them.

To replace saved views:

1. Press and hold the Alt key (Windows) or the Option key (Macintosh)
while you click the View Menu button to display the list of saved view
names, each preceded by the word Replace.
2. Select a saved view name that you want to replace from the list.
The current Timeline view is applied to the selected name, and that name
is displayed in the Settings scroll list in the Project window.

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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 in the Timeline bottom toolbar 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.

Bottom toolbar Scale bar Scale box Position indicator Scroll box Scroll bar

Using the Position Indicator

The position indicator in the Timeline marks your place in the sequence. It
also determines how some of your commands are interpreted. When you drag
the position indicator in the Timeline, the smaller position indicator within the
Composer monitor’s position bar also moves.

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Using the Timeline Scroll Bar

The Timeline scroll bar appears along the bottom of the Timeline on the right
side of the Timeline toolbar.

The Timeline scroll bar functions like any standard scroll bar. You can drag
the scroll box to reposition yourself within the Timeline, or click the arrows to
scroll left or right.

Displaying Detail in the Timeline

The scale bar stretches and contracts the Timeline area centered around the
position indicator. This allows you either to zoom in to focus on a specific area
of your sequence or to zoom out to display your whole sequence. This feature
is especially useful when you have a lengthy sequence with many edits.

To zoom in on a section of the Timeline at the position indicator and then

zoom back to your original display:
1. Press the Down Arrow key repeatedly, or click the scale box and drag it to
the right.
The following happens:
- The Timeline expands horizontally.
- The Timeline track shows more detail.
- After a certain amount of zooming, 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.
2. Press the Up Arrow key repeatedly, or click the scale box, and drag it
back to the left.
The Timeline shrinks.

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

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 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.

Button and position

indicator change to
green.

Toggle Source/Record in Timeline button

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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 (Windows)
or the k and Option keys (Macintosh) to control the movement of the
position indicator.

To snap to the head of transitions as you move through the Timeline

sequence:
t Press and hold the Ctrl key (Windows) or the k key (Macintosh) as you
drag the position indicator.

To snap to the tail of transitions:

t Press Ctrl+Alt (Windows) or k+Option (Macintosh) as you drag the
position indicator.

To move frame by frame:

t Press the Alt key (Windows) or the Option key (Macintosh) as you drag
the position indicator.

Viewing Video Quality

Using the Video Quality Menu button in the Timeline bottom toolbar, you can
play back media in several ways:
• Full Quality mode uses full-image resolution but can handle only limited
effect complexity
• 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.

n If your system is not connected to an Avid Mojo DNA device, the Video
Quality Menu button shows only two choices, Best Quality and Best
Performance.

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For more information about the Video Quality Menu button, see “Playing
Back at Different Video Qualities” in the Help.

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, but
when you play the clip, the footage appears unchanged because the frames are
continuous.

Add edit placed between frames

1 2 3 4 5 6 7

Footage plays back continuously

Use add edits primarily to divide and isolate portions of a clip or sequence in
order to modify that portion without affecting the rest of the footage. Once 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 an add edit:

1. Move the position indicator to the chosen frame.
2. Select the tracks where you want to add the edit.
3. Click the Add Edit button in the Edit tab of the Command Palette.
The edit appears in the sequence with an equal sign to indicate an add-
edit.

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Removing Add Edits

To remove add-edit 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 lose those additional edits.
t Enter Trim mode at the add-edit point, and then press the Delete key. For
more information about Trim mode, see “Working in Trim Mode” on
page 505.

c You cannot remove add edits between segments where an audio or video
effect has been applied to one of the segments, including audio level and
pan changes.

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:

• The Avid application needs only three marks to perform an accurate
overwrite, whether normal or backtimed. If two marks are set in the
Source monitor and two in the Timeline, the IN and OUT points set in the
Timeline always take precedence.
• If you do not mark an IN point in the sequence, the system uses the
position indicator as the IN point.
• If you do not mark an OUT point in the clip and no OUT point is set in the
sequence, the system uses the end of the clip as the OUT point.
• If you mark OUT points in both the Source pop-up monitor and in the
Timeline, the system uses the OUT point in the Timeline.

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To backtime an edit:
1. Mark an OUT point in the Timeline where you want the edit to end. Also,
mark an IN point where the edit is to start.
2. Select the appropriate tracks.
3. Open a clip in the Source pop-up monitor.
4. Mark an OUT point in the Source pop-up monitor to synchronize to the
OUT point in the sequence.
5. Do one of the following:
t Press the Overwrite key on the keyboard.
t Click the Fast Menu button, and then click the Overwrite button on
the Tool palette.
The source material is added to the sequence, with the synchronized
ending.

Detecting Duplicate Frames

When you edit offline with plans to generate an EDL, the Dupe Detection
feature allows you to visually track duplicate frames of footage as you edit so
that you can eliminate or manage the requirements of an online dupe reel.

n Dupe Detection is available only if you have Avid Xpress Pro. See “Using
Film Options” on page 651.

To activate Dupe Detection:

t Click the Timeline Fast Menu button, and select Dupe Detection.

n This procedure only works for the V1 track.

When you activate Dupe Detection, each set of duplicate frames is tagged with
a different color. (Up to 10 color sets can be distinguished during a single
detection process.) Matching frames have matching colors. If the duplicate
frames are unnecessary, you can use any of the Trim mode options to remove
the superfluous frames before generating an EDL.

The colored bars that distinguish duplicate frames in the sequence are
automatically drawn above the frames in the Timeline.

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Orange bars mark the first set of duplicate frames, green bars mark the second
set, and so on. You can use Dupe Detection while you are editing to locate
duplicate frames and remove them as the sequence evolves.

Dupe Detection is instantaneous and retroactive; if duplicate frames already

exist in your sequence, the colored bars appear immediately. As you edit, the
system shows duplicate frames as they occur.

n The handle size used by Dupe Detection can be changed in the Timeline
Settings dialog box.

Finding Flash Frames

The Find Flash Frames command helps you quickly find parts of your
sequence that you might want to delete from the final sequence. Flash frames
are clips that have an extremely short duration, for example, less than 30
frames.

To find flash frames:

1. Check or set the maximum frame length that you want the system to
detect:
a. Click the Settings tab in the Project window.
The Settings scroll list appears.
b. Double-click Timeline.
The Timeline Settings dialog box opens.
c. Click the Edit tab.
d. In the option “Find Flash Frames Shorter Than n frames,” indicate the
maximum number of frames you want the system to detect. The
default is 10, which tells the system to detect clips with 9 frames or
fewer.
e. Click OK.
2. Click the Timeline window to activate it.
3. Select the tracks you want to search.
4. Park the position indicator at the beginning of the sequence or before the
part of the sequence you want to search.

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5. Right-click (Windows) or Ctrl+Shift+click (Macintosh) in the Timeline,

and select Find Flash Frames.
The position indicator moves to the first flash frame.

To find the next flash frame:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) in the Timeline,
and select Find Flash Frames again.

Editing in the Timeline

The following sections describe editing you can do in the Timeline:
• Selecting and Deselecting Segments
• Performing Segment Mode Edits
• Bin Editing into the Timeline
• Adding Filler
• Setting the Duration for Filler at the Start of a Sequence
• Cutting, Copying, and Pasting in the Timeline
• Editing and Nesting Effects

Selecting and Deselecting Segments

Segment editing is a unique feature of digital, nonlinear editing. Unlike

traditional tape editing, segment editing allows you to instantly reposition
entire segments as though you were physically “dragging” portions of your
sequence across a tape. You can move audio and video tracks separately or
together, and individual or multiple segments can be repositioned at the same
time.

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To perform segment editing:

1. Select the segments either by clicking a Segment Mode pointer and
making selections or by lassoing segments with the mouse. You can select
one or several segments or tracks, as described in “Selecting Segments
with the Segment Mode Pointer” on page 492 and “Lassoing One or More
Segments” on page 492.
When you enter Segment mode, the pointer becomes a hand icon. Outside
the Timeline, the pointer changes back to the standard arrow or I-beam,
allowing you to perform other functions while in Segment mode.
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

To select segments with the pointer:

1. Click one of the Segment Mode buttons located in the Timeline bottom
toolbar next to the scroll bar. The arrow changes to an enlarged pointer
(Windows) or a pointing hand (Macintosh).
2. Click a segment in any track to select it. Shift+click additional segments
to select a group.

Lassoing One or More Segments

The system automatically enters Segment mode when you lasso segments
from left to right.

To lasso segments:
t Click in the area above the tracks in the Timeline. Drag left to right and
down to select more than one segment.

Lasso box
Begin

Segment

End

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To switch to Lift/Overwrite mode:

t Click the Lift/Overwrite button after drawing the lasso.

Observe the following guidelines when lassoing segments:

• Position the pointer above the tracks before dragging. If you click within
the tracks, you simply relocate the position indicator to that position. To
lasso segments in the middle of the Timeline between multiple tracks,
press and hold the Alt key (Windows) or the Ctrl key (Macintosh), click
above the tracks, and drag the lasso.
• Lasso at least two transitions or all transitions included in multiple
segments. If your lasso surrounds only one transition, you enter Trim
mode.
• Drag from left to right.

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 segments selected.

Performing Segment Mode Edits

There are two methods for editing segments or adding clips:

• Extract/Splice-in, indicated by a yellow arrow
• Lift/Overwrite, indicated by a red arrow

Consider the following when editing segments:

• Transition effects on either side of a moved selection are deleted.
Transition effects inside the selection are preserved.

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• Moving segments snap to other segments in the Timeline. Head frames

snap by default together; pressing the Alt key (Windows) or the Option
key (Macintosh) causes tail frames to snap together. Segments also snap
to existing cuts, marks, or the position indicator.

Observe the following guidelines when selecting tracks:

• You cannot simultaneously move segments that are separated along the
same track. You can, however, move segments separated on different
tracks.
• 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.

Understanding the Four-Frame Display

When you begin to drag the segments, the interface changes to the Segment
mode four-frame display:
• The Source and Record monitors change to a four-frame monitor display.
The two outer frames are updated while you drag the segment forward or
backward in the Timeline, indicating the frames you pass as you drag the
segment. The two outer frames in the four-frame display make it easy to
view and analyze the frames between which you might want to drop the
selected segment.

n When you enter Segment mode and you begin to drag the segments, the
interface changes to a two-frame display. Only the outer two frames in the
four-frame display appear in the Playback monitor.

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Four-frame display The two outer frames indicate ending and beginning
frames of clips before and after the segment.

The two inner frames represent the start and end frames of the segment.

When you drag the segments, the original highlighted segment remains in
place, while a “ghost” segment enclosed in a dotted white box moves along
with the pointer until you release it at a new edit point.

When you release the segment into its new position, the actual lift (Overwrite)
or extract (Splice-in) occurs. Until then, the segment position is preserved in
the Timeline, allowing you to maintain your perspective of the sequence while
selecting the new edit point.

Suppressing Four-Frame Display

The four-frame display of incoming or outgoing frames can occasionally slow

the movement of segments as you drag them through the sequence. You can
improve the speed of segment editing by suppressing the four-frame display.

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To suppress the four-frame display:

1. Double-click Timeline in the Settings scroll list in the Project window.
The Timeline Settings dialog box opens.
2. Deselect the Show Four Frame Display option in the Display tab, and
click OK.
3. Click either the Extract/Splice-in button (yellow) or Lift/Overwrite button
(red) to enter Segment mode.
4. Click the segment, and drag it to its new position.
As you begin to drag, notice that the monitors maintain their
Source/Record or Playback configuration rather than shift to the four-
frame display or two-frame display (Playback monitor only).

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.

Before Splice-in
Clip W (selected clip) Clip Y Clip Z

After Splice-in Surrounding clips are unchanged.

Clip W Clip Y (selected clip) Clip Z

n For information on maintaining sync in the sequence when you use

Extract/Splice-in, see “Maintaining Sync in Segment Mode” on page 498.

To perform an Extract/Splice-in edit:

1. Click the Extract/Splice-in button (yellow arrow) in the Timeline bottom
toolbar.
2. Select the segment you want to move.
3. Click the segment, and drag it to its new position.

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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 segment 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. 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 track (V1) selected.

Before Overwrite
Clip W (selected clip) Clip Y Clip Z

After Overwrite
Clip W Clip Y (selected clip) Clip Z

Black filler Underlying materials are overwritten.

To perform a Lift/Overwrite edit:

1. Click the Lift/Overwrite button (red arrow) in the Timeline bottom
toolbar.
2. Select the segment you want to move.
3. Place a mark or the position indicator at the spot where you want to move
the segment.
4. Click the segment, and drag it to its new position.

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5. Release the mouse button.

The system lifts the selected segment from its old position, leaving black
filler, and then overwrites the material onto the sequence at the newly
selected location.
6. Click the Lift/Overwrite button again if you want to leave Segment mode,
or continue to lift and overwrite segments.

n To undo a segment move, select Edit > Undo or press Ctrl+Z (Windows) or
k+Z (Macintosh).

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, sync may be broken. To maintain sync when you use
Extract/Splice-in, you need to select the Segment Drag Sync Locks option in
the Edit tab of the Timeline Settings dialog box. After moving a segment in
the Timeline with Extract/Splice-in, this option maintains sync by adding filler
to the following locations:
• 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

You can move either an audio segment, a video segment, or both.

To move a segment and maintain 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 of the
Timeline Settings dialog box.
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.

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6. Click an audio or video segment, and drag it to the new location.

In the following example, an audio segment in track A2 is moved. The
new location for the audio segment has filler added to the video track. All
segments remain in sync.

Before segment drag sync lock This segment will be moved.

After segment drag sync lock Filler added after segment is moved.

Filler left after segment is moved.

Deleting Segments with Segment Mode

Segment mode allows you to quickly delete whole segments in the Timeline
without having to first mark IN and OUT points. In addition, you can select
multiple segments in separate tracks anywhere along the Timeline to delete
them all at once.

To delete segments quickly:

1. Click one of the Segment Mode buttons:
- Extract/Splice-in (yellow) deletes the segments and closes the
remaining gaps. The total duration of the sequence is shortened, and
any synchronized tracks lose sync.
- Lift/Overwrite (red) deletes the segments but leaves blank space or
silence in their place. The total duration of the sequence remains the
same, and sync is maintained.
2. Select one or multiple segments.

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3. Press the Delete key.

The segments are deleted.

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 the Source
monitor or a Source pop-up monitor, setting marks, and clicking the Splice-in
button or the Overwrite button. You can use Segment mode to edit clips
directly from a bin into the sequence in the Timeline.

To perform a drag edit from a bin into your Timeline:

1. For a more accurate edit, mark IN and OUT points for each clip or create
subclips, as described in “Marking and Subcataloging Footage” on
page 429. 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-in 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 correct location for the clip, release the mouse button.
The Timeline reflects the new edit.

n Once you have completed the edit, you remain in Segment mode until you click
the active Segment Mode button again to deactivate it.

Adding Filler

After editing a few clips, you might want to 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.

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To add filler at the start of a sequence, do one of the following:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) in the Timeline,
and select Add Filler at Start.
t Click in the Timeline, and select Clip > Add Filler at Start.
Filler appears at the beginning of the sequence in the Timeline.

n You cannot add filler to the end of a sequence.

To set a default duration for the filler:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Timeline.
The Timeline Settings dialog box opens.
3. Click the Edit tab, and type the duration of the filler that you want added
to the start of a sequence.
4. Click OK.

To add filler anywhere in a sequence:

1. Select Clip > Load Filler.
The system loads a 2-minute clip of filler into a Source pop-up monitor, or
into the Source monitor if you are using dual monitors.

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Fast Menu button

Mark IN button Mark OUT button

2. Select the length of filler, as needed, using the Mark IN and Mark OUT
buttons.
3. Click the Fast Menu button.
The Tool palette appears.
4. Click the Splice-in or the Overwrite button on the Tool palette or press the
Splice-in key or the Overwrite key on the keyboard to edit the black into
Splice-in Overwrite
the sequence. See “Using the Tool Palette” on page 433.
button button

Setting the Duration for Filler at the Start of a Sequence

To set the duration of filler used at the start of a sequence:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.

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2. Double-click Timeline.
The Timeline Settings dialog box opens.
3. Click the Edit tab.
4. In the option “Start Filler Duration n frames,” type the amount of filler
you want to appear by default when you select Clip > Add Filler at Start.
5. Click OK.

For instructions on how to use filler, see “Adding Filler” on page 500.

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 using one of the Segment Mode buttons.
2. Do one of the following:
t Select Edit > Copy.
t Press Ctrl+C (Windows) or k+C (Macintosh) to copy.
t Select Edit > Cut.
t Press Ctrl+X (Windows) or k+X (Macintosh) to cut.
3. Move the position indicator to the new IN point.
4. Press Ctrl+V (Windows) or k+V (Macintosh) to paste the segment in the
Timeline.

Editing and Nesting Effects

You can edit effects in the Timeline. Effects editing techniques fall into the
following basic categories:
• Motion effects, such as freeze-frame and slow-motion or fast-motion
effects, involve applying frame-motion parameters to selected footage,
usually on a single video track.
• Transition effects, such as dissolves and wipes, involve transitioning from
one edited clip to another on the same video track.

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• Segment effects, such as picture-in-picture, keys, or color effects, are

applied to whole segments. They commonly require multiple layers of
video.

n For more information on effects editing, see the effects guide for your system
or the Help.

When editing effects, you can use a procedure known as nesting. This
involves opening up effects to reveal added layers for combining multiple
images and digital video effects. When the effect is applied, you can close it to
view and render the effect as one segment on the track.

n For more information on nesting techniques, see “Nesting Effects” in the

effects guide for your system or the Help.

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 (Windows) or Print (Macintosh).
The system prints the current view of the Timeline.

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Working in Trim Mode

Basic editing in the Timeline initially produces a rough cut, which can be
loosely defined as a series of straight-cut edits with many rough edges and few
effects. After creating a rough cut, you can enter Trim mode and fine-tune the
transitions between each clip or between whole segments. You can also trim
edits as you build a sequence, rather than create a rough cut first. The
following sections describe the Trim mode procedures:
• Using Basic Trim Procedures
• Customizing Trim Mode
• Slipping or Sliding Clips or Segments
• Creating Overlap Edits
• Maintaining Sync While Trimming

Using Basic Trim Procedures

You can enter Trim mode in several different ways, depending on the type of
trim you expect to perform. Once in Trim mode, you can:
• Select trim sides.
• Perform and review the trim.
• Trim on-the-fly.
• Trim video tracks.
• Extend edits.
Chapter 15 Working in Trim Mode

Entering Trim Mode

To enter Trim mode, use one of the following methods:
t Press the Trim mode key (‘[‘)on the keyboard.
t Click the Trim Mode button on the Tool palette or in the Timeline top
toolbar. See “Using the Tool Palette” on page 433.
By default, the system enters Trim mode and selects the transition nearest
the position indicator for dual-roller trimming. This method is useful for
selecting straight-cut transitions on one track or across video and audio
tracks. If the transitions are not straight cuts (overlap cuts or L-edits), the
Dual-Roller icon appears on the transition nearest the position indicator of
the topmost track, and all other tracks are deselected.
t Press the Alt key (Windows) or the Option key (Macintosh) and click the
Trim Mode button to select the previous trim-roller configurations. By
default, when you enter Trim mode, the trim rollers are set for dual-roller
trimming. For more information about selected trim sides, see “Selecting
Trim Sides” on page 509.
t Lasso the transitions in the Timeline.
Draw the lasso by clicking at a point above the top track in the Timeline
and by dragging to surround the transitions. You can drag from right to
left or from left to right, and you can lasso single transitions across several
contiguous tracks.

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Lasso drawn across three tracks

Transitions are selected for dual-

roller trim

n Avoid lassoing more than one transition on a single track when lassoing from
left to right because this activates Segment mode and lassoing from right to
left activates slipping trim mode.

This method is useful when you need to select multiple transitions

staggered across tracks (overlap cuts) for simultaneous trimming.

n To select transitions located below several track layers, you can draw a lasso
within the Timeline by pressing the Alt key (Windows) or the Option key
(Macintosh) while you drag.

Exiting Trim Mode

To exit Trim mode, use one of the following methods:
t Click the Trim Mode button on the Tool palette.
t Press the Right Arrow key or the Left Arrow key.
t Press Esc.

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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.

Trim Mode Displays

You can trim in Big Trim mode or Small Trim mode. Your choice of mode
depends on whether you are using the dual Source/Record monitors or the
single Composer monitor. For more information about dual monitors, see
“Using Dual Monitors” on page 406.

To trim in Big Trim mode:

t In the dual Source/Record monitors, click the Trim Mode button in the
Timeline top toolbar or on the Tool palette.

n For more information about the Timeline top toolbar or the Tool palette, see
“Accessing the Timeline Settings” on page 478 or “Using the Tool Palette”
on page 433.

Big Trim mode opens in both monitors.

Outgoing frames Incoming frames

Trim buttons Frame offset counters Play Loop button

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To trim in Small Trim mode:

t In the single Composer monitor, click the Trim Mode button in the
Timeline top toolbar or on the Tool palette.
Small Trim mode opens in the Composer monitor.

Playback loop
parameters

Outgoing
Incoming frames frames

Frame offset counters

Trim buttons

Play Loop button

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:

t Click the outgoing (A-side) or incoming (B-side) monitor to define which
side of the transition to trim. The pointer changes to a Single-Roller A-
Side, Single-Roller B-Side, or Dual-Roller icon, depending on the
position of the pointer.

A-Side B-Side A and B

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A and B t Use the Trim-side keys on the default keyboard (or map the Trim-side
A-side B-side 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.
t In Big Trim mode, use the Trim Counter frame indicators located below
the monitors. Click the A-side or B-side of a frame indicator to select
single-roller trimming, or Shift+click both frame indicators to select dual-
roller trimming.
Trim Counter The selected parts of the transition are highlighted, and the corresponding
A-side B-side rollers appear in the Timeline. Also, one or both of the frame counter
indicators below the monitors are highlighted to reflect the active trim
sides: A-side, B-side, or both. The number indicates how many frames
Purple highlight have been added or subtracted from the transition.
indicates active side.
t Click in between the two frames displayed in the Composer monitor to
trim both sides.

Selecting Additional Transitions

While in Trim mode, you can select additional transitions for trimming in
different contexts.

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.
See “Using the Track Selector Panel” on page 467.
Likewise, you can deselect tracks in the Track Selector panel to remove
transitions on those tracks from the trim procedure.

To select additional transitions for single-roller trimming in varying

locations on different tracks:
t Shift+click the transitions in the Timeline.
This method is useful when you are working with staggered transitions
across multiple tracks. It also allows you to select both A-side and B-side
transitions for simultaneous trimming in opposite directions
(asymmetrical trim). This is not possible with dual-roller trims.

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 Using Basic Trim Procedures

As you move the pointer back and forth across a transition, the roller icon
changes from an A-side roller (facing left) to a B-side roller (facing right) to
indicate the type of selection.

Single-Roller A-Side icon Single-Roller B-Side icon

You do not see the Dual-Roller icon in the Timeline.

To select both sides:

t Click the divider between the two frames in the Composer window.
t 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. For more information about lassoing, see “Entering Trim
Mode” on page 506.

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 10-frame
increments, or by 1-frame or 8-frame increments (for 24p projects).
t Use the J-K-L keys to trim forward or backward in the sequence.
- This option is deselected as the default. To select this option, see
10 frames “Trimming with the J-K-L Keys” on page 513.
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.

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If the number of frames is larger than 99, type an f after the number
to indicate frame count. For example, to enter 200 frames, type 200,
then type f, and press Enter.
- 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).
t Use controls in the Timeline by clicking a roller at the selected transition
and by dragging forward or backward in the sequence.

To have greater control:

t Press the Alt key (Windows) or the Option key (Macintosh) as you drag
one frame at a time.
t Press the Ctrl key (Windows) or the k key (Macintosh) to snap to other
transition points.

As you trim, all selected transitions in the Timeline move in unison. The Trim
counter displays the frame count backward or forward for one or both trim
sides, and the monitors display the new incoming or outgoing frames.

n You can render transition effects while in Trim mode but you cannot render
segment effects. If the position indicator is on a segment effect or if the marked
portion of your sequence includes a segment effect, render menu commands
and buttons are not available.

Reviewing the Trim Edit

You can review an edit using the Play Loop button.

Reviewing an Edit with the Play Loop Button

To review the most recent trim edit or to play the currently selected
transition while in Trim mode:
1. Click the Play Loop button in the Composer monitor toolbar.
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.

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To exit Trim mode:

t Click the Step Forward or the Step Backward button.
For other ways to exit, see “Exiting Trim Mode” on page 507.

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.
The Trim Settings dialog box opens.
2. Click the Features tab.
3. Select J-K-L Trim.
You can now trim with the J-K-L keys.

To use the J-K-L keys in Trim mode to only play, step, and shuttle,
without trimming:
t Deselect the J-K-L Trim option in the Trim Settings dialog box.

Trimming On-the-Fly

In Trim mode, you can use the J-K-L keys on the keyboard to play outgoing or
incoming material and mark trim points. This is similar to the procedure for
marking footage on-the-fly, as described in “Marking and Subcataloging
Footage” on page 429.

For convenience, this method isolates the trim controls to just three keys.

To trim on-the-fly:

n 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.

1. Click either the outgoing (A-side) or incoming (B-side) monitor to play in

real time during the trim.
2. Select one or more transitions for single-roller or dual-roller trimming.

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3. Use the J-K-L keys to step, play, or shuttle through the footage at varying
speeds:
t Press and hold the K key while pressing the J or the L key 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 the L key 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 Avid system always leaves one frame. To remove the remaining
frame, see “Performing a Basic Trim” on page 511.

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.

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 To make adjustments to the playback loop for preroll, postroll, or intermission

intervals, see “Reviewing the Trim Edit” on page 512.

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
1 frame 10 frames 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.

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4. When you are finished, exit the playback loop:

t Click the Play Loop button.
t Press 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 reset the trim rollers on only the video tracks:

1. Make sure you are in Trim mode with a video track selected.
2. Press the Alt key (Windows) or the Option key (Macintosh) and click
either the A-side or B-side in the monitor (not the Timeline).
The trim rollers appear only on the video tracks of the selected side.

To save the position of the trim rollers:

t Press the Alt key (Windows) or the Option key (Macintosh) when you
click the Trim Mode button to return to Trim mode.

Extending an Edit

Use the Extend Edit function to perform dual-sided (A-side and B-side) trims
on selected tracks. Using Extend Edit allows you to quickly create a split or
overlap edit without entering Trim mode. It also lets you establish the exact
frame you want to trim 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.

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4. Click the Trim tab.

5. Select Active Palette.
6. Click the Extend button.
The adjustment appears in the Timeline.

n You can map the Extend button to any button on the Tool palette or to any key
on the Keyboard palette. For information on mapping buttons, see “Mapping
User-Selectable Buttons” on page 144.

Customizing Trim Mode

You can customize Trim mode by changing the Transition Play Loop settings
for preroll, postroll, and intermission.

To customize the Transition Play Loop settings:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Trim.
The Trim Settings dialog box opens.
3. Set and alter the lengths of the preroll, postroll, and intermission intervals
by clicking the appropriate text box, and then typing a new value.
4. Click OK.

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. Procedures for performing them
are described in this section.

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.

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The type of trim you perform (slip or slide) determines which frames are
updated, as follows:
• In slip trimming, 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. The trim rollers point inward to the clip.

Surrounding material
remains fixed Slip 1 frame to the right

Before slip 1 2 3 4

Frames Rollers on the inside

After slip 2 3 4 5

• In slide trimming, the outgoing (A-side) and incoming (B-side) frames

change because the clip remains fixed while the footage before and after it
is trimmed. The trim rollers point away from the clip.

Surrounding material is selected Slide 1 frame to the right

Before slide 1 2 3 4 1 2 3 4

Frames Rollers on the outside

After slide 1 2 3 4 5 2 3 4

Selecting Clips or Segments for Slip or Slide Trimming

To select clips or segments for either slip or slide trimming, do one of the
following:
t While in Editing mode, select what you want to slip or slide. Then, enter
Trim mode by dragging a lasso from right to left around a segment (two or
more transitions). To select a segment for slide trimming, press Shift+Alt
(Windows) or the Option key (Macintosh) while you drag the lasso.
Drag right to left around at least two transitions.

IN OUT

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To drag a lasso around a segment on a lower track, press the Alt key
(Windows) or the Ctrl key (Macintosh) while you drag a lasso. You enter
slide trim by default. To switch to slip trim, Shift+click the insides of the
rollers. To return to slide trim, press the Alt key (Windows) or the
Crtl+Option keys (Macintosh) while you double-click the segment.
You can also select two or more contiguous segments within a track for
slipping or sliding as a whole by dragging the lasso around four or more
transitions.

c Be sure to draw the lasso from right to left; if you draw from left to right,
you enter Segment mode.

t While in Trim Mode, place the position indicator on the segment you
want to slip or slide, right-click (Windows) or Ctrl+Shift+click
(Macintosh) in the Timeline, and select Select Slip Trim or Select Slide
Trim.
The Slip or Slide rollers appear at either end of the segment.
t While in Trim mode, press the Shift key and select both the head and tail
of a clip for slipping. Alternatively, select the outgoing tail frame of the
preceding clip and the incoming head frame of the following clip in the
sequence to prepare the clip for sliding.
You can also use this method to select two or more contiguous segments
on the same track, and additional segments on other tracks for slipping or
sliding as a group.

n You cannot perform both slipping and sliding simultaneously.

You can slip and slide segments in a four-frame display.

To slip and slide segments in a four-frame display:

1. With the Composer monitor stretched to the dual Source/Record
monitors, click the Trim Mode button to enter Big Trim mode.
2. Place the position indicator on the segment you want to slip or slide.
3. Right-click (Windows) or Ctrl+Shift+click (Macintosh) in the Timeline,
and select Select Slip Trim or Select Slide Trim.
The four-frame display appears.

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The two outer frames indicate ending and beginning frames of clips before and after the segment.

The two inner frames represent the start and end frames of the segment.

n For more information about Big Trim mode, see “Trim Mode Displays” on
page 508.

Performing the Slip or Slide Trim

To slip or slide a clip or segment:
1. After selecting the segments, as described in “Selecting Clips or Segments
for Slip or Slide Trimming” on page 517, 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 (Windows) or Return (Macintosh).
t Use the Trim keys to shift the selection by 1-frame or 10-frame
(8-frame for 24p) increments.

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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 using the monitors, the Trim counters,
and the Timeline.
When you reach the end of available material while slipping a clip, the
trim stops. Similarly, when you reach the next transition while sliding a
clip along a track, the trim stops.
3. Exit Slip mode or Slide mode:
t Click another transition for trimming.
t Click the Trim Mode button on the Tool palette.
t Press the Escape key to exit Trim mode.

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

Before V1 Clip A Clip B Clip C
trimming A1
A2

After V1 Clip A Clip B Clip C

trimming A1
A2
Clip B audio is extended. Clip C audio is trimmed in.

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To create an overlap edit:

1. Perform a straight-cut edit between two clips, including audio and video
tracks.
t If the timing of the video edit is crucial, mark edit points according to
video.
t If the timing of the audio transition is crucial, mark edit points
according to audio.
2. Perform a dual-roller trim on either the video track or the audio tracks, but
not both.
t If the video transition occurs at the correct place, but you want the
audio from one clip to linger into the other (or the reverse), trim the
audio tracks accordingly.
t 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.

Maintaining Sync While Trimming

The Avid system provides two features to ensure that you do not break sync
unintentionally between two or more video and audio tracks when performing
single-roller trims.
• You can add black filler to maintain the overall duration of the track.
• You can trim with tracks sync locked.

Adding Black While Trimming

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 the trimmed frames.

To add black while trimming:

1. Enter Trim mode.
2. Select the transition.

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3. Press and hold the Alt key (Windows) or the Ctrl key (Macintosh) while
dragging the A-side or B-side trim roller.
The system adds a black segment without changing the duration of the
sequence.

After you add 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 460.

Trimming with Sync-Locked Tracks

To trim with sync-locked tracks:

n Sync-locked tracks aid only single-roller trim functions in Trim mode because
dual-roller trims do not cause sync breaks.

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 Timecode button

n 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.

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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. Attempting to trim a transition when there is another clip at the
same point on another track fails unless the other clip abuts only
filler.
- 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.

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Chapter 16
Working with Audio

You edit audio using many of the same techniques and tools you use to edit
video, including editing, Segment mode, and Trim mode functions. Your Avid
system also provides several unique features that facilitate audio editing, such
as audio scrub, waveform displays, and tools for adjusting and mixing audio
levels and pan between speakers. In addition, you can use the Audio
Equalization (EQ) tool to adjust the high, low, and midrange frequency ranges
of segments. The following sections describe these procedures:
• About Audio Tools
• Accessing Audio Effect Tools
• Audio Editing Aids
• Understanding the Audio Mix Tool
• Using the Audio Mix Tool
• Understanding Audio Gain Automation
• Using the Audio EQ Tool
• Digidesign AudioSuite Plug-Ins
• Recording Voice-Over Narration
• Fine-Tuning Audio Transitions
• Mixing Down Audio Tracks
• Changing the Sample Rate
Chapter 16 Working with Audio

About Audio Tools

The Avid system provides a collection of tools for managing and fine-tuning
audio volume, pan, equalization, and transitions. The general purpose of each
tool is as follows:
• Audio tool: Use this tool primarily to monitor global input and output
levels when you capture from analog sources or from output to tape. For
more information, see “Using the Audio Tool” on page 230 and
“Preparing for Audio Output” on page 632.
• 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 540.
• 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 “Understanding Audio Gain
Automation” on page 550.
• 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 564.
• Digidesign® AudioSuite Plug-In tool: Use this tool to access third-party
audio plug-ins. For more information, see “Digidesign AudioSuite Plug-
Ins” on page 579.
• 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 594.

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

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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 the tool from the Tools menu or press and hold the Alt key
(Windows) or the Option key (Macintosh) while selecting a new tool from
the Effect Mode Selector pop-up menu.

n To prevent confusion, the Avid application allows only one copy of an audio
effect tool to be open at a time. For example, you can open only one copy of
the Audio EQ tool.

The following section describes several features that help you locate
transitions and monitor audio samples while editing or adjusting sound with
the tools.

Audio Editing Aids

The Avid system provides audio track soloing, audio scrub features, pan
defaults, 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.

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Soloing Audio Tracks in the Timeline

You can solo multiple tracks in the Timeline. This feature allows you to:
• Listen to several tracks at once without turning other audio tracks off or
down.
• Isolate audio tracks for audio scrubbing without having to deselect
monitoring of all other audio tracks.

To solo an audio track:

t Ctrl+click (Windows) or k+click (Macintosh) the Audio Track Monitor
button for the track that you want to solo.
The Audio Track Monitor icon changes to green.

To turn off soloing for the track:

t Click the Audio Track Monitor button again.

To turn off the solo feature for all tracks:

t Ctrl+Alt+click (Windows) or k+Option+click (Macintosh) an Audio
Track Monitor button for a solo track.

Using Audio Scrub

The term audio scrub originated in the film industry. It describes the process
of “scrubbing” a magnetic audiotape across the playback heads to monitor a
portion of sound. This process isolates portions of audio to help you accurately
mark edit points or analyze transitions for careful trimming.

Smooth Scrub Versus Digital Scrub

You have two options for scrubbing audio in either the sequence or the source
material:
• Smooth audio scrub: This feature mimics the variable-pitch playback of
traditional analog tape.
• Digital audio scrub: This feature takes advantage of the digital
environment by sampling incoming frames, outgoing frames, or both at
normal pitch and playback rate.

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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.

Try both types of scrub and see which one works better in different situations.

Selecting Tracks for Scrubbing

By default, all monitored audio tracks are selected for scrubbing. However, as
the play speed increases during audio scrubbing, some monitored audio tracks
are dropped. You can select up to two tracks to ensure they play during
scrubbing, even if the system has to drop some tracks.

The following table shows how many tracks can be scrubbed at the varying
speeds of play.

Number of Tracks and Scrub Speeds

When you play footage

forward or backward at: You can scrub:

Normal speed Up to 8 tracks

Two times normal speed Up to 8 tracks (Windows)

2 tracks (Macintosh)

Three times normal speed 2 tracks

Greater than three times normal speed 0 tracks

To ensure an audio track is monitored during scrubbing:

t Alt+click (Windows) or Option+click (Macintosh) the Audio Track
Monitor button in the Track Selector panel for the chosen track.

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Audio Track Monitor buttons with

gold Speaker icons

The Audio Track Monitor button has a gold Speaker icon to indicate which
tracks are 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 528.

Performing Smooth Audio Scrub

You perform the smooth audio scrub procedure using the J-K-L keys, as
described in this section.

Using the J-K-L Keys to Perform Smooth Scrub

You can use three-button play with the J-K-L keys to perform smooth audio
scrubbing of selected tracks of audio at variable speeds. You cannot activate
digital audio scrub with three-button play. You can monitor while stepping
(jogging) or while shuttling at fixed rates up to three times normal speed. The
audio cuts out at greater than three times the normal speed and comes back in
after the speed drops below three times.

To monitor audio with three-button play:

1. Select the correct track and adjust the playback volume as necessary.
2. Play the audio, using the three-button variable speed playback procedures
described in “Shuttling with J-K-L Keys” on page 426.

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 Audio Editing Aids

Using Digital Audio Scrub

Digital audio scrub allows 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 audio 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 Incoming frames

(behind position indicator) (ahead of position indicator)

Adjusting Digital Scrub Parameters

The default parameters for the number of frames you hear as you scrub are
zero frames of outgoing audio (behind the position 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.

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To adjust the parameters for digital audio scrub:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Audio.
The Audio Settings window opens.
3. Click in a text box and type a new number of outgoing or incoming
frames in the Pop-up Scrub area, the Timeline Scrub area, or both.
The new parameters are now in effect.
4. Click the Close button.

Performing the Digital Scrub Procedure

To locate an audio edit point in audio using digital scrub:

1. Solo an audio track for scrubbing, and adjust the output volume, if
necessary. See “Soloing Audio Tracks in the Timeline” on page 528.
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 (Jog) buttons.

3. Move through the material in one of the following ways to hear the scrub:
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).

When you find 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.

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Adjusting Pan Defaults

The way your footage was recorded in the field and was captured with the
Avid application affects the way sound pans between the speakers. By default,
the system pans audio tracks 1 and 3 to the left speaker output and pans audio
tracks 2 and 4 to the right speaker output.

You can set global pan settings before or during editing using the Audio
Settings window and by selecting All Tracks Centered. The Audio Settings
window also provides options for adjusting the default audio pan when editing
with new clips, and for adjusting digital audio scrub parameters for monitoring
and analyzing audio tracks and transitions.

For information on using the Audio Mix tool to adjust pan for individual clips
in a sequence, see “Using the Audio Mix Tool” on page 540.

To open the Audio Settings window:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Audio.
The Audio Settings window opens.

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.

For information about adjusting audio scrub parameters, see “Adjusting

Digital Scrub Parameters” on page 531.

Displaying Waveform Plots

You can use waveform plots to help you visually locate points in an audio
track for editing or trimming. There are two types of waveform plots, Energy
or Sample, which you select from the Timeline Fast menu.

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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.
3. Mark IN and OUT points in the Composer monitor for the portion you
want to display.

n Mark only the area you want to see, because the longer the marked region, the
longer it takes to display.

Waveform sample plot

n Press Ctrl+period (Windows) or k+period (Macintosh) at any time during

the redraw of the waveform plot to stop the redraw.

4. (Option) Maximize the visibility of your waveform display using any of

the following procedures:
t Continue to expand or shrink your view of the Timeline 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 (Windows) or k+L (Macintosh).
t To reduce the height of selected audio tracks and subsequently the
waveform displays, press Ctrl+K (Windows) or k+K (Macintosh).
t To enlarge the size of the sample plot image without enlarging its
track, press Ctrl+Alt+L (Windows) or k+Option+L (Macintosh).

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This procedure is useful when you view detail in quiet passages.

t To reduce the size of the sample plot image without reducing its
track, press Ctrl+Alt+K (Windows) or k+Option+K (Macintosh).).
This procedure is useful when you view detail in loud passages.

n You can set the option “Show Marked Waveforms” in the Display tab of the
Timeline Settings dialog box to narrow the view of the tracks in the Timeline.
This option allows the Timeline to display faster because the waveform is
displayed only between the mark IN and the mark OUT.

5. Move through the audio shown in the waveform 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 477.

n 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.

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.

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6. 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 is 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) is displayed as
black, and the sample plot of all other clips with different sample rates
(32 kHz and 44.1 kHz) is displayed as white.

44.1 kHz 32 kHz 48 kHz 48 kHz

Adjusting Volume Control (Software-Only Systems)

The Avid application allows you to adjust or mute your speaker or headphone
volume without leaving the application. In earlier releases, you had to adjust
the speaker or headphone volume from the desktop. You can adjust volume
from the Timeline top toolbar or from the Audio tool.

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n Adjusting the volume control affects the volume only while you are in the Avid
application. Once you exit the application, the Volume control defaults to how
it was set on your desktop.

To adjust the volume control from the Timeline top toolbar:

1. In the Timeline top toolbar, click and hold the Master Volume button.

Master Volume button Meter Menu button

n If you do not see the Master Volume button, select Show Audio Meters from
the Meter Menu pop-up menu. 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.

To adjust the volume control from the Audio tool:

1. Select Tools > Audio Tool.
2. Click the Show/Hide Volume Control button.
The Volume Control slider appears.
3. Adjust the slider to the audio level you prefer.

To mute volume:
t In the Timeline top toolbar, click the Master Volume button.

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A line appears through the button, and no audio is heard through your
speakers or headphones.
t In the Audio tool Volume Control slider, click the Mute button.
A check mark appears in the Mute button, and no audio is heard through
your speakers or headphones.

To turn off muting:

t Click the Master Volume button again until the button appears without the
red line through it.
t Click the Mute button again until the button appears without the check
mark in it.

Controlling Host Audio Devices (Software-Only Systems)

Avid allows the use of third party host audio devices such as a Sound Blaster®
card or an iMic™ in its software-only products. Although most of these
devices work properly within Avid applications, some of them exhibit
problems such as audio clicking or glitches during output. You might also
encounter audio latency issues when adding audio effects such as automation
gain. To help alleviate these problems, you can select Play Buffer Size in
Samples and Tool Buffer Size in Samples in the Audio Settings window.

The Play Buffer Size in Samples slider allows you to change the size of the
host audio play buffer during play and digital cut. Use this option if you are
experiencing problems with play performance to the host audio device. Avid
recommends that you leave this setting in its default position. Changing this
parameter might cause audio or video underruns, dropped frames, or increased
noise in the audio output.

The Tool Buffer Size in Samples slider allows you to change the size of the
host audio play buffer during audio loop play and audio tools play (such as
Automation Gain Record). Reducing the tools play buffer size decreases the
overall latency between the time an audio parameter is adjusted in the user
interface (UI) and the time that you hear those changes through the speaker.
Changing this parameter might cause audio or video underruns, dropped
frames, or increased noise in the audio output. Since performance varies from
machine to machine, it is up to you to find a setting that works best. For best
results with this setting, turn off or disconnect all DV devices.

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The preferred buffer size is determined by the host audio device that is
connected to your system. Avid strongly recommends using the default
“recommended sample” setting that is preselected for you.

To adjust the samples in the play buffer or tools buffer:

1. From the Project window, click the Settings tab.
2. Click Audio.
The Audio Settings window opens.

3. In the Play Buffer Size in Samples area, click and drag the slider to select
a sample size.
4. In the Tool Buffer Size in Samples area, click and drag the slider to select
a sample size.
If the default setting is changed, a message box opens telling you how this
change might affect your system.
5. Click Change.
6. To choose the Avid recommended default setting, click the rs
(recommended sample) button.

Understanding the Audio Mix Tool

For additional The default volume for master clips is set to zero (that is, with no attenuation)
information on audio when you first capture the media. The pan option in the Audio Settings
levels for digital cut window determines how the system plays back the default pan. If you set the
output, see “Preparing
Default Pan to “Alternating Left - Right,” odd tracks are sent to the left
for Audio Output” on
page 632. channel and even tracks are sent to the right channel. For more information,
see “Adjusting Pan Defaults” on page 533.

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The Audio Mix tool allows you to:

• Adjust pan and volume for an individual clip, a whole track, several tracks
at once, or a whole sequence.
• Adjust the volume, pan, or both for one track at a time.
• Adjust the volume, pan, or both for multiple tracks simultaneously by
ganging them together. See “Ganging and Adjusting Multiple Tracks” on
page 546.

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 use Audio Gain
Automation to adjust volume levels within a clip in the Timeline. For more
information, see “Understanding Audio Gain Automation” on page 550.

Using the Audio Mix Tool

To open the Audio Mix tool, do one of the following:
t If one of the Audio tools is already open, click the Effect Mode Selector
pop-up menu, and select Audio Mix.
t Select Tools > Audio Mix.

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Render Effect button

Audio Loop Play button Fast Menu button

Effect Mode Selector

pop-up menu
Display/Hide
Bypass Clip Gain Sliders button
button
Track Selection Menu Which Set of Tracks to Display in Mix
button Panes pop-up menu

Gang button
Volume Level display

Number of Mix Panes button

Level slider

Pan level and slider

Resizing the Audio Mix Tool

You can use the Number of Mix Panes button to change the display from
8 tracks to 4. When you select 4 tracks, a menu appears that allows you to
display the first 4 or last 4 tracks that are enabled.

You can further simplify the Audio Mix Tool display by clicking the
Display/Hide Sliders button to switch between hiding and displaying the
Volume Level sliders.

With the tool collapsed, you can continue to adjust levels by selecting a track
and typing values using the numeric keypad on the keyboard, or by typing a
value into the Volume Level display.

You can resize the entire Audio Mix tool by dragging the edge or corner of the
tool. You can resize the Audio Mix tool only when the sliders are displayed.

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Adjusting One Audio Track at a Time

To adjust one audio track at a time in the Audio Mix tool:
1. Load a clip or sequence, and activate the appropriate monitor:
t To adjust a track in a source clip, make sure the Source pop-up
monitor is active.
t To adjust a track in a sequence, make sure the Composer monitor is
active.
2. Select the track or portion of a track to be adjusted:
t To adjust the track in a single edited clip in a sequence, place the
position indicator in the clip.
t To adjust an isolated section of audio on a track, mark IN and OUT
points. Adjusting a clip with mark IN and mark OUT adjusts the
entire clip.
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 The Audio Mix tool contains eight panels, one for each audio track that you
can monitor and adjust. The Audio Mix tool can display only tracks that exist
in the sequence and are monitored, or tracks that were captured 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.

4. Select the audio track to be adjusted by doing one of the following:

t Click the Track Selection Menu button for the appropriate audio
track.
t Alt+click (Windows) or Option+click (Macintosh) the Track
Selection Menu button, and then select a track.

n To verify or change the output channels, use the Audio tool (select Tools >
Audio Tool).

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5. With the Audio Mix tool active, use any playback method (such as the J-
K-L keys on the keyboard) to play, shuttle, or step through the audio to
check for necessary volume or pan adjustments.
The keyboard can control either the Source pop-up or Composer monitor,
depending on which monitor was active when you opened the Audio Mix
tool. Switch your selection by clicking the appropriate monitor.
6. Decide whether to raise or lower the volume, or pan left or right, which
adjusts the volume or pan for a single clip. See “Changing an Audio
Level” on page 543.

Volume Level
display Click Gang buttons to
gang multiple tracks.

Audio Level slider

Pan Value display

7. Adjust pan values. See “Adjusting Pan Values” on page 544.

8. Apply the adjustments to a chosen region of the track using the Audio
Mix Fast Menu button located in the top bar of the tool. See “Applying
Pan Value Adjustments” on page 544.
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 capture 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.

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t Click the Level slider, type a value, and press Enter (Windows) or Return
(Macintosh).
Values are cumulative until you press Enter (Windows) or Return
(Macintosh). For example, if you want to enter the value 12, type it.
However, if you enter 1 and then want to change the value to 2, press
Enter (Windows) or Return (Macintosh) before typing the 2.
t 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 (Windows)
or Return (Macintosh).
t Alt+click (Windows) or Option+click (Macintosh) 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 (Windows) or Option+click (Macintosh) the Pan Value display

for MID.
If the sequence is playing, notice that play stops when you make an
adjustment (the Audio Mix tool does not provide real-time audio control).
You can adjust volume while playing the clip. For more information, see
“Adjusting Volume While Playing an Audio Mix Effect” on page 548.

Applying Pan Value Adjustments

To apply the pan value adjustments:

n Levels set in master clips carry across to the sequence after you edit the clips.

t Click the Audio Mix Fast Menu button, and select a command as shown
in the following table.

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Audio Mix Fast Menu Commands

Command Description

Set Level on Track, Applies the same pan or volume levels currently set in the Audio Mix tool to all
Set Pan on Track segments in the marked regions of the tracks.

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, 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 are
lowered by exactly 1 dB when you click OK.

Remove Clip Gain on Removes clip gain or pan values from the marked regions of selected tracks.
Track, Remove Pan on
Track

Remove Pan/Vols on Deletes all audio mix adjustments that have been applied to segments in the
Track marked regions of selected tracks. Each audio clip is restored to its default 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:
• 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 an OUT point (no IN point): Commands apply to full clips from the
beginning of selected tracks to the OUT point.
• With no points: Commands apply globally (across entire tracks).

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 “Understanding Audio Gain
Automation” on page 550.

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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 tracks you want to group. To deselect a
Gang button, click it a second time.
2. Adjust either volume or pan for one of the tracks using any of the
techniques described in “Adjusting One Audio Track at a Time” on
page 542, and the other tracks maintain the same relative levels.

When you gang two or more tracks, you gang both the Level and Pan sliders.

To set all ganged sliders to the same value for volume:

t Click the number along the vertical edge of the Volume Level slider or
type a value in one of the Volume Level displays and then press Enter
(Windows) or Return (Macintosh).

To set all ganged sliders to the same value for pan:

t Click the Pan Value display and type a value.

Rendering an Audio Effect

The Render Effect button allows you to render an audio effect without closing
the Audio Mix tool. For example, if you change the level of a clip that
contains a rendered audio dissolve, the effect becomes unrendered. You can
use the Render Effect button to rerender the audio dissolves directly from the
Audio Mix tool. Then, you can play the clip back immediately to hear the
effect of the level change with the dissolve in place. For more information
about rendering, see “Rendering Effects” in the effects guide for your system
or the Help.

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Modifying Pan Values

There are two basic ways to work with pan values:

• Create or modify an audio pan/vol effect. This method creates an effect
that is stored with the sequence.
• Modify the way that the system interprets pan values during playback.

Creating or Modifying an Audio Pan/Vol Effect

To create or modify an audio pan/vol effect, do one of the following:

t Use the Pan pop-up sliders at the bottom of the Audio Mix tool.
t Use the pan-related commands in the Audio Mix Tool Fast menu. See the
description of the commands in “Adjusting Pan Values” on page 544.

n Stereo (available in the Output tab of 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:

t Set the default pan values in the Audio Settings dialog box.
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.

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 “Audio Project Settings: Output Tab”
in the Help).

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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 in several of the audio effect tools and is
also a mappable button in the Play tab of the Command palette. For more
information on mapping buttons, see “Mapping User-Selectable Buttons” on
page 144.

You can perform the following operations while the system plays the loop:
• Adjust audio effects.
• Use the Peak Hold pop-up menu in the Audio tool to change between
Peak Hold and Infinite Hold.
• Use the Reset Peak button in the Audio tool.

For more information on the Audio tool, see “Using the Audio Tool” on
page 230. For limitations on adjusting volume, see “Limitations on Adjusting
Volume” on page 549. For information on improving response time, see
“Improving Response Time” on page 549.

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 Place the position indicator over an audio clip.
2. Click the Audio Loop Play button in the Audio Mix tool.
The Avid system repeatedly loops through the selected area as follows:
- If you have IN and OUT points on your sequence, the command loops
over the selected area.
- If there are no IN or OUT points, the command loops over the
shortest segment on the selected audio track at the position indicator.

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- If you have only an IN point or only an OUT point, the system uses
the location of the position indicator as the second point. For
example, if there is an IN point and no OUT point, the system loops
from the IN point to the end of the (smallest selected) audio segment
under the position indicator.
3. Adjust the volume as necessary.
4. Click the Audio Loop Play button to stop.
The Avid system automatically saves your changes as part of an Audio
Mix effect.

Limitations on Adjusting Volume

If there is not an existing Audio Mix effect on the clip before you start, you do
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 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. See “Improving Response Time” on page 549. You might
need to click the Audio Loop Play button to complete the edit and then play
the effect to hear the result.

Improving Response Time

To improve the response time, do any of the following:

t 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.

n For additional ways to change the volume while playing an Audio Mix effect,
see “Recording Automation Gain Information” on page 560.

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Understanding Audio Gain Automation

Audio Gain Automation (also known as audio volume rubberbanding) allows
you to change the volume of a segment by adding and manipulating gain
keyframes in the Timeline. The following illustration shows an expanded
audio track containing gain keyframe information.

Graphic representation of keyframes and gain

Gain values in decibels ramps in the Timeline

The Avid system uses a linear ramp to change the volume from one gain
keyframe to the next.

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.

Audio Effect
Clip Gain Automation Gain
Processing

Adjust overall volume. Apply effects. Fine-tune volume.

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For example, assume that you have copied an audio file from a CD-ROM.
You want to equalize (EQ) the audio and 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 540.
2. Apply an EQ effect and any other audio effects. See “Using the Audio EQ
Tool” on page 564.
3. Use Audio Gain Automation to fine-tune the volume of different sections
of the audio in the sequence. See “Understanding Audio Gain
Automation” on page 550.

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 Click the Timeline Fast Menu button, and select Audio Clip Gain or
Audio Auto Gain.

Adjusting Volume in the Timeline

To use Audio Gain Automation to adjust volume:
1. Select an audio track for adjusting volume.
2. Click the Timeline Fast menu button, and select Audio Auto Gain.

n If there is audio volume data on a clip and Audio Auto Gain is not chosen from
the Timeline Fast menu, the system displays a pink triangle on the clip to
indicate that audio volume data is present but not displayed.

n You can enable Audio 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 (Windows) or k+L (Macintosh).
t Press and hold the Ctrl key (Windows) or the Option key (Macintosh)
while dragging in the Track Selector panel. When the pointer changes
to a cross, drag the cross to expand or shrink the track as shown in the
following illustration.

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The following illustration shows the expanded audio track with volume
data.

4. Click the Add Keyframe key on the keyboard (N) or the Add Keyframe
button on the Tool palette to add keyframes along the Timeline. The Avid
system adds a keyframe to each enabled track.
A straight line appears in the selected audio track. The line shows the
current gain level for that track in the Audio Mix tool.

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.

Deleting Audio Gain Keyframes in the Timeline

To delete a single audio gain keyframe:

1. Move the pointer over the keyframe.
2. When the pointer changes to the hand pointer, press the Delete key.

n You don’t need to press the mouse button. If you press the mouse button, you
might change the gain.

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If there are identical keyframes in other active tracks, the system deletes
them also.

To delete groups of audio gain keyframes:

1. Mark an IN point and an OUT point or mark the entire segment.
2. Delete any keyframes in the marked area.

Moving Audio Gain Keyframes in the Timeline

To move audio gain keyframes in the Timeline, do one of the following:

t Click a keyframe and drag it up or down to increase or decrease the gain
at that point. If there is a point at the same position on another enabled
track, it moves also.

n To snap to the decibel lines, press and hold the Ctrl key (Windows) or
the k key (Macintosh) while you drag the point.

t Move a keyframe horizontally to move the start or end of a ramp. Place

the pointer over a keyframe. When the pointer changes to the hand
pointer, press and hold the Alt key (Windows) or the Option key
(Macintosh), click the keyframe, and drag it.
t Move several keyframes vertically on a track at the same time by placing
IN and OUT points to select the area you want. When you move one
keyframe up or down within the marked area, all keyframes within the
marked area move in relation to each other. This works for all enabled
audio tracks.

This procedure is similar to ganging sliders on an audio mixing board or in the

Audio Mix tool.

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Using an External Fader or Mixer to Adjust Volume

n An external fader controller or mixer is optional. It is not required to perform

Audio Gain Automation recording.

Your Avid Xpress system supports the following external fader controllers or
mixer:
• Digidesign® Digi 002® and Command|8
• JL Cooper FaderMaster Professional (FaderMaster Pro™) MIDI
automation controller
• JL Cooper MCS-3000X MIDI automation controller
• Yamaha® 01V and Yamaha 01V/96 digital mixing consoles

For a description of the fader controllers and mixer, and for information on
attaching them, see “Using an External Fader Controller or Mixer” in the
Help.

For information on using these external fader controllers or mixer, see

“Recording Automation Gain Information” on page 560.

Adjusting the Volume of Individual Keyframes

To edit the volume for individual keyframes using an external fader
controller or mixer:
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.
3. (FaderMaster Pro only) 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 558.

n On the Digi 002, Command|8, MCS-3000X, Yamaha 01V, and Yamaha

01V/96, the faders automatically adjust to the volume setting.

4. Move the corresponding fader to adjust the volume for the keyframe.

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For information on connecting a fader controller or mixer, see “Using an

External Fader Controller or Mixer” in the Help.

Understanding the Automation Gain Tool

Before this section discusses recording volume in the Timeline, it describes

the Automation Gain tool in detail. The following illustration shows the
Automation Gain Tool window.

Render Effect Button

Cancel button Audio Loop Play Fast Menu button
button
Record Status light

Preroll and Postroll text boxes

Record button

Bypass Auto Gain Which Set of Tracks to Display in

button Mix Panes button

Number of Mix Panes External fader controller or

button mixer position indicators
Track Solo button
Gang button
Track Selection
Menu button

Level sliders

Some portions of the Automation Gain tool are similar to the Audio Mix tool
and the Audio Punch-In tool.

The following components are similar to those in the Audio Mix tool:
• Bypass Auto Gain button: This button allows you to temporarily turn off
the Automation Gain effect. This button is the same as the Bypass Clip
Gain button in the Output tab in the Audio Project Settings window.

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• 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. Grp 1 displays tracks
1-8, Grp 2 tracks 9-16.They are similar to the display options in the Audio
Mix tool. For more information, see “Resizing the Audio Mix Tool” on
page 541.
• Render Effect Button: This button is particularly useful for rendering
audio effects. For example, if you change the level of a clip that contains a
rendered audio dissolve, the effect becomes unrendered. You can use the
Render Effect button to rerender the audio dissolve directly from the
Automation Gain tool. Then you can play back the clip immediately to
hear the effect of the level change with the dissolve in place.
• Audio Loop Play button: This button allows you to adjust audio effects
while looping over a portion of audio. This button is also available in the
Play tab of the Command palette. For more information, see “Adjusting
Volume While Playing an Audio Mix Effect” on page 548.

The following record features are similar to the Audio Punch-In tool:
• Record button: Starts and stops the recording.
• Cancel button: Stops a recording without saving the recorded data.
• Record Status light: Is black when there is no activity, green during a
preroll, red during recording, and blue during a postroll.

n In the Automation Gain tool, the Record Status light is gold during the
Hardware Calibration test.

• Preroll text box: Allows you to provide a visual cue before the recording
begins. The Avid system backs up the blue position indicator for the
prescribed number of seconds.
• Postroll text box: Allows you to provide the same kind of visual cue at
the end of the recording.

The remainder of the features described in this section are specific to the
Automation Gain tool.

Track Solo Button

The Track Solo button (Speaker icon) lets you mute and solo individual audio
tracks during Audio Gain Automation recording.

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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 (Windows) or Option+click (Macintosh) the Track Solo button.

When you turn off solo, the button returns to its previous state (mute or on).

To change the previous state of a button:

t Alt+click (Windows) or Option+click (Macintosh) the button.

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, Digi 002, and Command|8: Has separate buttons for solo
and mute. Mute buttons are on the bottom row and Solo buttons are above
the Mute buttons.
• Yamaha 01V and Yamaha 01V/96: Supports solo only if you are not
using the unit for audio mixing as well as Audio Gain Automation
recording. For more information, see “Operational Notes for the Yamaha
01V/96 and Yamaha 01V” in the Help.

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Position Indicator Lights

Position The position indicator lights provide information about the current location of
indicator the faders on the external fader controller or mixer.
lights

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.

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 Avid Xpress system
does not recognize the fader controller or mixer.
If the system does not recognize the fader
controller or mixer, check the connection as
described in the setup guide for your Avid Xpress
system.

The position indicator lights are especially useful for the FaderMaster Pro
because it is important to position the faders close to the track volume before
you start recording. Otherwise, you might create an unwanted jump in the
volume when you move the faders during a recording.

n The Avid Xpress system does not record values from a fader on the
FaderMaster Pro until you move the fader. Then it reads the current position
of the fader and adjusts the volume accordingly. In many cases, it is not
possible to exactly match the Timeline value.

You do not have to reposition the faders on the MCS 3000X, Digi 002,
Command|8, Yamaha 01V, and Yamaha 01V/96 because the units
automatically reset the faders to match the volume data in the Timeline.

For information on fader controllers or mixers, see “Using an External Fader

Controller or Mixer” in the Help.

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Applying Automation Gain Adjustments

To apply adjustments to a chosen region of the track:

1. Select the tracks.
2. Click the Automation Gain Tool Fast Menu button (located in the upper
right portion of the tool), and select a menu command.

n The commands in the Fast menu appear dimmed until you select a track by
clicking the Track Selection Menu button.

3. Click the Track Selection Menu button.

To apply the adjustments to multiple tracks:

t Click additional Track Selection Menu buttons.

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 commands 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
commands vary depending on the types of points you set within the clip or
sequence, as follows:
• With IN and OUT points: Commands apply adjustments to selected
tracks between the points.
• With an IN point (no OUT point): Commands apply adjustments to full
clips from the IN point to the end of selected tracks.
• With an OUT point (no IN point): Commands apply adjustments to full
clips from the beginning of selected tracks to the OUT point.
• With no points: Commands apply globally (across entire tracks).

To apply the adjustments:

t Click the Fast Menu button, and select one of the following commands:
- Set Pan on Track: This command applies the same pan or volume
levels currently set in the Audio Mix tool to all segments in the
marked regions of the tracks.

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- Filter Automation Gain on Track: This command removes

approximately 50 percent of the keyframes in the marked region. If
you press and hold the Alt key (Windows) or the Option key
(Macintosh) while selecting the menu item, the system removes all
keyframes in the selected area, except for the minimum and
maximum peaks. The Avid application tries to save major gestures
while removing redundant points and points on a linear ramp. This is
useful for deleting extra keyframes after a recording.
- Adjust Pan/AutoGain on Track: This command opens a dialog box
for making incremental adjustments to all current settings across
segments in the marked regions of selected tracks.
For example, if you type –1 in the Gain Adjustment text box, the
various audio level settings across all segments of the marked region
of selected tracks are lowered by exactly 1 dB when you click OK.
- Remove Automation Gain on Track: This command removes all of
the audio keyframes within the marked region.
- Remove Pan on Track: This command deletes all pan adjustments
that have been applied to segments in the marked regions of selected
tracks. Each audio clip is restored to its previous pan settings.
- Remove Pan/AutoGain on Track: This command deletes all
automation gain adjustments that have been applied to segments in
the marked regions of selected tracks. Each audio clip is restored to
its previous pan and volume settings.
- Calibrate Hardware Sliders: This command takes the place of the
HW (hardware) button. When the Calibrate Hardware Sliders option
is enabled, the Record Status light changes to gold and the external
faders control the sliders in the Automation Gain tool. This is a test
mode. You cannot edit volume data when the Record Status light is
gold. Select the Fast menu option again to disable the test mode.

Recording Automation Gain Information

You can instruct the Avid system to record your actions while playing the clip
as you move sliders to adjust the volume. The system creates the
corresponding keyframes and saves them as part of a pan/volume audio effect.
After you finish the recording, you can move, add, and delete keyframes to
achieve the results you want.

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To record automation gain information, do one of the following:

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 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 using the Automation Gain Tool

sliders:
1. Select an audio track for adjusting volume.
2. Click the Timeline Fast Menu button, and select Audio Auto Gain.

n If there is Automation Gain volume data on a clip and Audio Auto Gain is not
chosen from the Timeline Fast menu, the system displays a pink triangle on the
clip to indicate that audio volume data is present but not displayed.

3. (Option) Expand the audio track by pressing Ctrl+L (Windows) or k+L

(Macintosh).
4. Move the blue position indicator to the section of audio that you want to
adjust and mark IN to OUT points.
5. Click the Record button or press the B key to start recording your actions.
6. Listen to the audio and adjust the Level sliders in the Automation Gain
tool as necessary.
7. Click the Record button again to stop recording.
The Avid system adds volume keyframes to the audio in the Timeline.
Because it records every movement of the sliders, there are usually more
keyframes than you need.
8. Decrease the number of keyframes:
a. Click the Track Selection Menu button for the track to enable the Fast
menu.
b. Click the Automation Gain Tool Fast Menu button, and select Filter
Automation Gain on Track — In/Out.

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9. Repeat step 8 until you have decreased the number of keyframes to an

acceptable level.
You should remove as many excess keyframes as possible while still
maintaining the volume changes.

You can move, add, and delete keyframes individually or as groups to further
adjust the volume. For details on how to adjust the keyframes, see “Moving
Audio Gain Keyframes in the Timeline” on page 553 and “Deleting Audio
Gain Keyframes in the Timeline” on page 552.

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.
2. Click the Move tab.
3. Map the Fast Forward and Rewind buttons to the Keyboard palette. See
“Mapping User-Selectable Buttons” on page 144.
4. Click the Automation Gain tool to make it active.
5. Click the Track Selection Menu button, and select the appropriate tracks.
6. Press the Fast Forward key or the Rewind key.

The position indicator moves to the next or previous audio keyframe.

n The Automation Gain tool must be active when you use the Fast Forward or
Rewind keys.

Using an External Fader Controller or Mixer

To record audio gain information using an external fader controller or

mixer:
1. Attach the fader controller or mixer to your system (see “Configuring an
External Fader Controller or Mixer” in the Help).
The position indicator lights change to blue when the fader controller or
mixer is on and correctly attached to the system.

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2. Move the blue position indicator to the section of audio that you want to
adjust and mark IN to OUT points.
Position 3. (FaderMaster Pro only) Note the colors of the position indicator lights for
indicator the track you want to adjust. Move the fader until both lights are blue. If
lights 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:
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, Digi 002, and Command|8: 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 and Yamaha 01V/96: When you want to start
recording volume information, click the fader’s On button and move
the fader.

n If the Yamaha 01V fader or the Yamaha 01V/96 fader is not moving, you can
move it without first clicking the On button. For more information, see
“Operational Notes for the Yamaha 01V/96 and Yamaha 01V” in the Help.

n When you record over previously recorded audio volume keyframes, the MCS-
3000X, the Yamaha 01V, and the Yamaha 01V/96 automatically display the
changing values. This allows you to make quick adjustments to existing
automation gain recordings.

7. Click the Record button again to stop recording.

8. Click the Audio Loop Play button to play the clip and test your results.
9. To decrease the number of keyframes, click the Automation Gain Tool
Fast Menu button, and select Filter Automation Gain on Track — In/Out.
(Click the Track Selection 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.

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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.

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 Fast Menu button
Play button
Effect icon

Effect Mode Selector Display/Hide EQ

pop-up menu Graph button

Track Selection Enable/Disable

Menu button EQ Effect button
EQ Parameter display Bypass RT EQ button

Low shelf

Parametric midrange 3 bands of

Controls
High shelf

EQ Range slider

EQ Parameter
graph

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Audio EQ Tool Components

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 Components

The following items appear in the top portion of the Audio EQ tool:
• Effect Mode Selector pop-up menu: Allows you to select among the
Audio EQ, Automation Gain, 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 548.
• Render Effect button: Allows you to render an effect without leaving the
Audio EQ tool.
• Effect icon: Allows you to create an EQ template. Drag the icon to an
open bin to create the template.
• Fast Menu button: Allows you to perform the following tasks:
- Set EQ for enabled tracks.
- Remove EQ for one or more tracks.
- Apply an effect template (see “Using Audio EQ Templates” on
page 574).
• 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.

n If you enable more than one track in the Timeline, the tracks are designated by
plus signs (+). They indicate that the effect will be applied to more than one
track.

• Display/Hide EQ Graph button: Allows you to display or hide the EQ

Parameter graph.
• Bypass RT EQ button: Instructs the system to ignore all the EQ effects.
This button is also available in the Automation Gain tool and in the
Output tab in the Audio Project Settings window. If you select this feature
in one place, it is selected in the others, as well.

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• Enable/Disable EQ Effect button: Allows you to enable or disable the

current EQ effect. When the button is yellow, the effect is enabled. (The
button text IN stands for inline.)

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 Enable/Disable EQ Effect button (IN) allows you to turn off an individual
EQ effect (the currently selected effect). The button is yellow when the EQ
effect is on (inline) and gray when the EQ effect is off.

The Bypass option turns off all EQ effects for the sequence. Rendered EQ
effects still play correctly.

When you apply Audio EQ effects, consider the following:

• Audio EQ can be applied only to entire segments. You cannot use IN to
OUT points to isolate portions of a segment for an Audio EQ effect. 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, have the effect applied to them.

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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:
Current values of the 1/4 octave (narrow) or
EQ parameters 2 octaves (wide)

Turnover point where low

shelf curve starts moving Turnover point where high
back toward 0 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 deemphasize audio

frequencies. The height of the curve in the bottom pane shows the amount of
emphasis or deemphasis (also called boost or cut) that is being applied. The
range is from +15 dB to –20 dB.

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. See
“Isolating Clip Portions for Adjustment” on page 600.
3. (Option) Mark a range of audio segments by adding IN to OUT points in
the track. See “Marking IN and OUT Points” on page 429.
4. Select Tools > Audio EQ.

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5. Click the Track Selection Menu button in the Audio EQ tool, and select
the audio track to be adjusted.

Track Selection
Menu button

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 on the numeric keypad.
Values are cumulative until you press Enter (Windows) or Return
(Macintosh). For example, if you want to enter the value 12, type it.
However, if you enter 1 and then want to change the value to 2, press
Enter (Windows) or Return (Macintosh) before typing the 2.
t Click a slider, and then drag the slider to a new position.
t Click the EQ Parameter display and type a value on the numeric
keypad.
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.
8. Click the Audio EQ Tool Fast menu button, and select Set EQ to apply the
adjustments to the track. The command works as follows on the selected
tracks:
- With IN and OUT points: Apply the EQ effect to selected tracks
between the points.

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- 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 an OUT point (no IN point): Apply the EQ effect to full clips
from the beginning of selected tracks to the OUT point.
- With no points: Apply the EQ effect globally (across entire tracks).
The Audio EQ Tool 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 574.
For example, the following illustration shows a segment with one EQ
effect applied to the audio clip 2 in track A2. If you select Set EQ In/Out,
the current EQ effect is also applied to audio clips 1, 3, and 4 on track A2.

Before Set EQ In/Out

After Set EQ In/Out, EQ effect is added to audio clips 1, 3, and 4.

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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.
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.

Saving Audio EQ Effects

The Avid system treats an EQ setting as an effect. You can save EQ settings in
a bin just as you save any other effect template. This makes it easy to save EQ
settings and apply them whenever you need them. The following illustration
shows an EQ Effect icon in a bin and in the Timeline.

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EQ effect icon in a bin

EQ effect 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 “Using an Effect

Template” in the Help.

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Removing Audio EQ Effects

To remove an Audio EQ effect:
1. Place the position indicator on the effect in an active track.
2. Click the Remove Effect button on the Tool palette. See “Using the Tool
Palette” on page 433.
3. 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

In this example, 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.

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.

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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, or to 90 Hz
(Macintosh only).
3. Boost the midrange of the parametric curve to +7.7 dB.

2-octave midrange

Small Octave Range Example

In this example, 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.

This example isolates the particular frequency that we want to deemphasize.

In this example, we do not use the low shelf, but instead use the parametric
midrange to isolate the frequency.

To isolate the frequency:

1. Use the 1/4-octave influence range.
2. Set the midrange EQ parameter to –15 dB.

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3. Use the EQ Range slider to move the midpoint of the parametric curve
until it isolates the bass frequency. In this case, the bass frequency that we
want to deemphasize is approximately 80 Hz.

1/4-octave range

Use the EQ Range slider to

move the center point of the
parametric curve and locate
a specific frequency.

The following technique allows you to locate a specific frequency and

either emphasize or deemphasize it:
- Use the 1/4-octave influence range and a large negative decibel value.
- Keep both the high shelf and low shelf set to zero.
- Use the EQ Range slider to move the center point of the parametric
curve along the frequency range while you play the audio track.

Once you locate the frequency you want, you can adjust it as needed.

Using Audio EQ Templates

Your Avid system provides a set of predefined audio EQ templates. These

templates address a number of common audio problems such as removing tape
hiss or boosting the low frequency on a music track. The templates are
accessible from the Fast menu 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.

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 Using the Audio EQ Tool

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. Place the blue position indicator on the audio clip in the Timeline.
2. Click the Audio EQ Tool Fast Menu button, and select the template.
The Avid system places the EQ effect on the audio clip.

The following illustration shows the contents of the Audio EQ tool when you
select the Female Voice with Presence template in the Timeline. As explained
in the tool, you cannot change the parameters of a predefined EQ template.

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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.

Effect icon

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Adding an EQ Template to the Fast Menu (Windows)

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 system stores the predefined EQ templates in a special bin named
Site_EQs_Bin in the following location:

drive:\Program Files\Avid\Avid Xpress Pro\

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. Navigate to drive:\Program Files\Avid\Avid Xpress Pro\
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.
6. Close the bin.

n The Avid system does not save the effect to the bin until you close the bin.

7. Click the Audio EQ Tool Fast Menu button, and look for your new
template.

Adding an EQ Template to the Fast Menu (Macintosh)

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.

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The Avid system stores the predefined EQ templates in a special bin named
Site_EQs_Bin in the following location:

Macintosh HD/Applications/Avid Xpress Pro/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 the Avid Xpress Pro folder.
b. Open the SupportingFiles folder.
c. Open the Site_Effects folder.
d. Double-click the Site_EQs_Bin file.
4. Drag one of your EQ templates to Site_EQs_Bin.
5. If you have not already done so, name the template by clicking the text
and typing a name.
6. Close the bin.

n The Avid 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

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Use the same procedure as described in “Adjusting Volume While Playing an

Audio Mix Effect” on page 548. Also see “Improving Response Time” on
page 549.

If there is no existing EQ effect on the clip before you start, you do 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:

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

Your Avid system supports AudioSuite, the Digidesign host-based, file-based
plug-in specification. Users have access to audio-processing plug-ins
developed by Digidesign and by Digidesign third-party developers. These
plug-ins perform pitch processing, artifact removal, audio reversal, and many
other processes. For more information on using the AudioSuite plug-ins, see
“Using AudioSuite Plug-Ins” in the Help.

For information on Digidesign and third-party plug-ins, see the AudioSuite

Plug-In Catalog available from Digidesign. For more information, contact
Digidesign at 800-333-2137.

For information on plug-ins that are not supported by your Avid system, see
“Plug-In Limitations” on page 592.

Installing AudioSuite Plug-Ins (Windows)

The Avid system installation software automatically creates a DAE™

(Digidesign Audio Engine™) folder in the following location:

drive:\Program Files\Digidesign\DAE

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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 Help.

When you purchase additional plug-ins, the third-party vendor provides

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.

n AudioSuite Plug-ins supported by Avid are added to the AudioSuite Fast

menu. If you have chosen a plug-in that is not officially supported by Avid, the
plug-in name is still added to the AudioSuite Fast menu, however, a ~
character precedes the name, informing you that this plug-in is not supported.
If you attempt to use the plug-in, a dialog box appears informing you that this
plug-in is not supported and might cause an error. Select Cancel or Continue.

Installing AudioSuite Plug-Ins (Macintosh)

The Avid system installation software automatically creates a DAE

(Digidesign Audio Engine) folder in the following location:

Applications/Avid Xpress Pro/Contacts/MacOS/Plug-INs

The DAE application manages the AudioSuite plug-ins.

The DAE folder contains the following files and folders:

• The DAE application.
• A Plug-In Settings folder. The plug-in vendor might install settings in this
folder.

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• A Plug-Ins folder containing the following:

- A set of basic plug-ins from Digidesign.
- A file named Avid Application PlugIn. The Avid system requires this
file; do not delete it.

Several basic plug-ins are installed automatically. For a description of the

plug-ins, see “Using AudioSuite Plug-Ins” in the Help.

When you purchase additional plug-ins, the third-party vendor provides

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.

n AudioSuite Plug-ins supported by Avid are added to the AudioSuite Fast

menu. If you have chosen a plug-in that is not officially supported by Avid, the
plug-in name is still added to the AudioSuite Fast menu, however, a ~
character precedes the name, informing you that this plug-in is not supported.
If you attempt to use the plug-in, a dialog box appears informing you that this
plug-in is not supported and might cause an error. Select Cancel or Continue.

Starting and Quitting DAE (Macintosh Only)

When you open the Digidesign AudioSuite window (see “Using Digidesign
AudioSuite Plug-Ins” on page 582), the Avid system automatically starts the
DAE application. The application continues running even after you close the
window.

To quit the DAE application while the AudioSuite window is open:

t Press k+click the status display in the AudioSuite window.

Plug-In
Selection
pop-up menu

Target Drive
pop-up menu
Status display

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n The DAE application uses between 9 and 16 MB of memory, depending on

how many plug-ins are loaded. If you plan to use other applications while the
Avid system is running, you might find it useful to quit the DAE application to
free up memory for the other application. To restart the DAE application,
Option+click the status display.

Setting Playback Buffer Size (Macintosh Only)

While the DAE application is running, you can select Set Playback Buffer
Size from the DAE application’s File menu. However, this command has no
effect on Avid system performance.

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 586.

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

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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

Effect Mode Display/Hide

Selector pop- Master Clip
up menu Controls button

Plug-in Selection
pop-up menu
Target Drive
pop-up menu
Status display

Track Selection
Menu button Activate Current Plug-In button

To apply an AudioSuite plug-in to a clip in the Timeline:

1. Open the AudioSuite Tool window by doing one of the following:
t 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 Menu button. 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 system automatically applies the plug-in effect to the track or
tracks in the Timeline.
4. Click the Activate Current Plug-in button.
A dialog box associated with the plug-in appears.

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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 584.
6. Do one of the following:
t To save the effect, click OK.
t To close the dialog box without saving the effect, click Cancel.
t (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 586.

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 in all
AudioSuite Plug-in
dialog boxes.

The buttons are:

• OK: Saves the effect and closes the dialog box.
• Cancel: Closes the dialog box and does not save the effect.
• Preview: Plays back a portion or all of the currently selected audio clip
with processing.
Some plug-ins can preview in real time and some cannot. If the plug-in
cannot preview in real time, the Avid system plays back the processed
audio in 2-second intervals. The Avid system processes 2 seconds of
audio, plays it, processes the next 2 seconds, plays it, and so on.
• Render: Renders the effect and creates a new audio media file.

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• 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 is 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 591).
• Set, render, or remove AudioSuite plug-ins. The menu text differs,
depending on whether you have IN to OUT points on the sequence.

The following commands appear in the menu:

• Global: There are no IN points on the segment. The command affects all
the plug-ins on the selected tracks.
• IN/OUT: There are IN to OUT points on the segment. The command
affects the plug-ins on the selected tracks within the marked region.
• From IN: There is an IN point and no corresponding OUT point. The
command affects all plug-ins on selected tracks, starting with the IN
point.
• From OUT: There is an OUT point and no corresponding IN point. The
command affects all plug-ins on selected tracks, ending with the OUT
point.

Rendering Plug-In Effects

You need to render all AudioSuite plug-ins before you can play back the
effect. If you do not render the effect manually, the Avid system automatically
renders the effect before it creates an audio mixdown or audio dissolve
containing the effect.

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For more information, see “Troubleshooting AudioSuite Plug-Ins” on

page 593.

Creating New Master Clips

You can use AudioSuite plug-ins to create new master clips. This allows you
to use multiple input and output channels, and to change the length of the
media. You can perform the following operations on the media you create:
• Apply AudioSuite plug-ins to more than one track (also referred to as a
channel or stream) at the same time. For example, a plug-in might allow
you to process two separate tracks as a stereo pair. This enables you to use
plug-ins that perform linked compression, reverb, and other effects that
allow multichannel input.
• Create new media that is longer or shorter in duration than the source
media. This allows you to use effects that perform time compression and
expansion. For example, you can use a Time Compression Expansion
plug-in to change the length of the audio file, or you can lengthen the file
to add a reverb trail.
• Apply one mono AudioSuite effect to multiple inputs of a master clip in a
multiple-mono fashion.

AudioSuite Controls for Creating New Master Clips

When you drag a master clip onto the AudioSuite window, the window
automatically expands to display additional controls. You can also click the
Display/Hide Master Clip Controls button to display or hide the additional
parameters.

The following illustration identifies the controls that appear when you expand
the AudioSuite window.

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 Digidesign AudioSuite Plug-Ins

Toggle Master
Track Selection
Clip Mode
Menu button
button
Clip Selection
pop-up menu Mark IN to OUT
Input Source Track indicators
selectors
Find Source
Processing Mode
button
Selection pop-up
menu
Load in Source
Target Bin for New Pop-up Monitor
Master Clip pop-up button
menu Status display Load Result check box Handle Length for End of Master
Clip text box

• 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
(Windows) or Option+click (Macintosh) the appropriate source track. If
the source track that is set as the current preview track is deselected, the
system selects the lowest available track.
• Processing Mode Selection pop-up menu: This menu displays the
current processing mode of the AudioSuite effect on a given clip. For
more information, see “Mono, Stereo, and Multichannel Processing” on
page 588.
• Target Bin for New Master Clip pop-up menu: This menu allows you
to select the target bin. The system places the new media and a
corresponding AudioSuite effect template in the bin. The template allows
you to modify the effect at a later time.

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• Toggle Master Clip Mode button: This button activates the master clip
processing mode. The button is yellow when master clip processing mode
is active.
• Mark IN to OUT indicators: These lights change to green when a mark
IN or mark OUT exists on the current master clip.
• Find Source button: This button allows you to find the master clip
associated with an AudioSuite template. When you drop an AudioSuite
effect template into the AudioSuite window, the system activates this
button. Click the button to load the master clip into the AudioSuite
window as the active master clip.

n The template you drop in the window must reference an existing master clip in
an open bin.

• Load in Source Pop-up Monitor button: This button loads the current
source master clip into the Source pop-up monitor. This is useful if you
want to add or change IN to OUT points on the clip.
• Load Result check box: Click this box to instruct the system to
automatically load the resulting master clip into the Source pop-up
monitor.
• Handle Length for End of Master Clip text box: This text box allows
you to add filler at the end of a master clip. The value represents the
number of seconds to add. For example, use this feature to add filler at the
end of a master clip when you use a reverb effect to add a reverb trail to
the end of the clip. Select the value before you run the plug-in.
• Status display: This display provides information about the current state
of the DAE application and the currently applied effect. For stereo and
multichannel processing plug-ins, the Status display identifies the
maximum number of tracks that can be processed. If more than the
maximum are initially selected, the 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:

• 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.

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• 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 Expansion 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.
• Single-track and multiple-track 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.

n You can think of stereo processing as a special case of multichannel

processing.

For mono processing, the system creates a new master clip with the same
number of tracks that you selected in the AudioSuite window.

For stereo and multichannel processing, the plug-in creates a master clip with
the number of tracks equal to the number of output streams from the plug-in.
For example, a plug-in that operates on stereo pairs creates a two-channel
master clip. A plug-in such as Normalize, which 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
Peak From All Tracks. The default is Peak From All Tracks.

You select the processing mode from a menu in the AudioSuite window as
described in “Using Plug-Ins to Create New Master Clips” on page 590.

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Using Plug-Ins to Create New Master Clips

To create new master clips, using the AudioSuite plug-ins:

1. Drag one (or more) master clips or subclips into the AudioSuite window.
The system automatically enters Master Clip Processing mode and
expands the AudioSuite window, if necessary.
You can click the Display/Hide Master Clip Controls button to display or
hide the controls for processing a master clip. To enter or exit Master Clip
Processing mode, click the Toggle Master Clip Mode button. The button
is yellow when Master Clip Processing mode is active.
2. If you dropped more than one master clip in the AudioSuite window, click
the Clip Selection pop-up menu, and select a clip to work on.
3. Select the input sources from the Input Source Track selectors.
4. (Option) Change the preview source track; Alt+click (Windows) or
Option+click (Macintosh) the Input Source Track selector.
5. (Option) Type a value in the Handle Length 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

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 584.
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 585.
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:
- (Windows) Test Audio clip_Normalize
- (Macintosh) QuietClip.Normalize
The system also creates an AudioSuite effect template in the bin as
described in “Using AudioSuite Effect Templates” on page 591.

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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 as follows:

• (Windows) The original clip name is combined with the effect name, for
example:
Test Audio clip - AudioSuite Plug-In Effect: Normalize
• (Macintosh) An effect file name extension is added to the effect name, for
example:
QuietClip.NormalizeQuietClip.Normalize.effect

The template is useful if you want to modify the effect after it is created.

To use a template to modify a master clip:

1. Drag an AudioSuite plug-in template into the AudioSuite window.
The Find Source From Effect button becomes active.
2. Click the Find Source From Effect button to load the master clip into the
AudioSuite window.
If a corresponding master clip exists, the system loads the master clip with
its associated plug-in values.
3. Modify the effect as described in “AudioSuite Controls for Creating New
Master Clips” on page 586.

To add a template to the AudioSuite Fast menu (Windows):

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. Navigate to drive:\Program Files\Avid\Avid Xpress Pro\
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.

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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 Avid 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.

To add a template to the AudioSuite Fast menu (Macintosh):

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. Navigate to Applications/Avid Xpress Pro/
SupportingFiles/Site_Effects.
b. Double-click the Site_AudioSuite_Bin file.
4. Drag one of your AudioSuite templates to Site_AudioSuite_Bin.
5. If you have not already done so, name the template by clicking the text
and typing a name.
6. Close the bin.

n The Avid 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.

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 586. Applying an effect to a clip in
the Timeline does not work for these operations.

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Troubleshooting AudioSuite Plug-Ins

If you have problems with the AudioSuite Plug-Ins, see the following
sections:
• “Canceling a Render Operation” on page 593
• “Addressing Errors When Rendering a Plug-in Effect” on page 593

Canceling a Render Operation

To cancel a render operation:

t Press Ctrl+period (Windows) or k+period (Macintosh).

n Be careful not to press these keys multiple times. If you press Ctrl+period
(Windows) or k+period (Macintosh) after the render operation has been
stopped (from previously pressing Ctrl+period (Windows) or k+period
(Macintosh)), the Avid system closes the window after it cancels the render
operation.

Addressing Errors When Rendering a Plug-in Effect

If the DAE application is not running when you start to render a plug-in effect,
the system displays an error message stating that the DAE connection does not
exist. The dialog box gives you the following options:
• Cancel stops the rendering process. This allows you to open the
AudioSuite tool and then start rendering again.
• Bypass continues the rendering process but doesn’t render the plug-in
effect.

(Windows) In most cases, you should click Cancel and open the AudioSuite
window.

(Macintosh) In most cases, you should click Cancel and restart the DAE
application. Either open the AudioSuite window, or if the window is already
open, Option+click the Status display in the AudioSuite window.

If the plug-in is not installed when you go to render a plug-in effect, the
system displays an error message and tells you which plug-in is not installed.
At that time, you can cancel or bypass the rendering process.

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Recording Voice-Over Narration

Audio punch-in allows you to record up to two channels of audio directly into
the Timeline for voice-over narration. This feature saves you the extra steps of
recording the narration to tape first, capturing, 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.

You can “rehearse” the voice-over while you listen to the sequence. The
voice-over is not recorded while you are rehearsing. You can continue to
rehearse until you are satisfied with the results. While recording, you can
watch and listen to the sequence and hear playback of edited sound tracks.

To open the Audio Punch-In tool:

t Select Tools > Audio Punch-In.
The Audio Punch-In tool opens.

Features of the Audio Punch-In tool are as follows:

• Play In/Out button: Starts playing with the ability to perform a real-time
punch-in. The play loops from the IN point to the OUT point, but stops
looping once recording is done. This button blinks bright green when
playing.
• Record button: Starts and stops the recording. If an IN point and OUT
point are set, recording automatically starts at the IN point and stops at the
OUT point. This button blinks bright red while recording.

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• Stop button: Stops playing or recording and saves the last recorded data.
This button is bright blue when recording stops.
• Go to Mark IN button: Moves the position indicator to the IN point. If
there is no IN point, the system goes to where the position indicator was
previously located or to the start of the sequence.
• Cancel button: Stops a recording without saving the recorded data.
• Audio Tool button: Opens the Audio tool so you can adjust the audio
levels during recording.
• Passthrough Mix Tool button: Opens the Passthrough Mix tool so you
can monitor the audio levels during recording.
• Preroll text box: Allows you to provide an audiovisual cue before the
recording begins. The Avid system backs up the blue position indicator
for the prescribed number of seconds. You can hear the audio during
preroll.

Creating the Voice-Over

The following procedure provides general guidelines to record audio punch-

ins, regardless of your scenario. You should adjust when to add mark 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 in the Timeline.
2. Select Tools > Audio Punch-In.
The Audio Punch-In tool opens.

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Record button Stop button

Play In/Out button Go to Mark IN button

Cancel button Passthrough Mix Tool button

Audio Tool button Preroll and Postroll text boxes

Handles text box

Input Source pop-up menu

Input Channels Timeline Track pop-up

buttons menus

Target Drive pop-up menu

Target Bin pop-up menu

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 instruct the
Avid system to create a new track for the voice-over.

IN point OUT point

5. Click the Play In/Out button or press the V key.

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 Recording Voice-Over Narration

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 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 blue position indicator stops to
get ready for your next voice-over.

n To go to the mark 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.

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).

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Voice-over adding a new track

Voice-over replacing a portion of a track

n To cancel a punch-in at any time, click the Cancel button or press the Esc or
the period key.

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.

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 blue 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 the recording.

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• 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 will be recorded. Repeat the
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.

Monitoring the Recording

You can use the Passthrough Mix tool to monitor audio while recording with
the Audio Punch-In Tool. For more information, see “Using the Passthrough
Mix Tool” on page 237.

Monitoring Previously Recorded Tracks

You can monitor previously recorded audio tracks while you record a voice-
over narration with the Audio Punch-In tool.

To monitor other audio tracks:

1. Select Tools > Audio Tool.
The Audio tool opens.
2. Select Tools > Audio Punch-In.
The Audio Punch-In tool opens.
3. Follow the procedure in “Creating the Voice-Over” on page 595.
4. As you record, monitor the previously recorded audio tracks along with
your current recording from the meters in the Audio Tool window and
from the sound on the speakers.

Voice-Over Media Files

The Avid system automatically names the voice-over and stores it as an

audio clip.

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Fine-Tuning Audio Transitions

When making audio level and pan adjustments, the Avid system looks at
either an individual clip in the Source pop-up monitor, a segment in the
sequence, or entire tracks. To change level or pan settings in an area not
defined by a discrete clip or group of clips, use the Add Edit function to define
your own custom area. For more information on Add Edit, see “Isolating Clip
Portions for Adjustment” on page 600.

Isolating Clip Portions for Adjustment

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 Composer monitor.
This places an edit where the position indicator is parked.
4. Find the end of the area where you want to change the pan or level,
leaving your position indicator on that frame as a marker.
5. Select the appropriate track.
6. Click the Add Edit button.
7. Use the process described in “Using the Audio Mix Tool” on page 540 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

With the Avid system, these effects are more accurately termed audio
dissolves because they occur instantly when you apply the same dissolve
effect that you use for video tracks.

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Fading Audio

To fade or crossfade audio, you can use the procedures described in

“Understanding Audio Gain Automation” on page 550, or you can use the
procedure described in this section.

Fading and crossfading audio are easy effects to achieve. The procedure that
differs most from analog editing is crossfading. In the analog world, unless
you are using a mixer, you must lay down audio on two separate channels and
fade one down, and then fade up the second on an overlapping section. With
the Avid system, you simply apply an audio dissolve.

To apply a fade or crossfade:

1. Place the position indicator on a transition.
2. Click the Fast Menu button under the Composer monitor.
The Tool palette appears.
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; only dissolves work
with audio tracks.

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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).
6. Click the Position pop-up menu, and select the location for the dissolve.
- Ending at Cut fades the audio on the A-side to 0, ending at the cut
point.
- Centered on Cut or Custom Start creates a crossfade. Custom Start
allows you to begin the dissolve off-center — that is, closer to the
transition and ending later into the B-side, or the reverse.
- Starting at Cut fades the audio up from the B-side, starting at the cut
point.
7. If you chose Custom Start, type the number of frames before the transition
to begin the effect in the “Starts n frames before cut” text box. Otherwise,
leave the default value in the text box.
8. (Option) Click the Target Drive pop-up menu, and select a media drive
other than the default.]
9. (Option) If you have IN and OUT marks, select Apply to All Transitions
(IN -> OUT) to apply the transition to all transitions.
10. Click the Add button to place the effect at the transition point without
rendering. Click the Add and Render button to do both at once.

n 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).

The effect is completed.

n For more information on using the Quick Transition button, see “Using the
Quick Transition Button” in the Help.

n You can also use the Head Fade and Tail Fade buttons to add a dissolve to
audio tracks. See “Adding Dissolves with the Head Fade and Tail Fade
Buttons” in the Help.

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 “Understanding Audio Gain Automation” on page 550, or use the
procedure described in this section.

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 Mixing Down Audio Tracks

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 487.
2. Repeat the action in step 1 for the end point where the audio will dip back
up.
3. Place the position indicator over the new segment of audio, and open the
Audio Mix tool.
4. Adjust the track to the volume level you want, as described in “Using the
Audio Mix Tool” on page 540.
5. Apply a Quick Dissolve to both Add Edit points, using the techniques
described in “Fading Audio” on page 601. 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.

Mixing Down Audio Tracks

When you work with multiple audio tracks while editing your material, you
might need to mix down the final audio to two tracks.

To mix down several edited audio tracks to one or two audio tracks:
1. Load a sequence into the Composer monitor.
2. Click the Track buttons in the Track Selector panel to select the audio
tracks you want to mix down.
3. Mark an IN point and an OUT point at the start and end of the material
you want to mix down.
If you do not mark the section of audio you want to mix down, the system
mixes down all of the selected audio tracks.
4. 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.

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Selected
section of
audio

Destination
tracks

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 destination drive and a destination bin.
The destination drive is the media drive where the system stores the media
files for the mixed-down audio.
7. Click OK.
The audio is mixed down and the Avid system displays the new master
clip 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.

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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.

3. Select from the options in the following table.

Change Sample Rate Options

Option Description

Sample Rate Selects between 32 kHz, 44.1 kHz, and 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 “Transfer Settings
for Film Projects” on page 202.

Quality Selects High, Medium, or Low conversion quality.

Delete Original Media The system automatically deletes the original media after the conversion process
is complete.

n If you do not select this option, you end up with two sets of master clips
and two sets of media files.

Destination Drive Identifies 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.

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Syncing Methods

Your Avid system provides special tools that help you establish and maintain
sync relationships between various clips. This includes managing sync
between unrelated clips or clips with the same timecode. These topics are
discussed in the following sections:
• Autosyncing Clips
• Managing Sync Breaks
• Resyncing Subframe Audio
• Managing Sync with Multiple Tracks
• Ganging Footage in Monitors

Autosyncing Clips
For more information When you capture footage that includes both audio and video, the system
on tracking sync automatically establishes sync when it creates clips in the bin. Autosyncing
breaks, see “Managing applies to audio and video clips that have been captured separately, usually
Sync Breaks” on
from two separate sources. Autosyncing creates a new subclip that displays
page 609.
sync breaks in the Timeline as though the audio and video were captured
simultaneously.

Sync break displayed in

the Timeline
Chapter 17 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 described in
“Understanding Grouping Clips” on page 619.
• 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.

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3. Select an option, based on the following:

- Film TC/Sound TC, if you are syncing clips with matching film and
sound timecode recorded in the field. This option appears dimmed if
you are not working on a 24p or 25p project.
- Inpoints, if you are syncing according to IN points set in both clips.
- Outpoints, if you are syncing according to OUT points set in both
clips.
- Source Timecode, if the two clips have matching timecode.
- 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

The Timeline displays sync breaks whenever they occur during editing. They
appear at break points as white numbers indicating negative or positive offset
values relative to zero.

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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.

Editing to Avoid Sync Breaks

One way to avoid breaking sync is to maintain the duration of the track when
you add or remove material, as follows:
• When adding material to a track, use the Overwrite function instead of
Splice-in, whenever possible.
• When removing material from a track, use Lift instead of Extract. (The
Lift function leaves filler of the same duration when you remove footage.)
• When performing Segment mode edits, use the Lift/Overwrite function
instead of Extract/Splice-in whenever possible. (Lift/Overwrite leaves
filler behind and overwrites material at the new destination, maintaining
sync in both cases.)
• In Trim mode, you can sync lock tracks to avoid breaking sync, or you
can use the Alt key (Windows) or the Ctrl key (Macintosh) for adding
black during trims, as described in “Maintaining Sync While Trimming”
on page 521. You can also perform dual-roller trims (that maintain
duration) instead of single-roller trims.

There are many cases in which you cannot avoid splicing or extracting
material, or performing single-roller trims that break sync.

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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.

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 614.
• 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 to maintain any
other sync relationships that might be affected by the move.
• Use the Lift/Overwrite function to delete the entire segment and to 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 487.

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• Move the out-of-sync segment, if possible, beyond the overlapping range

with the synced material to eliminate the sync break.

Resyncing Subframe Audio

When you are working with a 24p or 25p project (35mm, 4-perf or 35mm, 3-
perf only), you can adjust the sync between the audio and video portions of
subclips at the subframe or perforation level (1/4-frame adjustments for 4-perf
and 1/3-frame adjustment for 3-perf) for more exact sync.

When you perform the subframe resync, you can obtain a closer relationship
between audio samples and film frames than the relationship established in the
film-to-tape transfer process. For example, when a film lab punches the
correct clapsticks frame to match the audio clap, during telecine transfer, the
process of aligning the sync points is inexact. As a result, true sync might be
off by one or more perforations.

The following conditions apply to resyncing at the perforation level:

• You can adjust the sync between a single video and a single audio track
within subclips only. They can be the subclips created:
- When you autosync
- Manually from master clips in preparation for editing
- From an imported shot log
- During capturing
- From imported audio media (OMFI, AIFF-C, or WAVE format),
master clips generated by AudioSuite plug-ins, or tone generator
media
• You cannot slip at the perforation level of the imported QuickTime audio
media.
• You cannot slip at the perforation level of the audio clips from
Avid Xpress Pro. You must import the audio media as a new clp.

n The batch import process does not create new clips; therefore, slipping at the
perforation level is not available when you batch import audio clips from Avid
application versions earlier than v10.5.3.

• You cannot slip beyond the duration boundaries of the source master clip.

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• The sync adjustments you make are referenced in any cut list you output
for any sequence that uses the adjusted subclip.

To resync audio for a selected subclip:

1. Load the subclip into the Source pop-up monitor.
2. Use one of the audio scrub techniques described in “Audio Editing Aids”
on page 527 to locate the closing slate frame.
3. Turn on the Audio Waveform display by clicking the Timeline Fast Menu
button and selecting Sample Plot.
4. Click the Toggle Source/Record in Timeline button in the Timeline
toolbar to display a Timeline for the subclip.
5. Zoom in on the area of the subclip that contains the audio slate frame as
follows:
a. Click the Timeline Fast Menu button, and select Zoom In.
b. Draw a box around the slate-frame area.

6. Move the audio sync either backward or forward in 1-perf increments by

clicking the Slip Left One Perf or Slip Right One Perf button.
Each click of the perf button performs the sync adjustment.
7. Play the subclip in the Source monitor to evaluate your sync adjustment.
Repeat the steps above to further adjust the sync, up to eight perfs in either
direction.
8. Use the resynced clip to edit into the sequence.

n If you find a subframe sync problem within an edited sequence, be sure to

correct the audio sync in the original subclip used in the edit. The sequence
will then be updated. For sync problems with 16mm format, the telecine
facility must correct the problem.

Managing Sync with Multiple Tracks

Displaying sync breaks in the Timeline makes it easy to manage sync between
video and one or two audio tracks. You can use additional techniques to
manage sync when you work with four or more tracks. These techniques
include the Sync Lock feature, tail leaders, and add edits.

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Using Sync Lock

The sync lock feature allows you to maintain sync among several tracks while
adding, moving, trimming, or removing frames 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 button

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.

Consider the following aspects of sync locking:

• Edits performed in editing, Segment, or Effect mode override sync-locked
tracks.
• Sync locking applies to single-roller trims only because dual-roller trims
do not break sync. For more information, see “Maintaining Sync While
Trimming” on page 521.
• 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.

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Syncing with Tail Leader

You can add tail leader to the audio or video material in the Avid application
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 342.

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.

To restore sync using tail leaders:

1. Move the position indicator to the black segment that follows the out-of-
sync leader.
2. Select the track, and then click the Mark Clip button. You can measure the
break by checking the IN to OUT duration of the marked segment.
3. Find the point at which the sync was lost.
4. Add or remove frames using the appropriate edit function, as described in
“Fixing Sync Breaks” on page 611.

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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 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
Composer monitor.

To add a note that will appear in the Composer monitor whenever you
park on the locator frame (such as Music sync or Sound Effect sync):
1. Double-click the locator in the Composer monitor.
2. Type the text in the Locator text box.
3. Click OK.

To repeat the procedure for subsequent synchronized tracks:

1. Disable the video track where you placed the locator.
2. Enable the top audio track. Make sure you keep the position indicator in
the same location in order to line up the locators.

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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 using the appropriate edit function, as described in
“Fixing Sync Breaks” on page 611.

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 in the Timeline top toolbar.
The system adds a transition at the location of your position indicator in
the Timeline.

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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, you can remove the add edits from the
synced tracks by clicking each Add Edit transition and by pressing the
Delete key.

Ganging Footage in Monitors

The Gang function does not combine tracks into a synced relationship but
locks monitors in sync so that you can move through footage in two or more
monitors simultaneously. This function is convenient for viewing and marking
the sequence and source material simultaneously, based on syncing of the
position indicators in each monitor.

You can gang the Source monitor and any number of pop-up monitors with
the Composer monitor. For instance, before editing them into a sequence, you
can gang a music track in a pop-up monitor, source footage in the Source
monitor, and a sequence in the Composer monitor. Then you can view the
footage, adjust the sync points, and mark them before completing the edit.

To gang footage in monitors:

1. Load a sequence into the Composer monitor.
2. Load one or more clips into the Source monitor and pop-up monitors.
3. Click the Gang button for each monitor that you want to synchronize (the
Record monitor is always ganged).
The button changes to green when the function is enabled.

n The Gang button appears in the Other tab of the Command Palette; you can
map it to a button in the Tool palette or a key in the Keyboard palette.

4. View the footage in any of the monitors using standard playback methods.
As you move through footage in one monitor, the footage in all other
monitors freezes. The footage is updated when the play stops.
Simultaneous full-motion playback is not possible, although sync is
maintained at all times.

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Group Clip Editing

The Avid Group Clip 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 Clips
• Group Clip Displays
• Group Clip Editing Techniques

Understanding Grouping Clips

The grouping procedures gather selected clips into a single unique clip, and
allow you to use special Group Clip editing features, such as multi-split views
in Group Clip mode.

Grouping does the following:

• 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.
• The Group function allows you to sync clips based on common source
timecode, auxiliary timecode, or marks placed in the footage.
• 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.
Chapter 18 Group Clip Editing

Creating Group Clips

Grouped clips can be useful in several circumstances. 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 music-video
editing.
• Use group clips for 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 grouped
clips.

The last two options are generally used in smaller group clip projects. Sorting,
marking, selecting, and grouping individual takes of a larger project can be
very time-consuming.

To create a group clip:

1. If you are using a sync point, load the clips and mark an IN 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 group clip 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.

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- 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.

Group Clip Displays

There are several displays that allow you to view and edit with multiple
camera angles.
• Full-Monitor Display—The Source monitor displays a single frame from
one clip in the group clip. You can view each angle in full-monitor size as
you edit. Editing with this display is similar to editing in Source and
Record modes.
Quad Split • Quad Split Source View—This display allows you to view four different
button 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 Split Source view.
• Group Clip Mode: Group Clip Quad Split Edit—After you create a
sequence that includes group clips, you can display the sequence in Group
Clip mode. Group Clip mode is similar to Quad 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 you stop or when you scrub through the Timeline.

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Full-Monitor Display

When you first load a grouped clip, the Source monitor displays a single frame
from one clip in the group in Source/Record mode. This is called Full-Monitor
display when working with group clips because you can view each angle in
full-monitor size as you edit.

The basic features of Full-Monitor display are as follows:

• Provides source-oriented control of group clip 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 editing features that are available in Quad Split Source
view and Group Clip mode. These features are described in “Group Clip
Editing Techniques” on page 625. The only difference is that in Full-
Monitor display, you can view each angle as full size while you edit.

Quad Split Source View

To enter Quad Split Source view:
1. Load a group clip into the Source monitor.
A Group Menu icon appears above the Source and Record monitors.

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2. Select Tools > Command palette.

Quad Split 3. Click the MCam tab, select Active Palette, and then click the Quad Split
button button.
The Source monitor splits into four camera angles of the group clip.

Group Menu icon Quad Split Source view Sequence

The basic features of Quad Split Source view are as follows:

• Provides source-oriented control of group clip 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 in Source/Record mode.
• Provides the special editing features that are available in Full-Monitor
display and Group Clip mode. These features are described in “Group
Clip Editing Techniques” on page 625.
• Provides a list of all group clip video and audio tracks in the Group menu
for custom selection and patching.

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• 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).
• The Record monitor is not ganged with Quad Split Source view.

Group Clip Mode

After loading a group clip into the Source monitor and editing it to create a
new sequence, select Group Clip Mode from the Special menu to activate the
features. The Group Clip Quad Split Edit is displayed.

Group Clip mode takes the 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 updated when
stopped or scrubbing in the Timeline.

When you play back group clip material, you can cut 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 Group Menu icon

disabled.

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 Group Clip Editing Techniques

The basic features of Group Clip mode are as follows:

• Provides sequence-oriented control of group clip material, in contrast to
Full-Monitor display 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
updated when stopped or when scrubbing in the Timeline.
• Provides only Record monitor controls.
• Provides special editing features that are available in Full-Monitor display
and Quad Split Source view. These features are described in “Group Clip
Editing Techniques” on page 625.
• 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 Group Clip Mode in the Special menu at any time to
switch between source-oriented and sequence-oriented group clip editing.
• Lets you switch between singular and multi-angle playback without
exiting Group Clip mode.

Group Clip Editing Techniques

When you load a group 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

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.

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Switching the Display of Camera Angles

To switch the display of camera angles:
1. Choose Tools > Command Palette.
Previous In 2. Click the MCam tab, and click the Previous In Group button or the Next
Group button In Group button.
Next In The angle selection switches in either the Source monitor (source
Group button
material) or in the Record monitor (sequence material), whichever is
active.
When the Record monitor is active, you can place the position indicator
within any segment and use the Previous In Group button or the Next In
Group button 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 it allows you
to concentrate on the beats and ignore camera angles until the edits are placed.

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 “Understanding
Button Mapping” on page 143.

To add edits:
1. Load the group 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.

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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 four camera angles and four or more audio tracks
synchronized and available for patching at any time.

Click the Group Menu icon

to display the pop-up menu.

In addition, you can select 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 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.

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3. (Option) Select the Audio Follow Video option to switch both audio and
video for each camera angle when you cut.

Using the Multi-angle View Menu

You can use the Multi-angle View menu to display and arrange up to four
clips at a time.

To select a clip to appear in one of the multi-split display cells, or to

rearrange the clips in the display:
1. Press the Ctrl key in a multi-split display.
The clip names appear.
2. Ctrl+click the display cell where you want to show a new clip or move a
clip to.
The Multi-angle View menu appears.
3. Select the clip you want to display.
The clip appears in the display cell

Using Match Frame in Group Clip 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 449.

Selective Camera Cutting

The Avid Group Clip 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.

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.

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 Group Clip Editing Techniques

t Edit one clip at a time without laying down a master sequence first,
effectively building a sequence as you would with single-camera material.

The advantage of selective camera cutting with grouped clips is that all the
clips are synchronized, 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 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 (Windows) or Return
(Macintosh) 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.

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 Chapter 19
Output Options

The Avid system provides tools for generating output for individual tracks or
entire sequences to various videotape or audiotape formats. In addition, you
can generate an edit decision list (EDL) to be used by editors in a videotape
suite for preparing a master tape. These options are described in the following
sections:
• Preparing for Output
• Preparing for Audio Output
• Using the Digital Cut Tool
• Using EDL Manager
• Using Film Options

Preparing for Output

Preparing for video output involves the following procedures:
• Render all non-real-time effects. See “Rendering Effects” in the effects
guide for your system or the Help.
• Select video outputs. See “Selecting Video Output” on page 632.
• Select audio outputs. “Audio Sample Rates” on page 632.
• Calibrate and adjust video output levels. See “Preparing for Audio
Output” on page 632.
• Calibrate and adjust audio output levels. See “Preparing for Audio
Output” on page 632.
• Decide whether you want to generate stereo or mono audio. See
“Adjusting One Audio Track at a Time” on page 542.
Chapter 19 Output Options

• Mix down multiple audio tracks if necessary. Systems equipped with a

two-channel audio board can generate a maximum of two channels. See
“Mixing Down Audio Tracks” on page 603.
• Convert mixed audio sample rates. See “Audio Sample Rates” on
page 632.
• Prepare the record tapes. See “Preparing Record Tapes” on page 636.

Selecting Video Output

To select video output:
1. Select Tools > Video Output.
The Video Output tool opens.
2. Click the Output pop-up menu, and select an output format:
- Component
- Composite
- SVideo
3. Click the Test Patterns pop-up menu, and select a test pattern.
4. Click the close box.

Preparing for Audio Output

The Audio tool lets you adjust global output levels. For information on
additional audio mix procedures, see “Using the Audio Mix Tool” on
page 540. Selecting your audio output also allows you to select the audio
connection output.

Audio Sample Rates

You must convert to a single audio sample rate when performing a digital cut.
If your sequence or master clip has multiple audio sample rates, for example,
one clip at 32 kHz and other clips at 44.1 kHz, you need to convert it to a
single audio sample rate. For information on converting the audio sample rate,
see “Changing the Sample Rate” on page 604.

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Setting the Calibration Tone

The Audio tool provides an internal calibration tone that you can customize
and play as a reference signal on a digital cut. You can use the recorded
reference signal for calibrating the digital cut audio at another site.

The default tone playback is –14 dB (digital scale) with a 1000-Hz signal. In
some cases, you might need to customize the signal. For example, a common
reference signal convention for audio work involves recording 30-second
segments of 100-Hz, 1-kHz, and 10-kHz tones back-to-back.

To change the parameters for the calibration tone:

1. Select Tools > Audio Tool.
The Audio tool opens. See “Using the Audio Tool” on page 230.

Peak Hold Menu button

In/Out toggle buttons

2. Click the Peak Hold (PH) Menu button, and select Set Calibration Tone.
The Set Calibration Tone dialog box opens.
3. Type new values for the tone level and frequency, and click OK.

To play back the tone:

t Click the Peak Hold pop-up menu, and select Play Calibration Tone.

To check the adjusted tone level in the meters:

t Make sure the In/Out (I/O) toggle buttons are set to O for Output.

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Calibrating Global Output Levels

You can use the meters in the Audio tool and the Output Control slider (master
attenuator) in the Output tab in the Audio Project Settings window to make
global level adjustments for output from the system. These adjustments affect
levels for all output tracks to both the speakers and record devices.

c You should leave this output level at the factory preset of 0 dB. Adjust the
level only when necessary to raise or lower the overall volume, based on
the headroom parameters of the record format, or for consistently
overmodulated or undermodulated source material.

Adjusting Audio Output

To adjust global audio output:

1. In the Project window, click the Settings tab.
The Settings scroll list appears.
2. Double-click Audio Project.
The Audio Project Settings window opens.
3. Click the Output tab.

Bypass panel

Mix Mode Selection

Menu button

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 Preparing for Audio Output

4. Click the Mix Mode Selection Menu button, and select a type of output.
- Select Stereo to mix the currently monitored audio tracks into a stereo
pair.
- Select Mono to pan all the currently monitored tracks to center.
5. (Option) You can select Clip Gain, RT EQ, or Auto Gain in the Bypass
panel to enable or disable the customized volume, real-time EQ, or
automation gain effects you applied with the other audio tools.
6. Select Tools > Audio Tool.
The Audio tool opens.

Reset Peak Peak Hold Menu button

button
In/Out toggle buttons

7. Click the In/Out toggle buttons above the meters to display O for Output.
8. Play back one of the following sources of reference audio by doing one of
the following:
t Click the Peak Hold (PH) Menu button, and select Play Calibration
Tone.
t Play back a representative sequence or clip containing audio.
9. Watch the levels in the meters, and adjust the master attenuator to the
level that you want.

n To adjust levels for individual tracks, use the Audio Mix tool.

10. Close the Audio tool.

11. Close the Audio Project Settings window.

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Preparing Record Tapes

The two basic methods of recording to tape are:

• Frame-accurate recording, using the Digital Cut tool
• Manual recording, using controls on the record deck

Each method requires different treatment of the record tapes.

Frame-Accurate Recording

Frame-accurate recording involves using the Digital Cut tool to record your
sequence onto a prestriped tape (a tape with prerecorded control track and
timecode) or a partially striped tape.

Before you can record a frame-accurate digital cut, you must prepare the
record tapes in advance for either insert-editing recording or assemble-edit
recording. See “Enabling Assemble-Edit Recording” on page 637.

n DV cameras or decks controlled through a 1394 connection and the OHCI

protocol do not consistently support the commands for frame-accurate
recording. As a result, if you are preparing to record to one of these devices,
the insert edit and assemble edit menu choices do not appear in the Digital
Cut tool. You can use the Digital Cut tool in either local mode or remote
mode, but all tracks are enabled for recording and cannot be modified.

To perform insert-edit recording:

t Stripe the record tapes (record black with timecode for the entire duration
of the tape) in advance (prestriped tape).

To perform assemble-edit recording:

t Record black with timecode onto the tape, including the necessary preroll
before the IN point plus at least 10 seconds (partially striped tape).

Manual Recording

Manual recording (sometimes referred to as crash recording) involves

bypassing deck control in the Avid application and using manual operation of
the record deck. Because the timing of playback is based on manual

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procedures, the recording is not frame accurate. However, you do not need to
record timecode onto the tape in advance. You can also record onto non-Avid-
controlled decks, such as a consumer-grade VHS or Hi8™.

n You cannot manually record to a DV device or camera. Use the Digital Cut
tool with local control. For more information, see “Recording a Digital Cut to
Tape (Local Mode)” on page 646.

To record manually:
1. If the record deck has a serial control switch, set it to Local.
2. Use the controls on the deck to start the videotape recording.
3. Play the sequence.

Enabling Assemble-Edit Recording

Insert editing is the default setting for the Digital Cut tool. You can also use
assemble-edit settings in the Avid application, along with the assemble-editing
capabilities of your record deck, to quickly record frame-accurate digital cuts
without striping entire tapes in advance.

c To avoid accidentally breaking timecode on prestriped tapes during

digital cut recording, enable assemble editing only when in use, and
disable it during insert-edit recording.

n DV cameras or decks controlled through a 1394 connection and the OHCI

protocol do not consistently support the commands for frame-accurate
recording. As a result, if you are preparing to record to one of these devices,
the insert edit and assemble edit menu choices do not appear in the Digital
Cut tool. You can use the Digital Cut tool in either local mode or remote
mode, but all tracks are enabled for recording and cannot be modified.

To enable assemble-edit recording:

1. Click the Settings tab in the Project window.
The Settings Scroll list appears.
2. Double-click Deck Preferences.
The Deck Preferences dialog box opens.
3. Select “Allow assemble edit for digital cut” and then click OK.

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4. If possible, check the following settings on your record deck:

- The free run/rec (record) run switch should be set to record run.
- The Ext (external)/Int (internal) sync switch should be set to internal.
- The switch for internal timecode should be set to Regen (regenerate)
or Slave Lock, not Preset.
- After you record 15 to 30 seconds of timecode onto the record tape
for jam syncing, set the Local/Remote switch to Remote for deck
control from within the Avid application.
5. When you are ready to record, set the options in the Digital Cut tool, as
described in “Using the Digital Cut Tool” on page 638.

Using the Digital Cut Tool

The Digital Cut tool provides controls when you record a sequence to tape.
The Digital Cut tool has the following operating modes:
• Remote mode allows you use the deck controller in the Digital Cut tool to
control the deck. This mode provides frame-accurate control when you
record a sequence to tape. See “Recording a Digital Cut to Tape (Remote
Mode)” on page 643.
• Local mode allows you to use the controls on the deck to manually control
the record deck. This mode is useful when you need to use non-Avid-
controlled decks, such as a consumer-grade VHS or Hi8. Local mode also
allows you to preview the output of a digital cut before recording it to
tape. See “Recording a Digital Cut to Tape (Local Mode)” on page 646.
• Crash Recording lets you record to a device without positioning the
device beforehand. See “Crash Recording” on page 645.

The Digital Cut tool allows you to:

• Select the sequence video and audio tracks to record (use the Sequence
Tracks pop-up menu and the Track Selection buttons).
• Select the tracks to record to on the tape (use the Enable Video Track
button — Remote mode only, and not for outputting to a DV device).
• Convert mixed audio sample rates.
• Record an entire sequence.

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• Have the system locate those real-time effects with dropped frames.
• Add black at the end of a digital cut.

The Digital Cut tool provides several options for managing the recording of
your sequence. For example, you can:
• Record using either assemble or insert edits.
• Record a selected portion of the sequence or selected tracks.
• Record according to different timecode parameters.
• Output directly to a DV device.

n Digital cut is not available for 24p projects.

You can also preview the digital cut before recording it to tape.

The Digital Cut tool includes its own deck controls for:
• Cueing a record deck from the Digital Cut tool (Remote mode only)
• Cueing the tape and marking an IN point
This capability applies when you select Mark In Time from the pop-up
menu in the deck control area (Remote mode only).

The Mark OUT button does not appear in the deck controller section of the
Digital Cut tool because it has no effect on digital cuts. Also, the Mark OUT
and Duration text fields are read-only. You cannot alter them.

n Depending on the system configuration, you might need to use the deck
controls in the Capture tool to review a digital cut.

n (Windows) If you install your Avid editing application on a laptop computer,

an Incompatible Power Scheme warning button might appear in the top right
corner of the Digital Cut tool. Some of the standard power schemes available
to laptops running Windows XP might affect the performance of editing
functions, including performing a digital cut. Avid recommends you use the
“Always On” power scheme when working with Avid applications. If you
select “Always On,” the warning button does not appear. For information on
changing power schemes, see the Windows documentation.

n (Macintosh) If you install your Avid editing application on a laptop computer,

an Incompatible Power Scheme warning button might appear in the top right
corner of the Digital Cut tool. Avid recommends you disable reduced

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processor performance in the Energy Saver settings when working with Avid
applications. Running at reduced speed might adversely affect performance of
editing functions, including performing a digital cuts). For more information
on disabling reduced processor performance, see the Macintosh
documentation.

n You might also see a message about disks spinning down while idle. Deselect
“Hard Disk Sleep” in the Energy Saver settings for best system performance.

Preview Digital Cut button

Track Selection
buttons

Deck Control
Options area
Timecode
text boxes

Deck controls
Deck Selection
pop-up menu

Using ExpertRender to Prepare Effects for a Digital Cut

Real-time effects might exceed the capabilities of your CPU and cause
dropped frames during a digital cut. You can choose to have the Avid
application select and render effects that might cause dropped frames.

c If your system is not connected to an Avid Mojo DNA, you must render
all effects before you perform a digital cut.

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To prepare effects for a digital cut:

1. Load the sequence you want to output.
2. Open the ExpertRender dialog box:
t Select Clip menu > ExpertRender In/Out.
t Right-click in the Timeline, and select ExpertRender In/Out.
The ExpertRender dialog box opens.

3. Select “Prepare effects for Digital Cut,” and then click OK.
For more information about ExpertRender, see the Help or the effects
guide for your system.

Selecting a Deck in the Digital Cut Tool

The Deck Selection pop-up menu in the Digital Cut tool contains a list of all
decks that were connected to the system, powered up, and initialized when
you opened the Digital Cut tool.

The Deck Selection pop-up menu also lists three commands:

• Adjust Deck opens the Deck Settings dialog box. Changes you make
apply to the selected deck. For information on Deck settings, see “Deck
Settings Options” on page 212.
• Auto-configure allows you to automatically configure the selected deck
with the default deck settings for that deck.

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• Check Decks helps to reestablish deck control if the power to your decks
was off or the decks were disconnected when you opened the Digital Cut
tool.

If the words “No Deck” appear in the pop-up menu, you need to configure a
deck in the Deck Configuration dialog box. See “Configuring Decks” on
page 208.

If a deck name appears in italic in the pop-up menu, the deck has lost power or
has been disconnected. Click the pop-up menu, and select Check Decks to
reestablish deck control.

To activate an available deck for a digital cut:

t Click the Deck Selection pop-up menu, and select the deck.

Previewing a Digital Cut

You can preview your digital cut in Remote mode as well as Local mode
before actually making the cut.

To preview a digital cut:

1. Select Clip > Digital Cut.
The Digital Cut tool opens.
2. Select Remote or Local in the Deck Control Options area.
3. Select the options that you want for the digital cut. See “Recording a
Digital Cut to Tape (Remote Mode)” on page 643.
4. Click the Sequence Tracks pop-up menu, and select the audio tracks and
topmost video track that you want represented in the digital cut preview.
The display of tracks in the Digital Cut tool varies according to the tracks
existing in the sequence.
5. Click the yellow Preview Digital Cut button.
The Digital Cut tool goes through the motions of an insert edit and shows
you how the tape will appear before, during, and after the cut, but does not
actually change the master tape. You can then modify your digital cut, if
you want, before it is committed to the master tape.

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 Using the Digital Cut Tool

Recording a Digital Cut to Tape (Remote Mode)

To record a digital cut to tape:
1. Load a sequence into the Composer monitor. (You cannot access digital
cut options without a sequence loaded.)
2. Select Clip > Digital Cut.
The Digital Cut tool opens.
3. Select or deselect the Entire Sequence option based on the following:
t Select Entire Sequence if you want the system to ignore any
IN or OUT points and to play the entire sequence from start to finish.
t Deselect Entire Sequence if you have established IN points, OUT
points, or both for recording a portion of the sequence.
4. (Option) Deselect Digital Cut Native.

c Select Digital Cut Native only if you are outputting a DV 25 sequence with
all effects rendered.

5. (Option) Select Stop on Dropped Frames. This option appears only if you
have an Avid Mojo DNA device attached. When you select this option, if
the Avid Mojo DNA device detects a dropped frame during output, it
stops. You can fix the frame with ExpertRender and then continue. For
more information, see “Expert Render” in the effects guide for your
system or the Help.
6. (Option) Select Add Black at Tail, and enter a timecode to add black at the
end of the digital cut.
7. Click the Deck Selection pop-up menu, and select a deck. See “Selecting
a Deck in the Digital Cut Tool” on page 641.
8. Click the Video Effect Safe Mode button (selected by default) to allow the
system to notify you that an effect needs to be rendered.
During a digital cut, real-time effects can drop frames. To eliminate the
chance of dropping frames, it’s best to render the real-time effects that
might drop frames. The Video Effect Safe Mode option analyzes and
identifies real-time effects that might cause dropped frames during the
digital cut and allows you to render them. After all the real-time effects
are rendered, the system automatically initiates the digital cut.

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9. Select Remote in the Deck Control Options area.

10. (Option) You can crash record. See “Crash Recording” on page 645.
11. Click the pop-up menu in the Deck Control Options area, and select an
option to indicate where to start recording on the tape:
t Select Sequence Time to start the recording at a timecode existing on
tape that matches the start timecode of the sequence. If you intend to
record several sequences to tape one after another, this option
requires resetting the start timecode on each sequence to match the
appropriate IN points on the tape.
t Select Record Deck Time to ignore the timecode of the sequence and
to start the recording wherever the record deck is currently cued.
t Select Mark In Time to ignore the sequence timecode. Establish an IN
point on the record tape by cueing and marking with the deck
controls.
12. Select either Insert Edit or Assemble Edit.

n This menu appears only if you selected the “Allow assemble edit for digital
cut” option in the Deck Preferences dialog box and if you are not connected to
a DV device. For more information, see “Enabling Assemble-Edit Recording”
on page 637.

n DV cameras or decks controlled through a 1394 connection and the OHCI

protocol do not consistently support the commands for frame-accurate
recording. As a result, if you are preparing to record to one of these devices,
the insert edit and assemble edit menu choices do not appear in the Digital
Cut tool. You can use the Digital Cut tool in either local mode or remote
mode, but all tracks are enabled for recording and cannot be modified.

13. (Option) Select Custom Preroll, click the pop-up menu, and select the
number of seconds to indicate how many seconds the tape rolls before the
digital cut starts. This option overrides the preroll setting in the Deck
Settings dialog box.
14. Select the audio and video tracks you want represented in the digital cut
preview. The display of tracks in the Digital Cut tool varies according to
the tracks existing in the sequence.

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 Using the Digital Cut Tool

n If your sequence contains audio clips with different sample rates, use the
Change Sample Rate dialog box to ensure that all the clips have the same
sample rate. For more information, see “Changing the Sample Rate” on
page 604.

15. Click the Enable Video Track button to select the audio and video tracks
to record to tape (not for outputting to a DV device).
16. Click the Play Digital Cut button.
The system cues the record deck and then plays and records the digital
cut. The playback appears in the Composer monitor and the Client
monitor (if you have one).

To stop the recording at any time, do one of the following:

t Press the space bar.
t Click the Halt Digital Cut button.

n After assemble-edit recording, a freeze frame is usually added after the OUT
point for 1 second or more, depending on the record deck model. This
provides several frames of overlap for the next IN point before the control
track and timecode break up.

n If you see degraded image quality in your digital cut (particularly visible as
noise during black), deselect the option “Poll deck during digital cut” in the
Deck Preferences dialog box and record the digital cut again. With this option
deselected, the timecode display in the deck controller does not update for the
duration of the digital cut.

Crash Recording

You can crash record to a device without positioning the device beforehand.
Crash record can either start recording at the current location or it can work
with a starting timecode.

To perform crash record:

1. Prepare for Digital Cut as described in “Recording a Digital Cut to Tape
(Remote Mode)” on page 643.
2. In the Deck Control area, select Remote.
Crash Record appears in the right pop-up menu.

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3. Do one of the following:

t To ignore the starting timecode and start recording at the current
location, select Ignore Time from the left pop-up menu.
If you select one of the timecode options for which your device is not
equipped, a message box appears.
t To begin recording at a starting timecode, select a timecode option
from the left pop-up menu.

Recording a Digital Cut to Tape (Local Mode)

Recording in local mode allows you to manually control your record deck by
using the controls on the deck. This mode is useful when you need to use non-
Avid controlled decks, such as consumer-grade VHS or Hi8.

To record a digital cut to tape:

1. Load a sequence into the Composer monitor. (You cannot access digital
cut options without a sequence loaded.)
2. Select Clip > Digital Cut.
The Digital Cut tool opens.
3. Select or deselect the Entire Sequence option based on the following:
t Select Entire Sequence if you want the system to ignore any
IN or OUT points and play the entire sequence from start to finish.
t Deselect Entire Sequence if you have established IN points, OUT
points, or both for recording a portion of the sequence.
4. (Option) Deselect Digital Cut Native.

c Select Digital Cut Native only if you are outputting a DV 25 sequence with
all effects rendered.

5. (Option) Select Stop on Dropped Frames. This option appears only if you
have an Avid Mojo DNA device attached. When you select this option, if
the Avid Mojo DNA device detects a dropped frame during output, it
stops. You can fix the frame with ExpertRender and then continue. For
more information, see “Expert Render” in the effects guide for your
system or the Help.
6. (Option) Select Add Black at Tail, and enter a timecode to add black at the
end of the digital cut.

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7. Click the Video Effect Safe Mode button (selected by default) to allow the
system to notify you that an effect needs to be rendered.
During a digital cut, real-time effects can drop frames. To eliminate the
chance of dropping frames, it’s best to render the real-time effects that
might drop frames. The Video Effect Safe Mode option analyzes and
identifies real-time effects that might cause dropped frames during the
digital cut and allows you to render them. After all the real-time effects
are rendered, the system automatically initiates the digital cut.
8. Click the Deck Selection pop-up menu, select a deck. See “Selecting a
Deck in the Digital Cut Tool” on page 641.
9. Select Local in the deck control option area.
10. Select the audio and video tracks you want represented in the digital cut
preview. The display of tracks in the Digital Cut tool varies according to
the tracks existing in the sequence.
11. Press the Record button on the deck.
12. Click the Play Digital Cut button.
The system cues the record deck and then plays and records the digital
cut. The playback appears in the Composer monitor and the video monitor
(if you have one).

n Depending on the system configuration, you might need to use the deck
controls in the Capture tool to review a digital cut.

To stop the recording at any time, do one of the following:

t Press the space bar, and then press Stop on your deck.
t Click the Halt Digital Cut button, and then press Stop on your deck.

n If you see degraded image quality in your digital cut (particularly visible as
noise during black), deselect the option “Poll deck during digital cut” in the
Deck Preferences dialog box and record the digital cut again. With this option
deselected, the timecode display in the deck controller does not update for the
duration of the digital cut.

Outputting Directly to a DV Device

You can output DV 25 sequences directly to a DV device. This lets you output
without any loss due to compression and decompression.

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To output directly to a DV device:

1. Select the DV 25 sequence you want to output.
2. Render all effects.
3. Select Clip > Digital Cut.
The Digital Cut tool opens.
4. Select Digital Cut Native.

c Select Digital Cut Native only if you are outputting a DV 25 sequence with
all effects rendered.

5. Click the Video Effect Safe Mode button (selected by default) to allow the
system to notify you that an effect needs to be rendered.
During a digital cut, real-time effects can drop frames. To eliminate the
chance of dropping frames, it’s best to render the real-time effects that
might drop frames. The Video Effect Safe Mode option analyzes and
identifies real-time effects that might cause dropped frames during the
digital cut and allows you to render them. After all the real-time effects
are rendered, the system automatically initiates the digital cut.
6. Select other Digital Cut options as described in “Using the Digital Cut
Tool” on page 638.
7. Perform the digital cut.

DV Digital Cut Offset

DV digital cut offset affects the timing of the DV data sent to the DV device
for a digital cut. Increasing the digital cut offset causes the sequence stream to
be to delayed when it is sent to the DV device when digital cut begins. While
the system is waiting for this delay, the first frame of the sequence is
continually sent to the DV device.

There are several components to this setting.

• The recommended value represents the offset that is found in the machine
template for the online DV device. If for some reason, there is no “online”
DV device, the recommended value is set to the offset in the machine
template of the “offline” DV device. If no DV device is configured in the
Deck Configuration and Deck Settings dialog boxes, this value is set to 0.

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 Using the Digital Cut Tool

• If you want to override the recommended digital cut offset, select the
Override Recommended Digital Cut Offset option, and type a delay value
into the Digital Cut Offset (frames) text box. When a digital cut is
performed, the offset value used for the cut is based on whether the
Override Recommended Digital Cut Offset option is selected. If the
option is deselected, the recommended value is used.

Before setting this offset, you should perform several digital cuts to determine
the frame-accuracy behavior of the recording device. Begin with the DV
digital cut offset set to 0 frames. If the digital cut frame accuracy of the device
is inconsistent, the results of using the offset are also inconsistent. If the
sequence is missing frames at the beginning of the digital cut on the tape,
increase the offset. If the first frame of the sequence is repeated, decrease the
DV digital cut offset. The starting frame of the sequence should change
according to your offset.

For example, suppose the DV digital cut offset is set to 0 frames. The digital
cut is expected to begin with the first frame of the sequence being recorded on
the IN point designated on the tape. In this example, the IN point is set to
frame number 6. This is where the recording would begin on the tape.
However, due to the behavior of the particular DV device, the digital cut does
not perform as expected. The first frame of the sequence recorded on the tape
is actually the fourth frame. See the following figure.

Sequence frames

Tape frames

Tape IN point

Digital Cut with No Offset

To correct this, the DV digital cut offset should be increased to have the Avid
application delay sending the sequence to the device. If the DV digital cut
offset is set to three frames, this should cause recording on the tape to begin
with the correct sequence frame. See the following figure.

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Sequence frames

Tape frames

Tape IN point

Digital Cut with Offset

To offset the sequence for a digital cut:

1. Click the Settings tab in the Project window.
2. Double-click Deck Preferences.
The Deck Preferences dialog box opens.

3. Select Override Recommended Digital Cut Offset.

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4. Determine the approximate offset and type the offset in the Digital Cut
Offset (frames) text box.
5. Click OK.
The offset is reflected in the DV Offset box in the Digital Cut tool.
6. Perform a digital cut. See “Using the Digital Cut Tool” on page 638.
7. Repeat this process until you achieve the appropriate offset.

Using EDL Manager

EDL Manager is a standalone application with powerful features and sorting
capabilities to help you prepare an edit decision list (EDL).

For more information on specific features and capabilities of EDL Manager,

see the Avid EDL Manager User's Guide or the Avid EDL Manager Help.

Using Film Options

Film Options on an Avid Xpress Pro system, along with the standalone
FilmScribe™ application and the Matchback option, allow you to generate a
film cut list from a 30-fps or 25-fps video project that uses film as the source
material. This video-to-film conversion is useful in a variety of matchback
circumstances, including:
• Generating a videotape master for the project along with a final cut on
film
• Generating pull lists for retransferring selects at high quality before online
editing

Film Options also enable the following features:

To use See

Dupe detection in the Timeline “Customizing Timeline Views” on page 477

Script integration

Ink numbers and auxiliary ink numbers “Selecting Film Settings” on page 654

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Chapter 19 Output Options

To use See

Additional timecode information “Tracking Format Options” on page 411

Film-style fades and dissolves The effects guide for your system or
the Help

n For more information about the FilmScribe application, see the Avid
FilmScribe User’s Guide or the Avid FilmScribe Help.

n Your system might not include Film Options. To purchase Avid Xpress Pro,
contact your Avid sales representative.

How Matchback Works

The matchback process refers to the video edit information for your sequence
and performs a conversion to create a matching 24-fps cut list.

Because of the difference in frame rates between video and film (30 fps or 25
fps for video versus 24 fps for film), the conversion of video edit points might
fall within a film frame, requiring the addition or subtraction of a frame in that
edit event in the resulting cut list.

For example, with a ratio of 24 film frames to 30 video frames, a 7-frame

video edit corresponds to approximately 5.6 film frames. However, film cuts
cannot include partial frames, so the edit must be rounded to 5 or 6 frames.

NTSC
Shot X Shot Y Shot Z
video

The matching film edit point

falls within a frame.

.................................................................................................................................

Film
.................................................................................................................................

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 Using Film Options

To make these adjustments, the following occurs during matchback:

• If the total video-sequence duration at the end of each cut is a frame
longer than the film, the system subtracts a frame from the last video edit.
If the video is a frame too short, a frame is added to the last video edit.
• Where an essential frame was added or subtracted to the beginning or end
of each edit, the system adds matchback information to the cut list, stating
that matchback shortened or lengthened the tail of the clip by one frame.
The assistant editor or negative cutter can use this information to check
the edit.
• Each track in the sequence must be corrected independently because the
start and end points for split edits are different for each track. As a result,
the picture and audio for a matchback video edit might be out of sync by
no more than one frame.

Matchback Limitations

Matchback is subject to the following limitations:

• The Matchback option uses key numbers to conform the negative.
Therefore, you must have key-number information entered into the bins
for the project.
• You can generate cut lists, but not change lists in a matchback project.
• The matchback information applies to the picture only. You must generate
a separate list (an EDL, for instance) for conforming the audio source
tapes.
• Be sure to remove unwanted match frames (add edits) from your sequence
before generating the cut list. Otherwise, the calculation of matchback
frames will include these edits.

Setting Up a Matchback Project

To use matchback:
1. Click New Project in the Select Project dialog box.
The New Project dialog box opens.
2. Select Matchback.
3. Click the Format pop-up menu, and select NTSC or PAL.
4. Click the Film Type pop-up menu, and select a film type.

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5. Click OK.
The system creates the new project files and folder, and returns you to the
Select Project dialog box. The project name is highlighted in the Projects
scroll list.
6. Select Film settings. See “Selecting Film Settings” on page 654.

Selecting Film Settings

To select Film settings:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Film.
The Film Setting dialog box opens. For information about options, see
“Film and 24p Settings” in the Help.
3. Click OK.

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Chapter 20
Exporting and Exchanging
Material

You can export material directly from your Avid system to many supported
file types. You can export an individual frame, a selected region of footage, or
an entire clip or sequence. See the following sections:
• Understanding Export
• Preparing to Export a Sequence
• QuickTime Reference Movies
• Exporting as a QuickTime Movie
• Improving Workflow Using Send To
• Exporting Video in DV Stream Format
• Mixing Down Video Tracks
• Exporting Frames, Clips, or Sequences
• Customizing Export Settings
• Exporting OMFI and AAF Files
• Exporting as an AVI File (Windows Only)
• Using Avid Codecs
• Exporting as Windows Media (Windows Only)
• Exporting Tracks as Audio Files
• Exporting as a Graphic File
• Transferring a Project Between Avid Systems
• Transferring Projects and Bins Using AFE Files
Chapter 20 Exporting and Exchanging Material

Understanding Export
There are several reasons why you might want to export video, audio, or both
from your Avid system:
• You can export files to be viewed as an AVI or QuickTime movie.
• You can export files in RealMedia™, Windows Media™, and DV Stream
formats.
• You can export audio files for audio sweetening in a digital audio
workstation (DAW), such as a Pro Tools system.
• You can export video files for touching up or for creating special effects
in third-party applications or other Avid applications.
• You can use the export process to convert audio media files from one
supported audio format to another. Your Avid system supports the AIFF-
C, SD2 (Macintosh only), and WAVE formats.

n If you plan to transfer the exported files to another Avid system or third-party
application, see the appropriate section in this chapter.

The following sections describe general procedures for preparing to export a

sequence and for exporting frames, clips, and sequences.

Preparing to Export a Sequence

If you are exporting part or all of a sequence — to create an OMFI file, an
AAF file, a QuickTime file, an AVI file, or a graphic sequence, for
example — you can speed the export process by preparing the sequence in
advance, as follows:
• Make sure all media for the sequence is online. For more information
about selecting offline items in a bin, see “Selecting Offline Items in a
Bin” on page 316.
• If your sequence contains audio clips with different sample rates, use the
Change Sample Rate dialog box to ensure that all the clips have the same
sample rate. See “Changing the Sample Rate” on page 604.
• Check and adjust all pan and audio levels in advance. All current Pan and
Level settings in the sequence are carried to the exported media. For more
information on performing an audio mixdown, see “Mixing Down Audio
Tracks” on page 603.

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• For OMFI files, consider consolidating the sequence to create smaller

source clips, thereby saving time and disk space. For more information on
consolidating media, see “Using the Consolidate Command” on page 352.
• OMFI files with very complex sequences can fail during import into some
applications due to memory limitations. Try one of the following
solutions:
t Break the sequence into smaller sequences and export the new
sequences.
t Add more physical memory.
• To export multiple clips in a single OMFI file, create a sequence from
them. For example, you can select all the clips, Alt+drag (Windows) or
Option+drag (Macintosh) them into the Timeline to create an instant
sequence, and then export the sequence.

QuickTime Reference Movies

A QuickTime reference movie is a QuickTime movie that contains
composition information but no movie data. Instead, the movie contains
pointers to the original media in the OMFI MediaFiles directory on local or
network media drives. Because the QuickTime reference movie does not
contain media, the file is much smaller than a QuickTime movie, usually only
a few kilobytes per file. Therefore, exporting a sequence as a QuickTime
reference movie is faster and takes up less disk space than exporting a
sequence as a QuickTime movie. When you play back the movie in
QuickTime Player, the movie references the media files for playback.

QuickTime reference movies are useful as long as you are working with Avid
OMFI media files available on your local system. Advantages are speed and
small file size because the system does not copy the source media files into the
exported QuickTime file. However, if you expect to move the exported
QuickTime file to a system that doesn't have access to the media, then you
should use the standard QuickTime export so that the media files and
QuickTime wrapper can be moved as one file. See “Exporting as a QuickTime
Movie” on page 660.

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Exporting as a QuickTime Reference Movie

To export as a QuickTime reference movie:
1. Select the material you want to export in one of the following ways:
t To export specific tracks in a clip or sequence, enable those tracks in
the Track Selector panel, and disable all others.
t To export part of a clip or sequence, mark IN and OUT points to
export the marked range from a bin or a monitor.
t To export the entire clip or sequence, make sure the topmost track is
monitored.

n For more information, see “Preparing to Export a Sequence” on page 656.

2. Select File > Export.

The Export As dialog box opens.
3. Select the Export settings by doing one of the following:
t Select a setting from the Export Setting pop-up menu if you have
created a setting in advance, and go to step 7.
t If you want to review or edit a setting, go to step 4.
4. Click Options.
The Export Settings dialog box opens.
5. Click the Export As pop-up menu, and select QuickTime Reference.

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6. Select options. For information about options, see “Export Settings: Quick
Time Reference” in the Help.
7. Click Save.
The file is exported and appears at the chosen destination.

c If a power failure or mishap occurs during the export process, the entire
file is unusable. You need to repeat the export process. The only exception
is a sequential file sequence, where all frames up to the point of failure are
usable.

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Chapter 20 Exporting and Exchanging Material

Exporting as a QuickTime Movie

This section presents the procedures for exporting as a QuickTime movie and
the export options you can select.

The QuickTime Movie export option creates a standard QuickTime movie that
combines the media files and QuickTime wrapper. This method allows you to
move all related information as one file. If you are working with Avid OMFI
media files available on your local system, you might want to investigate the
QuickTime reference format. See “QuickTime Reference Movies” on
page 657.

To export as a QuickTime movie:

1. Select the material you want to export in one of the following ways:
t To export specific tracks in a clip or sequence, enable those tracks in
the Track Selector panel, and disable all others. Make sure Use
Enabled Tracks is selected in the QuickTime Export Settings dialog
box. You can select this option before the export.
t To export part of a clip or sequence, mark IN and OUT points to
export the marked range from a bin or a monitor. If you mark an IN
point and no OUT point, the system exports from the IN point to the
end of the clip or sequence. Make sure Use Marks is selected in the
QuickTime Export Settings dialog box.
t To export the entire clip or sequence, deselect Use Enabled Tracks
and Use Marks in the QuickTime Export Settings dialog box, and
make sure the topmost track is monitored.
You can use the drag- 2. Select File > Export.
and-drop method to
export QuickTime The Export As dialog box opens.
files. See “Using the 3. Select the Export settings by doing one of the following:
Drag-and-Drop Method
for Export” on t Click the Export Setting pop-up menu, select a setting if you created a
page 682. QuickTime template in advance, and then click Save.
The file is exported and appears at the chosen destination.
t If you want to review or edit a setting, go to step 4.
4. Click the Options button.
The Export Settings dialog box opens.
5. Click the Export As pop-up menu, and select QuickTime Movie.

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 Exporting as a QuickTime Movie

n If you installed additional QuickTime Export formats, they appear in the pop-
up menu with tildes (~) before their names. This indicates that they have not
been qualified with the Avid application and are not supported by Avid.

QuickTime Movie (Same as Source) QuickTime Movie (Custom)

6. Select one of the following:

- Same as Source: Allows you to use the resolution of the source file.
- Custom: Allows you to customize your settings.
7. (Option) Click Format Options, and select settings from the Movie
Settings dialog box.For information about options, see “Export Settings:
Quick Time Movie” and “Export Settings: Quick Time Compression” in
the Help.
8. Select the remaining options. For information about options, see “Export
Settings: Quick Time Movie Export” in the Help.
9. Click Save, and then click Save again.
The file is exported and appears at the chosen destination.

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Chapter 20 Exporting and Exchanging Material

c If a power failure or application error occurs during the export process,

the entire file is unusable. You need to repeat the export process. The only
exception is a sequential file sequence, where all frames up to the point of
failure are usable.

Selecting QuickTime Codecs

Your Avid system includes many codecs you can use to compress and export
your sequence. See “Using Avid Codecs” on page 689.

To access the QuickTime codecs:

1. Select File > Export.
The Export As dialog box opens.
2. Click the Options button.
The Export Settings dialog box opens.
3. Click the Export As pop-up menu, and select QuickTime Movie.
4. Select Custom.
5. Click Format Options.
The Movie Settings dialog box opens.

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 Exporting as a QuickTime Movie

6. Click the Settings button in the Video area.

The Compression Settings dialog box opens.

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7. Select settings. For information about options, see “Export Settings:

Quick Time Compression Settings” in the Help.
8. Click OK.
The Movie Settings dialog box reappears.
9. Click OK to return to the Export Settings dialog box. For information
about exporting as a QuickTime movie, see “Exporting as a QuickTime
Movie” on page 660.

Improving Workflow Using Send To

The Send To feature enables you to send sequences or master clips from your
Avid editing system to other applications, automating your workflow. The
Send To option provides you with a choice of pre-defined templates to
streamline your workflow. These templates are set to default parameters,
customized for the specific workflow. In many instances you can choose to
automatically launch the application to which you are sending your clip or
sequence.

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 Improving Workflow Using Send To

Avid recommends you use the pre-defined template default settings,

which have been qualified by Avid.

To use the predefined templates:

1. Select a sequence in a bin.
2. Select File > Send To.
3. Select the desired Send To template option.
4. Click Set and choose a destination folder for the exported files.
5. Click OK.
The file is exported to the selected destination.

For more details about individual Send To options, see the following topics:
• “Send To Digidesign Pro Tools” on page 665
• “Send To DVD” on page 668
• “Send To Sorenson Squeeze” on page 671
• “Send To Avid | DS” on page 674
• “Send To Third-Party Applications” on page 675

n The Avid Xpress Studio Send To submenu might appear in your editing
application, but is applicable only when running the Avid Xpress Studio
package.

Send To Digidesign Pro Tools

When exporting a sequence to Digidesign Pro Tools, select Digidesign Pro

Tools and choose how you want to export (that is, linking or consolidating the
audio); the best export template for your request is automatically selected.

To export directly to Digidesign Pro Tools:

1. Prepare the sequence, as described in “Preparing to Export a Sequence”
on page 656.
2. Select a sequence in a bin.
3. Select File > Send To.
The Send To submenu opens.

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n To access Send To from the shortcut menu, right-click (Windows) or

Ctrl+Shift+click (Macintosh) the clip or sequence in the bin.

4. Select Digidesign Pro Tools.

5. Select one of the following options from the submenu.
- Link to audio + video
- Link to audio + QT ref
- Link to audio + QT mov
- Consolidate - link to audio + video
- Consolidate - embed audio only
- Consolidate - embed audio + QT mov
The Send To dialog box opens with a default export template.

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 Improving Workflow Using Send To

The Filename text box displays the name of the sequence or clip you
selected.
6. (Option) Change the file name.
7. Click Set to browse to the drive and folder to which you want to export
the sequence. Click OK.

n Whenever you return to a Send To dialog box, the destination folder that was
last set appears in the destination field.

8. Review the Export Setting Summary.

If you selected Link to audio + QT ref, Link to audio + QT mov, or
Consolidate - embed audio + QT mov, the Export Setting 1 Summary
displays the appropriate settings options for link or consolidate to audio.
The Export Setting 2 Summary displays the appropriate settings options
for QuickTime Movie, or QuickTime Reference.
9. (Option) If you need to make any changes, select the Options button,
make any necessary changes, and then click Save.
10. (Option) If you make any changes to the Send To dialog box, you can
save these changes as a new template.
a. Click the Save As Template button.

b. Rename the file. Make sure you leave the .stt extension.

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c. Click Save.
The new template is saved. The next time you select a sequence, and
choose File > Send To, the new template appears in the list.
11. Click OK.
The file is exported to the selected destination.

Send To DVD

When you choose to export to a DVD authoring application, a QuickTime

Reference Movie template is selected. If your sequence includes MetaSync
tracks, you can choose to export the MetaSync tracks as XML.

To export directly to DVD:

1. Prepare the sequence, as described in “Preparing to Export a Sequence”
on page 656.
2. Select a clip or a sequence in a bin.
3. Select File > Send To.
The Send To submenu opens.

n To access Send To from the shortcut menu, right-click (Windows) or

Ctrl+Shift+click (Macintosh) the clip or sequence in the bin.

4. Select DVD from the Send To submenu, and then select QuickTime
Reference from the submenu.
The Send To dialog box opens with a default export template.

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 Improving Workflow Using Send To

The Filename text box displays the name of the sequence or clip you
selected.
5. (Option) Change the file name.
6. Click Set to browse to the drive and folder to which you want to export
the sequence. Click OK.

n Whenever you return to a Send To dialog box, the destination folder that was
last set appears in the destination field.

7. Review the Export Setting Summary.

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8. (Option) If you need to make any changes, select the Options button,
make any necessary changes, and then click Save.
9. (Option) Do the following if you want the DVD application to
automatically launch after you export.
a. (Option) Click the Auto Launch button, and select Add Item.
b. (Option) Browse to find the DVD application.
c. Click Open.
d. Select Auto Load Exported File(s) if you want the files you export to
automatically load in the DVD application.
e. Select Reveal file if you want the system to search available drives,
open Windows Explorer or the folder (Macintosh), and highlight
related media files.
10. (Option) Select the following if your sequence includes MetaSync tracks:
a. Choose to export the MetaSync tracks as XML or AAF files. If you
choose XML, the system performs an AAF export, and then
automatically opens MetaSync Publisher which produces the XML
file. For more information on MetaSync Publisher, see “Using
MetaSync Publisher” in the Help.
b. Select Reveal file if you want the system to search available drives,
open Windows Explorer or the folder (Macintosh), and highlight
related MetaSync files.
c. (Option) If you want to automatically load the XML files in another
application, choose Auto Launch, and select the application.
11. (Option) If you make any changes to the Send To dialog box, you can
save these changes as a new template.
a. Click the Save As Template button.
b. Rename the file. Make sure you leave the .stt extension.
c. Click Save.
The new template is saved. The next time you select a sequence and
choose File > Send To, the new template appears in the list.
12. Click OK.
The QuickTime references movie and optional MetaSync files are
exported to the selected destination.

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Send To Sorenson Squeeze

When you send directly to Sorenson Squeeze, a QuickTime Reference

template is selected.
1. Prepare the sequence, as described in “Preparing to Export a Sequence”
on page 656.
2. Select a sequence in a bin.
3. Select File > Send To.
The Send To submenu opens.

n To access Send To from the shortcut menu, right-click (Windows) or

Ctrl+Shift+click (Macintosh) the clip or sequence in the bin.

4. Select Encoding from the Send To submenu, and then Select Sorenson
Squeeze from the submenu.
The Send To dialog box opens with a default template.

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The Filename text box displays the name of the sequence or clip you
selected.
5. (Option) Change the file name.
6. Click Set to browse to the drive and folder to which you want to export
the sequence. Click OK.

n Whenever you return to a Send To dialog box, the destination folder that was
last set appears in the destination field.

7. Review the Export Setting Summary.

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8. (Option) If you need to make any changes, select the Options button and
make any necessary changes. Click Save.
9. (Option) Do the following if you want the Sorenson Squeeze application
to automatically launch after you export:
a. (Option) Click the Auto Launch button, and select Add Item.
b. (Option) Browse to find the Sorenson Squeeze application.
c. Click OK Open.
d. Select Auto Load Exported File(s) if you want the files you export to
automatically load in the Sorenson Squeeze application.
e. Select Reveal file if you want the system to search available drives,
open Windows Explorer or the folder (Macintosh), and highlight
related media files.
10. (Option) Select the following if your sequence includes MetaSync tracks:
a. Choose to export the MetaSync tracks as XML files. The system
performs an AAF export, and then automatically opens MetaSync
Publisher which produces the XML file. For more information on
MetaSync Publisher, see “Using MetaSync Publisher” in the Help.
b. Select Reveal file if you want the system to search available drives,
open Windows Explorer or the folder (Macintosh), and highlight
related XML files.
c. (Option) If you want to automatically load the XML files in another
application, choose Auto Launch and select the application.
11. (Option) If you make any changes to the Send To dialog box, you can
save these changes as a new template.
a. Click the Save As Template button.
b. Rename the file. Make sure you leave the .stt extension.
c. Click Save.
The new template is saved. The next time you select a sequence, and
choose File > Send To, the new template appears in the list.
12. Click OK.
The QuickTime references movie and optional MetaSync files are
exported to the selected destination.

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Send To Avid | DS

When you choose to send to Avid | DS, the sequence is exported as an AFE
file.
1. Prepare the sequence, as described in “Preparing to Export a Sequence”
on page 656.
2. Select a clip or a sequence in a bin.
3. Select File > Send To.
The Send To submenu opens.

n To access Send To from the shortcut menu, right-click (Windows) or

Ctrl+Shift+click (Macintosh) the clip or sequence in the bin.

4. Select Avid DS from the Send To submenu.

The Send To dialog box opens with a default export template.

The Filename text box displays the name of the sequence or clip you
selected.

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5. (Option) Change the file name.

6. Click Set to browse to the drive and folder to which you want to export
the sequence. Click OK.

n Whenever you return to a Send To dialog box, the destination folder that was
last set appears in the destination field.

7. Click the OK to save the AFE file.

The file is exported to the selected destination.

Send To Third-Party Applications

Avid provides a Make New option that allows you to customize your own
Send To template for third-party applications.

To create your own template:

1. Prepare the sequence, as described in “Preparing to Export a Sequence”
on page 656.
2. Select a clip or a sequence in a bin.
3. Select File > Send To.
The Send To submenu opens.

n To access Send To from the shortcut menu, right-click (Windows) or

Ctrl+Shift+click (Macintosh) the clip or sequence in the bin.

4. Select Make New from the Send To submenu.

The Send To dialog box opens with a default export template.

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The Filename text box displays the name of the sequence or clip you
selected.
5. (Option) Change the file name.
6. Select the destination folder for the file. Click OK.

n Whenever you return to a Send To dialog box, the destination folder that was
last set appears in the destination field.

7. Review the Export Setting Summary.

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8. (Option) If you need to make any changes, select the Options button and
make any necessary changes. Click Save.
9. (Option) Do the following if you want the third-party application to
automatically launch after you export.
a. (Option) Click the Auto Launch button, and select Add Item.
b. (Option) Browse to find the third-party application.
c. Click OK Open.
d. Select Auto Load Exported File(s) if you want the files you export to
automatically load in the third-party application.
e. Select Reveal file if you want the system to search available drives,
open Windows Explorer or the folder (Macintosh), and highlight
related media files.
10. (Option) Select the following if your sequence includes MetaSync tracks:
a. Choose to export the MetaSync tracks as XML files. The system
performs an AAF export, and then automatically opens MetaSync
Publisher which produces the XML file. For more information on
MetaSync Publisher, see “Using MetaSync Publisher” in the Help.
b. Select Reveal file if you want the system to search available drives,
open Windows Explorer or the folder (Macintosh), and highlight
related XML files.
c. (Option) If you want to automatically load the XML files in another
application, choose Auto Launch, and select the application.
11. Click OK.
12. The Save As dialog opens.
13. Name the new Send To (.stt) template.
14. Click Save.
You can use this new template when working with the third-party
application.

Exporting Video in DV Stream Format

The DV Stream format is often used for distribution on a CD-ROM or over the
Web. Use this option when exporting video that will be combined or
processed with other DV-formatted media. This option requires a video track.

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To export in DV Stream format:

1. Select File > Export.
The Export As dialog box opens.
2. Select the Export settings by doing one of the following:
t Click the Export Setting pop-up menu, select a setting if you have
created a setting in advance, and go to step 7.
t If you want to review or edit a setting, go to step 4.
3. Click Options.
The Export Settings dialog box opens.
4. Click the Export As pop-up menu, and select DV Stream.
5. Select options. For information about options, see “Export Settings: DV
Stream” in the Help.
6. Click the Format Options button.
The DV Export Settings dialog box opens.
7. Select a video format and an audio format. For compatibility with DV
cameras that require unlocked audio, deselect Locked.
8. Click OK, and then click Save.
The file is exported and appears at the chosen destination.

Mixing Down Video Tracks

Video mixdown allows you to combine several tracks into a single new master
clip. This is convenient for building multilayered effects, for consolidating
media, and for export and exchange.

c When you mix down video tracks, you cannot separate them again to
work on the tracks individually. Use this function only during the last
stages of editing when you no longer need to make changes, or to make a
copy for previewing.

To perform a video mixdown:

1. Render all effects that require rendering. For more information on
rendering effects, see the effects guide for your system or the Help.
2. Highlight the tracks you want to mix down.

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n Make sure the Record Track Monitor button in the Track Selector panel is in
the topmost track that you want to mix down. Video mixdown works from the
monitored track down, regardless of track selection.

3. Mark an IN point and an OUT point around the area to mix down.
4. Select Clip > Video Mixdown.
The Video Mixdown dialog box opens.
5. (Option) Click the Target Bin pop-up menu, and select a different bin.
6. Click the Target Drive pop-up menu, and select a target drive for storing
the new master clip.
7. Click OK.
A progress indicator appears, showing the progress of the video mixdown.
When the mixdown is completed, a new clip appears in the bin along with
the sequence, and a new media file is created on the target drive.

Exporting Frames, Clips, or Sequences

For information on This section provides the steps for exporting frames, clips, and sequences. For
using the drag-and- information on exporting for digital distribution on the World Wide Web, CD-
drop method, see ROM, or DVD, see “QuickTime Reference Movies” on page 657 and
“Using the Drag-and-
“Improving Workflow Using Send To” on page 664.
Drop Method for
Export” on page 682.
To export frames, clips, or sequences:
1. Select the material you want to export in one of the following ways:
t To export specific tracks in a clip or sequence, enable those tracks in
the Track Selector panel, and disable all others. Make sure Use
Enabled Tracks is selected in the Export Settings dialog box. You can
set this option before the export. See “Customizing Export Settings”
on page 683.
t To export a single-frame graphic, mark an IN point to export the
marked frame from a bin or a monitor, or move the position indicator
to the frame you want to export. Make sure Use Marks is selected and
Sequential Files is deselected in the Export Settings dialog box.

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t To export part of a clip or sequence, mark IN and OUT points to

export the marked range from a bin or a monitor. If you mark an IN
point and no OUT point, the system exports from the IN point to the
end of the clip or sequence. Make sure Use Marks is selected in the
Export Settings dialog box.
t To export the entire clip or sequence, deselect the options
Use Enabled Tracks and Use Marks in the Export Settings dialog box,
and make sure the topmost track is monitored.

n When you export to an OMFI file, you do not need to select both the sequence
and its source clips. Select only the sequence to export all the necessary
information, including reference clips.

2. Select a clip or sequence in one of two ways:

t Click the monitor that displays the clip or sequence you want to
export.
t Click the clip or sequence in a bin. Ctrl+click (Windows) or
Shift+click (Macintosh) to select multiple clips or sequences.
3. Select File > Export, or right-click (Windows) or Ctrl+Shift+click
(Macintosh) and select Export.
The Export As dialog box opens with a default file name in the File Name
text box (Windows) or the Name text box (Macintosh), based on the file
type.

Windows

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Macintosh

4. Select the destination folder for the file.

5. (Option) Change the file name. In most cases, keep the default file name
extension.
6. Click the Export Setting pop-up menu, and select a setting.
This setting determines the format of the exported file. The default setting
is labeled Untitled.

n Your Avid system supplies you with several templates for Export settings.

7. (Option) If you want to view or modify the current Export setting or

create a new setting, click the Options button to open the Export Settings
dialog box, view the selections, and then click Save to return to the Export
As dialog box.
8. Click Save.
The file is exported and appears at the chosen destination.

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n Your Avid system saves the intermediate movie that it makes for some formats
in a temporary folder. Make sure the temporary folder is on a drive with
plenty of space. You can view and change the location of the temporary file in
the General Settings dialog box, which you access from the Settings scroll list
in Settings tab of the Project window.

n For large exports, use QuickTime Reference. See “QuickTime Reference

Movies” on page 657.

c If a power failure or application error occurs during the export process,

the entire file is unusable. You need to repeat the export process. The only
exception is a sequential file sequence, where all frames up to the point of
failure are usable.

Using the Drag-and-Drop Method for Export

To export a frame, clip, or sequence using the drag-and-drop method:
1. Select the material you want to export in one of the following ways:
t To export specific tracks in a clip or sequence, enable those tracks in
the Track Selector panel, and disable all others. Make sure Use
Enabled Tracks is selected in the Export Settings dialog box. See step
2.
t To export a single-frame graphic, mark an IN point to export the
marked frame from a bin or a monitor, or move the position indicator
to the frame you want to export. Make sure Use Marks is selected in
the Export Settings dialog box.
t To export part of a clip or sequence, mark IN and OUT points to
export the marked range from a bin or a monitor. If you mark an IN
point and no OUT point, the system exports from the IN point to the
end of the clip or sequence. Make sure Use Marks is selected in the
Export Settings dialog box.
t To export the entire clip or sequence, deselect both Use Enabled
Tracks and Use Marks in the Export Settings dialog box, and make
sure the topmost track is monitored.

n You cannot use the drag-and-drop method to export ALE, tab-delimited, or

sequential files.

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n When you export to an OMFI file, you do not need to select both the sequence
and its source clips. Select only the sequence to export all the necessary
information, including reference clips.

2. In the Settings scroll list of the Project window, select the setting you
want to use for export. The default Export setting, the preset templates,
and any additional Export settings you create appear in the Settings scroll
list.
After you select a setting in the Settings scroll list, the parameters remain
the default settings for all exported files, unless you change them during
the export. This is especially useful when you batch export a number of
files at the same time directly from a bin. To view or modify the
parameters, double-click the setting.
3. Export the frame, clip, or sequence by dragging the clip or sequence you
want to export to the location (folder or drive) where you want to store the
file. To select multiple objects, Ctrl+click (Windows) or Shift+click
(Macintosh) the objects and drag the objects to the new location.

Customizing Export Settings

In addition to selecting preset templates, your Avid system allows you to
customize and name your Export settings. Use the following procedures to
customize your Export settings.

Preset Export Templates

Your Avid system includes the following export templates:

• Fast-Export QuickTime: Exports a QuickTime movie that uses the
Same as Source setting. See “Exporting as a QuickTime Movie” on
page 660.
• Macintosh Image: Exports a PICT file for use in Macintosh graphic
applications. See “Exporting as a Graphic File” on page 706.
• Windows Image: Exports a BMP file for use in Windows graphic
application.“Exporting as a Graphic File” on page 706.

You can select or customize these settings, as described in “Exporting Frames,

Clips, or Sequences” on page 679.

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Creating a New Export Setting

To create a new Export setting:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Click Export.
3. Do one of the following:
t Select Edit > Duplicate.
t Right-click (Windows) or Ctrl+Shift+click (Macintosh) and select
Duplicate.
4. Name the setting:
a. Click the custom name column.
b. Type a name.
c. Press Enter (Windows) or Return (Macintosh).
5. Adjust the parameters for the setting as described in the following
procedure.

To adjust the parameters in an Export Settings dialog box:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click the Export setting.
The Export Settings dialog box opens.
3. Select the appropriate file type and options based on the descriptions in
“Export Settings Options” in the Help.
4. Click OK.
The changed settings are saved.

Exporting OMFI and AAF Files

The options for exporting OMFI (OMF Interchange) and AAF (Advanced
Authoring Format) files have changed for this release. You can now
consolidate or copy media and create an OMFI or an AAF file in one step.

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Exporting Through OMF Interchange

OMF Interchange (OMFI) is a platform-independent file format that stores

both the digital media (video, audio, graphics, animation) and the information
describing how the media is edited together to form a final sequence. This
editing information, called a composition, is the OMFI representation of the
sequence created in your Avid system. The OMF Interchange format is the
result of cooperative efforts of many industry and standards partners and Avid
Technology, Inc.

Any other program that supports OMFI can read OMFI files, even if the
program resides on a different computer platform. As a result, with OMFI, you
can transfer among different applications on different platforms without
worrying about cross-platform translations. This can be very effective for
importing animation or audio files created on proprietary platforms.

c To avoid errors and incompatibilities when you import and export OMFI
files, observe the recommendations in “File Format Specifications” in the
Help.

Exporting Through AAF

Advanced Authoring Format (AAF), is a cross-platform, multimedia file

format that allows interchange of media and composition information between
AAF-compliant applications. These applications are primarily content
creation tools such as Avid editing systems, Avid|DS, and Sonic Foundry's
Sound Forge®, to name a few.

There are two general types of data in an AAF file:

• Media such as audio and video
• Composition information, or metadata, that provides the instructions
needed to combine and modify the media portions of the AAF file to
produce a complete multimedia program

Choosing an OMFI or an AAF Transfer Method

OMF Interchange and AAF, as implemented in your Avid system, provide

two basic methods for exporting files.

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Method 1: Compositions with Linked Media

The Avid system can export an OMFI or an AAF file that contains only the
editing information about a selected master clip or sequence. The file also
contains links to the media used in the clip or sequence. You then need to
transfer both the OMFI or AAF file and the media files or to recapture the
media on the other system. After you have transferred the media once, you can
transfer revised composition-only files, unless you consolidate the media (in
which case, you must transport the consolidated media files, as well). You can
consolidate media during the export (see “Exporting OMFI or AAF Files” on
page 686) or before the export (see “Consolidating and Transcoding Media”
on page 350).

Method 2: Compositions with Embedded Media

The Avid system can export an OMFI or an AAF file that contains all the
editing information for the selected master clip or sequence along with the
video and audio media files for that master clip or sequence. See “Exporting
OMFI or AAF Files” on page 686.

n (Macintosh only) SDII audio media cannot be embedded in an OMFI or an

AAF file. When you export an OMFI or an AAF composition to a product that
supports the SDII audio format, you must select an export method that links to
the files. If the audio files are not in SDII format, you must select Consolidate
and Link to Consolidated Media and select Convert Audio File Format to
SDII. For information about options, see “Export Settings: OMFI and AAF
Options” in “Settings Options” in the Supplement to the User’s Guide.

Exporting OMFI or AAF Files

To export master clips or sequences as OMFI or AAF files:
1. Select the master clip or sequence you want to export.
2. Select File > Export.
The Export As dialog box opens.

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3. Click the Export Setting pop-up menu, and select a setting.

If you want to create a new setting, select Untitled.
4. Click the Options button.
The Export Settings dialog box opens.
5. Click the Export As pop-up menu, and Select OMF 1.0, OMF 2.0, or
AAF.
6. Select options. For information about options, see “Export Settings:
OMFI and AAF Options” in the Help.

7. Do one of the following:

t To save your settings in the existing settings file, click Save.
The Export As dialog box reappears.

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t To create a new settings file, click Save As.

The Save Export Setting dialog box opens.
Name the setting by typing a name in the Setting Name text box, and
click OK. The Export As dialog box opens again.
8. (Option) In the Export As dialog box, change the file name.
In most cases, keep the file name extension the same.
9. Select the destination folder for the file.
10. Click Save.
The file is exported and appears at the chosen destination.

Exporting as an AVI File (Windows Only)

To export as an Audio Video Interleave (AVI) file:
1. Select the material you want to export in one of the following ways:
t To export specific tracks in a clip or sequence, enable those tracks in
the Track Selector panel, and disable all others. Make sure Use
Enabled Tracks is selected in the Export Settings dialog box. You can
set this option before the export. See “Customizing Export Settings”
on page 683.
t To export part of a clip or sequence, mark IN and OUT points to
export the marked range from a bin or a monitor. If you mark an IN
point and no OUT point, the system exports from the IN point to the
end of the clip or sequence. Make sure Use Marks is selected in the
Export Settings dialog box.
t To export the entire clip or sequence, deselect Use Enabled Tracks
and Use Marks in the Export Settings dialog box, and make sure the
topmost track is monitored.
2. Select File > Export.
The Export As dialog box opens.
You can set these 3. Choose the Export settings by doing one of the following:
options in advance. See
“Customizing Export t If you created a setting in advance, click the Export pop-up menu,
Settings” on page 683. select the AVI setting, and go to step 11.
t If you want to review or edit a setting, go to step 4.

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4. Click the Options button.

The Export Settings dialog box opens.
5. Click the Export As pop-up menu, and select AVI.
6. Select AVI options from the Video Format tab. For information about
options, see “Export Settings: AVI Settings (Windows Only)” in the Help.
7. Select an AVI codec by clicking the Codec Options button.
The Video Compression dialog box opens.
8. Select the compressor you want, and click Configure to further configure
the codec. For information about options, see “Export Settings: AVI
Video Compression Options (Windows Only)” in the Help.
9. Click OK to close the Video Compression dialog box and return to the
Export Settings dialog box.
10. Select AVI options from the Audio Format tab. For information about
options, see “Export Settings: AVI Settings (Windows Only)” in the Help.
The list of codecs varies, depending on your platform and the version of
Windows installed.
11. Click Save.
The file is exported and appears at the chosen destination.

c If a power failure or application error occurs during the export process,

the entire file is unusable. You need to repeat the export process.

Using Avid Codecs

You can use the Avid codecs (compressor/decompressor) when exporting
QuickTime files from your Avid system or from third-party applications for
import into an Avid system:

Using the Avid Codecs for QuickTime

You can use the following Avid codes when you export QuickTime files from
your Avid system or from third-party applications for fast import into an Avid
system:
• Avid DV
• Avid Meridien Compressed

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• Avid Meridien Uncompressed

The Avid codecs create encapsulated media files for export of high-resolution
files that are readable within QuickTime applications. The Avid codec you use
to export the file must be loaded on the system running the QuickTime
application for the application to read the exported file. See “Installing an
Avid Codec on Other Systems” on page 693.

n You get the best results when you use the Same as Source option. See
“Exporting as a QuickTime Movie” on page 660.

To export a clip or sequence with the Avid DV codec or one of the Avid
Meridien codecs:
1. Select the material you want to export in one of the following ways:
t To export specific tracks in a clip or sequence, enable those tracks in
the Track Selector panel, and disable all others.
t To export part of a clip or sequence, mark IN and OUT points to
export the marked range from a bin or a monitor.
t To export the entire clip or sequence, make sure the topmost track is
monitored.
2. Select File > Export.
The Export As dialog box opens.
3. Click Options.
The Export Settings dialog box opens.
4. Click the Export As pop-up menu, and select QuickTime Movie.
5. Select Custom.
6. Click the Format Options button.
The Movie Settings dialog box opens.

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7. Click Settings in the Video area.

The Compression Settings dialog box opens.

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8. Click the top Compressor pop-up menu, and select Avid DV, Avid
Meridien Uncompressed, or Avid Meridien Compressed.
9. Click the Options button. The Quality slider does not affect your settings.
One of the Codec Configuration dialog boxes appears.
10. Select the settings you want and click OK.
11. Click OK in the Compression Settings dialog box, and then click OK in
the Movie Settings dialog box.
The Export Settings dialog box reappears.
12. Click Save.
The file is exported and appears at the chosen destination.

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Installing an Avid Codec on Other Systems

When you install the Avid editing application on your system, the Avid
Codecs for QuickTime are automatically installed. If you want to export a
QuickTime movie from a third-party application such as Adobe After Effects®
for use on an Avid system, you should have the appropriate codec installed on
the system running the third-party application.

Use the following techniques to copy the codecs to other systems:

• Copy the Avid Codecs for QuickTime to other Windows or Macintosh
workstations where you are using QuickTime compatible applications.
Once the Avid Codecs for QuickTime are installed on the workstation,
you can export files from the QuickTime compatible application for
reimport into the Avid editing system.

Copying an Avid Codec for QuickTime to Another Windows System (Windows Only)

To copy an Avid Codec for QuickTime (Meridien) to another Windows

system:
1. On an Avid Meridien system, open the following folder:
C:\WINNT\System32
2. Copy the codecs you need to a floppy disk or network server:
The following table describes the codecs:

Codec Description

AvidQTAVJICodec.qtx Avid Meridien Compressed Codec for QuickTime

AvidQTAVUICodec.qtx Avid Meridien Uncompressed Codec for QuickTime

3. Install the codec in the other workstation in the following folder:

(Windows 2000) drive:\WINNT\System32
(Windows XP) drive:\Windows\System32

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Copying a Codec to a Macintosh System

(Macintosh Only)

To copy an Avid Codec for QuickTime (Meridien) to another Macintosh

OS X system:
1. On your Avid system, open the Macintosh HD/Library/QuickTime folder.
2. Copy the codecs you need to a floppy disk or network server.
The following table describes the codecs:

Codec Description

AvidAVDJCodec.component Avid Meridien Compressed Codec for

QuickTime for Mac OS X

AvidAVUICodec.component Avid Meridien Uncompressed Codec for

QuickTime for Mac OS X

3. On the system where the QuickTime compatible application resides, copy

the codec extensions to the Macintosh HD/Library/QuickTime folder.

Exporting from a Third-Party Application

To export files from a QuickTime compatible application or an AVI
compatible application on a Windows system for import (or reimport)
into your Avid system:
1. Make sure the applicable codec is installed on the workstation. See
“Installing an Avid Codec on Other Systems” on page 693.
2. Follow the export procedure according to the procedures used by the
particular software.
3. When you get to the step where the standard Export Settings dialog box
opens, select the applicable Avid compressor.
For QuickTime exports, most applications have format options similar to
those described in “Export Settings: Quick Time Movie Export” in the
Help. Make sure you select settings that are compatible with your existing
media on the Avid system.

c You must specify a 601 video frame size in the third-party application or
you cannot use the Avid codecs.

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 Exporting as Windows Media (Windows Only)

n If you select a nonstandard frame size, your Avid system does not import the
file quickly.

4. Complete the export.

Exporting as Windows Media (Windows Only)

The Avid editing application allows you to export your sequence as native
Windows Media. Before you perform any export procedures, make sure you
have reviewed Preparing to Export a Sequence.

This section includes the following:

• Exporting Using an Avid Supplied Template (Windows Only)
• Exporting Using an Existing Windows Media Profile (Windows Only)
• Exporting Using a Custom Profile (Windows Only)
- Creating a Custom Video Profile (Windows Only)
- Creating a Custom Audio Profile (WIndows Only)

Exporting Using an Avid Supplied Template (Windows Only)

The Avid editing application includes a number of Windows Media templates

you can use to export media.

To export as Windows Media using an Avid supplied template:

1. Select the sequence or clips to export.
2. Select File > Export.
The Export As dialog box opens.
3. Click the Options button.
The Export Settings dialog box opens.
4. Select Export As > Windows Media.
5. Select Use Marks and/or Use Enabled Tracks. When Use Marks is
selected, the current IN and OUT points in the selected clip or sequence
determine starting and ending frames for the export. When Use Enabled
Tracks is selected, the system uses tracks that are enabled in the Timeline.
To export all the tracks in the sequence, deselect this option.

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6. Select WM Templates.
7. Select V: 8, 7 or 4.
These refer to the available version 8, version 7, and version 4 Windows
Media templates.
8. Select other Windows Media options that best fit your needs.
9. Click Save.
10. In the Export As dialog box, select the destination folder for the file.
11. (Option) Change the file name.
In most cases, keep the file name extension the same.
12. Click Save.
13. The sequence is exported using the selected template.

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Exporting Using an Existing Windows Media Profile (Windows Only)

A profile is a group of settings that match content type and bit rate with the
appropriate audio and video codecs. Profiles have the file name extension .prx.
If you have an existing .prx file, select that file to use for the Windows Media
export settings.

n A .prx file is basically a saved template. You can create and save .prx files to
share with others.

To use an existing Windows Media profile:

1. Select the sequence or clips you want to export.
2. Select File > Export.
The Export As dialog box opens.
3. Click the Options button.
The Export Settings dialog box opens.

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4. Select Export As > Windows Media.

5. Select Use Marks and/or Use Enabled Tracks.
When Use Marks is selected, the current IN and OUT points in the
selected clip or sequence determine starting and ending frames for the
export. When Use Enabled Tracks is selected, the system uses tracks that
are enabled in the Timeline. To export all the tracks in the sequence,
deselect this option.
6. Select the PRX button.
7. Click Set.
8. Browse to the location where the .prx file is located on your system, and
select the file.
9. Click Open.
10. Click Save.
11. In the Export As dialog box, select the destination folder for the file.
12. (Option) Change the file name.
In most cases, keep the file name extension the same.
13. Click Save.
The file is exported using the selected profile settings.

Exporting Using a Custom Profile (Windows Only)

The Avid editing system allows you to create custom audio and video profiles.
Once you create the profile, you can use the settings in that profile to export a
sequence.

Creating a Custom Video Profile (Windows Only)

To create a custom video profile:

1. Select the sequence or clips you want to export.
2. Select File > Export.
The Export As dialog box opens.
3. Click the Options button.
The Export Settings dialog box opens.

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 Exporting as Windows Media (Windows Only)

4. Select Export As > Windows Media.

5. Select Use Marks and/or Use Enabled Tracks.
When Use Marks is selected, the current IN and OUT points in the
selected clip or sequence determine starting and ending frames for the
export. When Use Enabled Tracks is selected, the system uses tracks that
are enabled in the Timeline. To export all the tracks in the sequence,
deselect this option.
6. Click the Custom Profile button.
7. Click the Add button and select Video.
8. Choose the custom profile settings according to the following table.

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Custom Profile Settings

Option Description

Width This option sets the width of the clips for export.

Height This options sets the height of the clips for export.

FPS This option sets the frame-per-second (fps) rate for the export.

Video Type Select Progressive or Interlaced. Progressive media is composed of single frames,
each of which is vertically scanned as one pass.
Interlaced media is composed of two fields, each of which contains one-half the scan
lines of the frame. Interlaced frames are standard for NTSC and PAL video media.

Pixel Aspect Ratio Select this option to apply a scaling to the video. The pixel aspect ratio allows you to
control the display format without modifying the source file.

Uncompressed Select this option for high-quality export in which no picture information is lost. This
option does not compress the file and can result in very large files.

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 Exporting as Windows Media (Windows Only)

Custom Profile Settings (Continued)

Codec Select from the list of video codecs.

(This option is not • Windows Media Video 9 - Creates high-quality video for streaming, download
available when you and play. Enables playback of interlaced content on televisions.
select uncompressed.)
• ISO MPEG-4 Video V1 - The MPEG-4 standard was defined by the Moving
Picture Experts Group (MPEG), the working group within the International
Organization for Standardization (ISO). MPEG-4 was designed to deliver DVD
(MPEG-2) quality video at lower data rates and smaller file sizes.
• Windows Media Video V7 - Enables Windows Media Player 7 to view encoded
video content without first having to download the latest codecs. This is the best
choice when the encoding computer cannot support the performance requirements
of the newer Windows Media Video codecs.
• Windows Media Screen V7 - Specially optimized for use for screen captures and
some animations
• Windows Media Video 9 Screen - For content that needs to be captured from the
computer screen. This codec is ideal for delivering demos or demonstrating
computer use for training. Windows Media Video 9 Screen delivers better
handling of bitmap images and screen motion, even on relatively modest CPUs.
• Windows Media Video V8 - Supports a wide variety of network bandwidths.
Deinterlaces interlaced content before encoding.
• Windows Media Video 9 Image - With this codec, still images can be
transformed into full screen (640 x 480) video using pan and zoom effects. The
results can then be delivered at data rates as low as 20 Kbps. These files,
compressed using either CBR or one-pass VBR modes, can be easily shared
because they are much smaller than the original image files.

Passes Select either 1 Pass or 2 Pass. With 1 Pass encoding, the content passes through the
encoder once, and compression is applied as the content is encountered. With 2 Pass
(This option is not
encoding, the content is analyzed during the first pass, and then encoded in the second
available when you
pass based on the data gathered in the first pass. 2 Pass encoding can result in better
select uncompressed.)
quality but it takes longer because the encoder goes through the content twice.

VBR Variable Bit Rate. Allows you to set the quality of the video profile setting.
(This option is not
available when you
select uncompressed.)

Quality Select Constrained or Unconstrained. Select constrained when playing either locally
or on a device that has a constrained reading speed, such as a CD or DVD player.

Bit Rate The bit rate represents the size of the data stream in megabits per second.

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Custom Profile Settings (Continued)

Buffer Size Type the number of seconds that you want content to be stored before encoding
begins. A larger buffer results in better quality content, but requires more memory.
When you encode content, the encoding process is delayed by the amount of time
specified in the buffer; the content is also delayed by the same amount of time when
streaming to a player.

Quality The setting can range from 0 to 100, with 100 being the highest quality.

Keyframe Amount of keyframes used as part of the encoding sequence. The value is the number
of keyframes used for every second of video. A lower number results in higher
quality, but larger files.

Language Select from the list of available languages.

9. (Option) Click Save Profile if you want to save the .prx file.
a. Browse to the location on the system where you want to save the .prx
file.
b. Name the file and click Save. The .prx file is saved.
You are returned to the Export Settings window
10. Click Save to export the sequence.
11. In the Export As dialog box, select the destination folder for the file.
12. (Option) Change the file name.
In most cases, keep the file name extension the same.
13. Click Save.
The sequence is exported using the selected profile settings.

Creating a Custom Audio Profile (WIndows Only)

To create a custom audio profile:

1. Select the sequence or clips you want to export.
2. Select File > Export.
The Export As dialog box opens.
3. Click the Options button.
The Export Settings dialog box opens.

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 Exporting as Windows Media (Windows Only)

4. Select Export As > Windows Media.

5. Select Use Marks and/or Use Enabled Tracks. When Use Marks is
selected, the current IN and OUT points in the selected clip or sequence
determine starting and ending frames for the export. When Use Enabled
Tracks is selected, the system uses tracks that are enabled in the Timeline.
To export all the tracks in the sequence, deselect this option.
6. Click the Custom Profile button.
7. Click the Add button and select Audio.
8. Select the custom profile settings according to the following table.

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Chapter 20 Exporting and Exchanging Material

Table 20-1

Option Description

Uncompressed Select this option for high-quality export in which no picture information is lost. This
option does not compress the file and can result in very large files.

Codec Select one of the following codecs:

(Unavailable if you • Windows Media Audio 9 - Provides improvement in compression over the
select Windows Media 8 Audio codec. Supports VBR audio encoding.
Uncompressed.)
• ACELP.net - In some instances, the Sipro Labs ACELP codec appears in the list of
codecs. For example, if you import a profile that was created by using Windows
Media Encoder version 7.1. If this occurs, it is recommended that you use the
Windows Media Audio 9 Voice codec instead.
• Windows Media Audio 9 Voice - Provides superior quality for audio content with a
voice emphasis. Provides for mixed-mode encoding of voice and music. Intended for
playback at bit rates at 20 Kbps or lower.
• Windows Media Audio 9 Professional - This supports a full surround sound
experience and dynamic range control. Intended for data rates of 128 to 768 Kbps.
• Windows Media Audio 9 Lossless - Provides lossless encoding of audio content.
Supports multichannel audio encoding and dynamic range control.

Passes Select either 1 Pass or 2 Pass.With 1 Pass encoding, the content passes through the
encoder once, and compression is applied as the content is encountered. With 2 Pass
(Unavailable if you
encoding, the content is analyzed during the first pass, and then encoded in the second
select
pass based on the data gathered in the first pass. 2 Pass encoding can result in better
Uncompressed.)
quality but it takes longer because the encoder goes through the content twice.

VBR Variable Bit Rate. When you select this option, the formats available are VBR formats.
If you deselect this option, the formats available are CBR formats.
(Unavailable if you
select
Uncompressed.)

Format You can encode audio and video content at either a constant bit rate (CBR) or a variable
bit rate (VBR). Use CBR if you plan to stream the content. Use VBR when you plan to
(These options
distribute the content for downloading and playing either locally or on a device that has
change when you
a constrained reading speed such as a CD or DVD player. Choose from one of the
select VBR.)
format options.

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Table 20-1

Buffer Size Type the number of seconds that you want content to be stored before encoding begins.
A larger buffer results in better quality content, but requires more memory. When you
encode content, the encoding process is delayed by the amount of time specified in the
buffer; the content is also delayed by the same amount of time when streaming to a
player.

Language Select from the list of languages.

9. (Option) Click Save Profile if you want to save the .prx file.
a. Browse to the location on the system where you want to save the .prx
file.
b. Name the file and click Save. The .prx file is saved.
You are returned to the Export Settings window
10. Click Save to export the sequence.
11. In the Export As dialog box, select the destination folder for the file.
12. (Option) Change the file name.
In most cases, keep the file name extension the same.
13. Click Save.
The sequence is exported using the selected profile settings.

Exporting Tracks as Audio Files

To export the audio tracks in a clip or sequence as an audio file:
1. (Option) Mark IN or OUT points to identify a particular portion of the
audio in a sequence.
2. Select a clip or sequence in one of two ways:
t Click the monitor that displays the clip or sequence you want to
export.
t Click the clip or sequence in a bin.
3. Select File > Export.
The Export As dialog box opens.
4. Click the Export Setting pop-up menu, and select a setting. If you do not
have a preset audio template, click the Options button.

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The Export Settings dialog box opens.

5. Click the Export As pop-up menu, and select Audio.
The Export Settings dialog box displays the Audio options.
6. Select the options you require. For information about options, see “Export
Settings: Audio” in the Help.
7. Click Save.
The file is exported and appears at the chosen destination.

c If a power failure or application error occurs during the export process,

the entire file is unusable. You need to repeat the export process.

Exporting as a Graphic File

You can export a single frame as a graphic file or you can choose to export
multiple frames as sequentially numbered files.

To export as a graphic file:

1. Do one of the following:
t If you plan to export a single frame, mark an IN point to export the
marked frame from a bin or a monitor, or move the position indicator
to the frame you want to export.
t If you plan to export multiple frames, use IN and OUT points to
identify the region to export.
2. Select File > Export.
The Export As dialog box opens.
3. Click the Export Setting pop-up menu, and select a setting. If you do not
have a preset graphic template, click the Options button.
The Export Settings dialog box opens.
4. Click the Export As pop-up menu, and select Graphic.
5. Select options as appropriate. For information about options, see “Export
Settings: Graphic” in the Help.
6. Click the Graphic Format pop-up menu, and select a format. For
information about options, see “Export Settings: Graphic Format” in the
Help. When you are working with the Format Options settings, you can
click Default to return the settings to their default values.

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 Transferring a Project Between Avid Systems

7. Click Save.
The file is exported and appears at the chosen destination.

c If a power failure or application error occurs during the export process,

the entire file is unusable. You need to repeat the export process.

Transferring a Project Between Avid Systems

This section describes how to move projects and media folders between Avid
systems.

There are two basic methods for transferring projects between Windows or
Macintosh systems:
• Moving project folders, settings, and media files between the systems
• Moving project folders and settings between the systems, and then
recapturing the media (for information on recapturing, see “Recapturing
Your Material” on page 271)

Methods for Transferring Files Between Avid Systems

The type of transfer device you use depends on which method of transfer you
choose.
• Moving project folders, settings, and media files requires large amounts of
storage space because of the size of media files.
• Transferring only the project folders and settings files requires minimal
storage space.

The following table lists the recommended devices for transferring files
between systems.

Devices for Transferring Files

Transfer Device Use for Transferring

Floppy drive or equivalent device Project and settings files

Removable storage device, such as a hard drive Media, project, and settings files

A network storage device, such as a file server Media, projects, and settings

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Compatibility Requirements for Transfer

When you transfer a project between Avid systems, make sure:

• Both systems have the same release or a compatible release of the
application.
• The fonts used in the project are installed on both systems.
• The resolutions are compatible if you are transferring media files. The
Avid application uses DV media, which is not directly compatible with
the media formats used by Avid Media Composer®,
Avid Film Composer®, Symphony™, or Avid Xpress. Depending on the
direction of transfer, you have a several options.

For more information about compatibility between Avid editing applications,

see the Avid Xpress Pro ReadMe.

Transferring a Project and Associated Media Files

There are two basic methods for transferring projects with their media files
between Avid systems:
• Back up the project files and transport the media files on a removable
storage device.
• Send sequences, clips, or entire projects to a network storage device.

To transfer a work in progress and associated media files to another

Avid system:
1. (Option) Consolidate the media for the project onto an appropriate drive
for transfer to the other system. For more information on consolidating,
see “Consolidating and Transcoding Media” on page 350.

c Do not rename the folders named OMFI MediaFiles located on the media
drive. The target system uses the folder names to locate the media files.

2. Copy the project folder and any settings files you want to maintain at the
new location onto a floppy disk or a location on a server. For more
information, see “Transferring Projects, User Profiles, and Site Settings”
on page 709.
Alternatively, create a folder at the top level of the media drive and copy
the project folder and any settings files to that folder.

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 Transferring a Project Between Avid Systems

3. Close the Avid application and shut down your system.

4. Remove the drives containing the media files, and take them and the
floppy disk to the new location.

n For more information on moving hard drives and removable drives from one
system to another, see the documentation that came with your drives.

5. With the system at the new location turned off, insert or connect the drives
and start the system.
6. Copy the project folder and any settings files to the appropriate folder on
drive C: (Windows) or the Macintosh HD (Macintosh). For more
information, see “Transferring Projects, User Profiles, and Site Settings”
on page 709.
7. Start the Avid application, open the project, and resume work.

n The Avid system reconstructs the MediaFiles database the first time you start
the application to incorporate the new media into the system’s internal
directory.

Transferring Projects, User Profiles, and Site Settings

For information about To open projects, bins, and user profiles created with another Avid system,
these files and folders, you must transfer specific folders directly into the Avid Projects or Avid Users
see “Understanding folder before starting the application. You can also transfer a Site Settings file
Settings” on page 100.
between systems.

When you move a project with titles, make sure that both systems have the
same fonts that were used to create the titles. For information on adding fonts,
see the Windows Help or Macintosh OS Help.

n Adding a project folder from another system does not transfer accompanying
media files.

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To transfer project files, user profiles, and site settings to another

Avid system:

c Do not open a project directly from the transfer device. You must copy
the folder to the system drive first.

1. On the source system, select the project folder, user folder, or Site
Settings file you want to transfer. The default locations are as shown in
the following table:

Table 20-2 Default Folder Locations

Folder or File Default Location

Project folder (Windows) drive:\Program Files\Avid\Avid Xpress Pro\Avid Projects

(Macintosh) Macintosh HD/Users/Shared/Avid Xpress Pro/Avid Projects

User folder (Windows) drive:\Program Files\Avid\Avid Xpress Pro\Avid Users

(Macintosh) Macintosh HD/Users/Shared/Avid Xpress Pro/Avid Users

Site Settings file (Windows) drive:\Program Files\Avid\Avid Xpress Pro\Settings

(Macintosh) Macintosh HD/Applications/Avid Xpress Pro/Settings

n The exact location depends on how the Avid application was installed on your
system.

2. Copy the files to a floppy disk or a location on a server.

3. On the destination system, copy the project folder, user folder, or Site
Settings file to the appropriate location, as listed in step 1.

n Do not rename the project folder. The project settings do not link to the
project if you rename the project folder.

The next time you view the Select Project dialog box, the new project appears
in the Projects scroll list. New user settings appear in the Users scroll list. Site
settings are active for all projects at the new location.

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 Transferring Projects and Bins Using AFE Files

Transferring Projects and Bins Using AFE Files

AFE (Avid File Exchange) files are an efficient way to transfer project
information between Avid applications. For example, you can use AFE files to
transfer projects and bins from an offline Media Composer to an Avid|DS
finishing system.

n Currently you can import an AFE file into Avid|DS v6.0 or later only.

AFE files are based on AAF (Advanced Authoring Format) technology. AFE
files, however, are especially designed for sharing project information among
Avid applications. AFE files let you transfer one or more bins, their contents,
and information about the contents, including master clips, subclips, titles, and
sequences.

n Specific information for transferring projects to Avid|DS is contained in the

Avid|DS Conform Guide, which is available from the Avid Customer Support
Knowledge Center or the Avid|DS Web site. For information on accessing the
Knowledge Center, see the release notes for your Avid system.

To create an AFE file that includes all bins in a project:

1. Click the project window and select File > Export.
The Export Project As dialog box opens.

2. Select a location, name the file, and click Save.

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3. Transfer the AFE file to a location you can access from the other Avid
application.
You can use removable media, a network connection, or an Avid Unity
shared storage system.

To create an AFE file that includes the contents of a single bin:

1. Open the bin.
2. Click the title bar of the bin, and select File > Export.
The Export Bin As dialog box opens.

3. Select Avid File Exchange from the Export Bin As list.

4. Select a location, name the file, and click Save.
5. Transfer the AFE file to a location you can access from the other Avid
application.
You can use removable media, a network connection, or an Avid Unity
shared storage system.

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 ABCDEFGHIJKLMNOPQRSTUVWXYZ

Index

Numerics when trimming 617

Add Edit button
1 Pass encoding 701 for Group Clip editing 626
16:9 display format 410 Add Locator button 437
2 Pass encoding 701 Add Page button (Script window) 380
23.976 projects Add Scene button (Script window) 380
starting 52 Add Scene/Page dialog box 380
23.976p NTSC Add Track dialog box 454
project type 52 Adding
project, working in 53 Audio EQ template to Fast menu (Macintosh)
24p and 25p projects 578
starting 52 Audio EQ template to Fast menu (Windows)
25i projects 577, 577
starting 52 black during trim edit 521
30i projects clip names 244
starting 52 color indicators (Script window) 393
comments on-the-fly 244
A customized columns to a bin 324
edits in Timeline 487
AAF (Advanced Authoring Format) export 685 fades and dissolves with Head Fade and Tail
Accessing Fade buttons 602
audio effect tools 526 filler to sequences 501
Timeline settings 478 locators while editing 437
Activating commands from the Command palette memory marks 157
147 Meta tracks 454
Add Channel button (Deck Configuration dialog new tracks to a sequence 454
box) 208 off-screen indicators (Script window) 393
Add Deck button (Deck Configuration dialog box) page and scene numbers in the Script window
210 380
Add Edit script marks 394
described 487 takes in the Script window 390
procedure 487 user profiles 70
removing 488
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Adjust Deck command (Deck Selection pop-up Attic folder

menu) 641 See Avid Attic folder
Adjust Pan/Vols command (Audio Mix Fast menu) Audio
545 calibrating global output levels 634
Adjust Pan/Vols command (Automation Gain Fast crossfading 601
menu) 560 dipping 602
Adjusting dissolves 600
audio input levels 232, 232 editing 527
digital audio scrub parameters 531 EQ templates 574
EQ, while playing an audio effect 578 fading 601
margins in the Script window 376 file formats (Audio Project settings) 230
multiple tracks 546 identifying sample rates 535
output 634 input levels, adjusting 232, 232
pan defaults 533, 533 levels
pan in the Audio Mix tool 540 fine-tuning with add edit 600
take lines in the Script window 392 mixdown 603
volume in the Audio Mix tool 540 monitoring in Timeline tracks 470
volume in the Timeline 550 monitoring while editing 458
volume, using an external fader or mixer 554 output, preparing for 632
Advanced Pulldown pan, adjusting in Audio Mix tool 540
in 23.976 project 53 pitch shift 586
Advanced pulldown 52, 53 punch-in 594
described 55 requirements for film transfers 226
AFE files setting pan defaults 533
described 711 sound card configuration 205
exporting projects and bins 711 time compression 586
AIFF-C file format transitions, fine-tuning 600
option in Audio Project settings 230 voice-over 594
ALE (Avid Log Exchange) volume
converting shot log files with (Macintosh) 167 adjusting in Audio Mix tool 540
converting shot log files with (Windows) 162 adjusting in the Timeline 550
described 161 adjusting while playing 548
Appearance Interface settings waveform plots, displaying 533
button separation 123 Audio board systems
button shading depth 122 adjusting output on 634
button shading style 121 Audio clips
color 117 changing sample rate for 604
Apple color scheme marking 432
setting (Macintosh) 43 Audio Data command (Timeline Fast menu) 533
Arrow keys, navigating with 141 Audio effect
ASCII text files, importing to a Script window 373 adjusting EQ while playing 578
A-side (outgoing frames) rendering 546
in trims 513 Audio effect tools, accessing 526
Assemble-edit recording 637 Audio EQ (Equalization)
Assembling a rough cut in the Script window 400 adjusting while playing 578
Assigning workspace buttons 137 templates 576

714
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Audio EQ command (Tools menu) 564 on a single track 542

Audio EQ effects on multiple tracks 543
applying 567 described 540
removing 572 Fast menu options 543
saving 570 resizing 541
Audio EQ examples Audio Mixdown command (Clip menu) 603
low shelf 572 Audio Mixdown Parameters dialog box 604
small octave range 573 Audio output
Audio EQ tool preparing for 632
components 565 Audio pan
EQ effect in 566 adjusting in the Passthrough Mix tool 241
examples of uses 573 Audio Pan/Vol effect
Fast menu options 568 creating 547
features of 566 Audio Project settings
opening 564 audio file formats 230
saving effects 570 Audio Project Settings window
Audio file formats for audio input 230 description 204
Audio files Audio Punch-In tool
exporting tracks as 705 described 594
Audio Gain Automation Audio sample rate
deleting keyframes in 552 changing 604
enabling and adding keyframes in 551 changing during a consolidation 354, 357
recording 560 when preparing for audio output 632
Tool window 555 Audio scrub 528
using an external fader controller 554 described 528
Audio gain keyframes digital 532
moving and deleting in Timeline 552 digital, adjusting parameters for 531
Audio I/O device digital, described 531
adjusting output on 634 listening to 532
Audio input performing smooth, using J-K-L keys 530
adjusting levels in Audio tool 232 selecting tracks for 529, 529
preparing for 229 Audio settings
Audio input levels Digital Scrub options 531
adjusting 232 window 532, 533
Audio leader, creating 343 Audio Source Tape TC Rate (Film Settings dialog
Audio levels box) 204
adjusting 543 Audio timecode, using 304
adjusting in Audio tool 232 Audio tool
using Console window to view 576 adjusting audio input levels 232
Audio mix checking input levels with 232
adjusting in the Passthrough Mix tool 239 digital scale, defined 232
Audio Mix command (Tools menu) 540 features, described 231
Audio Mix effect, adjusting volume while playing input levels, adjusting 232
548 tone media, creating 234
Audio Mix tool using for mixing and monitoring audio 230
adjusting volume and pan volume meters, defined 232

715
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

volume unit scale, defined 232 Avid Codec for QuickTime

Audio tracks described 690
adjusting in Audio Mix tool 542 Avid color scheme
ganging and adjusting multiple in Audio Mix setting (Windows) 42
tool 546 Avid Log Exchange
mixing down 603 See ALE
selecting for scrubbing 529 Avid logs, shot log files 153
soloing in the Timeline 528 Avid Projects folder 46
Audio Transfer Rate (Film Settings dialog box) 103, Avid Unity LANshare 139
203 Avid Unity network
Audio volume mapping workspaces on 140
adjusting in Audio Mix tool 543 Avid Users folder 46
adjusting in the Passthrough Mix tool 237, 240 Avid Xpress application folder 45
adjusting in the Timeline 551 Avid-controlled camera, logging with 176
adjusting while playing 548 Avid-controlled deck, logging with 176
Audio volume rubberbanding 550
AudioSuite
effect template 591
B
plug-in templates 584 Backing up
AudioSuite plug-ins 579, 579 media files 359
applying 579, 582 project information, described 72
creating new master clips 586 project information, to a drive or floppy disk 72
installing (Macintosh) 580 Backtiming edits 489
installing (Windows) 579 Bandwidths in Audio EQ tool 566
limitations 592 Bars
Autocapturing procedure 251 importing 339
Auto-configure command (Deck Selection pop-up Bars and tone, preparing 339
menu) 641 Basic toolset 128
Automatically opening a project 68 Basic trim procedures 505
Automation Gain tool Batch Capture command (Clip menu) 274
adjusting gain with sliders 552 Batch Capture dialog box 269
Fast menu 559 Batch Capture procedure 269
keyboard shortcuts 562 Batch capturing
recording information using sliders 560 clips 269
Automation gain values 550 from logged clips 268, 268
AutoSync command (Bin menu) 608 preparing for 268, 268
Autosyncing 607 procedure 269
AVI files unattended, preparing for 269
exporting (Windows only) 688 Batch Import dialog box 294
Avid | DS Batch importing procedure 296
exporting to 674 Batch recording 269
Avid application, quitting 73 Big Trim mode 508
Avid Attic folder Bin column headings 319
retrieving bin files from (Macintosh) 95 Bin Column Selection dialog box 312
retrieving bin files from (Windows) 94 Bin Fast menu, opening 304
Avid Calculator, using 147

716
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Bin files renaming 86

retrieving from the Avid Attic (Macintosh) 95 saving automatically 91
retrieving from the Avid Attic (Windows) 94 saving manually 92
Bin settings 102 selecting a target bin 220
Bin Settings dialog box 92 selecting clips and sequences in 309
Bin View settings selecting offline items in 316, 316
column headings 319 setting clip display in 300
Bin views setting the font 126
custom 302 using SuperBin 305
customizing 302 viewing a list of 79
described 302 Bins display
types of 302 changing view size of 84
Bins customizing 302
adding a color column to 312 in Frame view 82
adding customized columns in 324 in Project window 83
aligning columns 322 in Script view 83
arranging text columns 322 in Text view 81
assigning a color to objects in 313 Black filler
Bin View pop-up menu 302 adding to sequences 501
changing background color 334 Blank button, using 145
changing custom column headings in 324 Brief view 317
closing 89 Browsing for a project 66
creating new 85 B-side (incoming frames)
deleting 89 in trims 513
deleting columns in 323 Buttons
deleting with SuperBin enabled 308 Add Locator 437
display view for 302 Add Page (Script window) 380
displaying film columns in 184 Add Scene (Script window) 380
displaying in Project window 83 Add Script Mark 395
duplicating clips and sequences in 309 Blank 145
duplicating columns in 323 changing separation of 123
exporting as AFE files 711 changing shading depth of 122
finding from the Script window 400 changing shading style of 121
getting information about 149 changing style of 124
hiding columns in 323 Find Script 399
logging directly into 176 Focus 484
managing 91 Gang 618
modifying information about 192 Head Fade 602
moving, into and out of the SuperBin 306 In/Out (Audio tool) 231
opening 86, 88 mapping user-selectable 144
opening from a different project 88 Mark Locator 440
opening in SuperBin 305 Next In Group 626, 626
organizing a project with 299 Play (Script window) 392
organizing with 308 Previous In Group 626, 626
preparing for capturing 244 Quad Split 622
printing 338 Reset Peak (Audio tool) 231

717
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Set Color (Script window) 393 creating subclips during 260

Set Offscreen (Script window) 393 described 243
stepping (jogging) through footage using 424 film transfers, minimum information for 183
Tail Fade 602 from a non-Avid-controlled deck 253
Toggle Source/Record in Timeline 485 from an IN point to an OUT point 246
Video Effect Safe Mode 643, 647, 648 material 268
Buttons, user-selectable on-the-fly 249
Cycling Trim Sides 510 patching during 267
Next In Group 626, 626 preparing to 197
Previous In Group 626, 626 recapturing 271
Quad Split 622 selecting drives for 198
Trim A-side 510 setting only mark IN 248
Trim B-side 510 setting up 213
Bypass volume settings 547 storage guidelines 242
Bypassing to multiple media files 223
pan settings 547 to the Timeline 266
volume settings 547 using time-of-day timecode 254
with advanced pulldown 55
Capturing toolset 133
C Change Sample Rate dialog box 604
Calculator 147 Change Scene/Page dialog box 381
Calibrate Hardware Sliders command (Automation Changing
Gain Fast menu) 560 bin display view size 84
Calibrating color of Locator icon 443
global output levels 634 font and point size in specific windows 126
tone parameters 234 font in the Script window 376
Calibration tone, setting 633 interface component button separation 123
Camera interface component color 117
Avid-controlled, logging with 176 interface component shading depth 122
non-Avid-controlled, logging with 181 interface component shading style 121
Camera setups in the lined script 369 page and scene numbers in the Script window
Capture Settings 381
Keys tab 261 project and user names 46
Capture tool representative frame in takes 391
choosing a resolution in 219 sample rate of audio 604
opening 214 sequence information 453
resizing 269 user profiles 71
setting the Pulldown switch in 226 Channel dialog box 208, 208
subclip status in 260, 261 Clear Menu command (Monitor menus) 423
Capturing Clear Monitor command (Monitor menus) 422
across timecode breaks 226 Clearing clips from monitors 422
and logging at the same time 246 Clearing sequences from monitors 422
audio 226 Client monitor
autocapturing 251 connecting 417
batch capturing 268, 269 playing video to 417
selecting setting 418

718
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Clip information locating using Match Frame 449

changing 453 logged, batch capturing from 268, 268
displaying in a Script window 375 marking IN and OUT points 429
in Text view 318 master clips 271
managing in Text view 327 master clips, recapturing 271
modifications table 193 master clips, using AudioSuite to create 586
modifying in Text view 328 moving 309
moving 414 moving, into and out of the SuperBin 307
Clip Information window playing back 423
displaying 414 rearranging 322
moving 414 rearranging, in Script view 338
Clip Name menus, using 421 relinking 361
Clip names searching 448
adding during capturing 244 selecting in bin 309
setting the font and point size 416 sifting 314
Clipboard slipping or sliding in Trim mode 516
copying to 462 sorting 331, 332, 332
preserving contents of 463 sorting by color 314
recovering material from 463 subcataloging 143
Clips subclips 435
accessing locators in 443 tracking the duration of 412
audio, marking 432 viewing 423
autosyncing 607 Closing
batch capturing 269 bins 89
clearing from monitors 422 projects 71
consolidated, relinking 365 the Project window 78
copying 310, 462 the Script window 374
copying, into and out of the SuperBin 307 the SuperBin 306
cueing 423 Codecs
deleting 311 Avid Codecs for QuickTime 689
duplicating 309 QuickTime, selecting 662
editing into sequences 458 third-party 694
entire, marking 432 Color
exporting 655, 679 See also Apple color scheme
extracting 462 See also Avid color scheme
finding 447 assigning to bin objects 312
finding from the Script window 400 changing background in bins 334
group changing for Timeline tracks 482
creating 620 changing in interface 117
group clips 355 choices, limited 313
highlighting offline media in Timeline 481 color column, adding to bin 312
in Timeline, applying AudioSuite plug-ins to 583 custom source color, assigning 313, 313
isolating portions of, for adjustment 600 of Locator icon, changing 443
lifting 461 sifting by 314
linking to script 383 sorting by 314
loading in Source pop-up monitor 420 using to identify sample rate 535

719
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ
Color bars
importing 339
in Dupe Detection 489
Color Correction
Correction setting 98
Safe Color setting 99
Color Correction toolset 129
Color indicators (script integration)
adding to takes 393
described 370
Color submenu (Script menu) 393
Column headings
bin 319
displaying or hiding in a bin 319
Columns
adding customized 324
aligning in bins 322
arranging in bins 322
changing custom heading 324, 325
deleting in bins 323
duplicating in bins 323
hiding in bins 323
moving within cells 327
multilevel sorting with 333
showing in bins 323
Command palette
activating commands from 147
mapping 145
using 142
Comments
adding, during capturing 244
Compatibility requirements 708
Composer monitor
and Small Trim mode 509
clearing sequences from 422
customizing 405
hiding video in 408
resizing 408, 410
setting font for 416
viewing clips in 420
Compression
defined 241
Computer, turning off 74
Configuring
a controller 152
decks 208
720
Console
network drives 150
Console command (Tools menu) 150, 150
Console window
checking audio levels with 236
getting information with 149
using 148
Consolidate command 353
Consolidate/Transcode dialog box 353, 355
Consolidated clips
relinking 365
Consolidating media files
defined 350
group clips 355
procedure 353
Context menus (Macintosh) 41
Context menus (Windows) 41
Control track, using for preroll 224
Controllers
configuring 152
Controlling
decks from the keyboard 277
movement in Timeline 486
playback 423
Converting shot log files
using Avid Log Exchange (Macintosh) 167
using drag-and-drop conversion (Macintosh)
171
using drag-and-drop conversion (Windows) 166
Copy to Clipboard button 462
Copying
a codec to a Macintosh system 694
an Avid Codec for QuickTime to another system
693
clips and sequences 310
information between columns in Text view 331
settings between settings files 111
text in the Script window 379
to Clipboard 462
Crash recording 645
Crash recording procedure 636
Creating
a new bin 85
a new project 68
a new tape name with a keystroke 278
a new workspace setting 136
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

an Audio Pan/Vol effect 547 deleting 212

audio leader 343 in Settings scroll list 208
folders in projects 85 Deck controller
group clips 620 in Digital Cut tool 641
instant rough cut 457 Deck Selection pop-up menu
new export settings 684 Digital Cut tool 641
new master clips 586 Deck settings
new sequences 452 for configuring decks 210, 641
overlap edits 520 Decks
playable sequence from clips with different Avid-controlled, logging with 176
target resolutions 355 configuring 208
subclips during capturing 260 controlling from the keyboard 277
templates for Audio EQ 576 deleting configuration settings for 212
tone media 234 for digital cut 641
video leader 342 non-Avid-controlled, logging with 181
voice-over narration 595 pausing while logging with 180
Crossfading audio 601 selecting 210
Cueing a frame settings options 212
with frame offset timecode 447 Decompose feature
Custom column heading using when recapturing 272
changing 325 Delay, DV digital cut 648
Custom Sift command (Bin menu) 314 Delete Take command (Script menu) 389
Custom Timeline views Deleting
saving 482 bins 89
Customizing bins with SuperBin enabled 308
appearance of the user interface 116 clips and sequences 311
bin views 302 columns in Text view 323
export settings 683 deck configurations 212
monitor displays 405 folders 89
the Timeline 482 locators 440, 444, 446
toolsets 133 media files with the Media tool 348
Trim mode 516 page and scene numbers in the Script window
workspace 135 382
Cutaways, marking with locators 437 script marks 399
Cutting, text in the Script window 379 settings 111
Cycling through tracks 472 slates in the Script window 389
takes in the Script window 390
text in the Script window 379
D tracks in Timeline 477
DAE (Digidesign Audio Engine) workspaces 139
starting and quitting 581 Deselecting segments in Timeline 493
Databases, refreshing media 358 Desktop
Deck Configuration settings basics 39
Add Channel options 208 working with 40
changing 212 Detecting duplicate frames 489
Dialog boxes

721
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Add Scene/Page 380 Digital Cut tool

Audio Mixdown 604 deck controller in 641
Batch Capture 269 selecting decks from 641
Batch Import 294 Digital scale (Audio tool)
Bin Column Selection 312 defined 232
Capture settings 252 Digital scrub
Change Scene/Page 381 described 531
Consolidate/Transcode 353, 355 parameters 531
Delete (script integration) 382, 390 performing 532
Export As 660, 662, 680, 688, 690, 705, 706 vs smooth audio scrub 528
Export Settings 684, 689 Digital video resolutions 241
Film Settings (transfer settings) 202 Digitizing
Group Clips 620 across timecode breaks 226
Left Margin 376 Digitizing See Capturing
Media Creation 198 Dipping audio 602
Media Tool Display 347 Disk space
Modify Pulldown Phase 189 estimating 242
Movie Settings 662 Display format, 16:9 410
navigating in 141 Displaying
Open 88 detail in Timeline 484
Quick Transition 601 frames in Locators window 443
QuickTime Movie Settings 662 info window 414
Script Settings 373 information in Locators window 446
Send To Export 666, 668, 671, 674, 675 locator comments 441
Set Bin Display 300 project settings 105
Set Font 376 take numbers in slates 391
Sync Selection 608 timecode window 415
Video Mixdown 679 waveform plots 533
View Name (bin) 303, 303 Displaying film columns 184
Dialog in the lined script 369 Dissolves
Digidesign adding with Head Fade and Tail Fade buttons
exporting to 665 602
Digidesign AudioSuite plug-ins 579 audio 600
Digital audio scrub Downconversion
adjusting parameters for 531 HDTV to SDTV 55, 56
compared to smooth audio scrub 528 Drag-and-drop method
using 531 exporting with 682
Digital Audio Scrub options (Audio settings) 531 for converting files to ALE format (Macintosh)
Digital audiotape (DAT) 171
capturing from 226 for converting files to ALE format (Windows)
Digital bars and tone, preparing 339 166
Digital cut importing with 288
crash recording 645 Dragging
previewing 642 IN and OUT points 431
recording to tape 643, 646 windows (Windows Only) 42
Digital cut delay, DV 648 Drives

722
 ABCDEFGHIJKLMNOPQRSTUVWXYZ
filtering 200
removing from list 200
selecting for capturing 198
single, targeting 221
storing media on 198
target, selecting 220
Drop-frame timecode
described 154
Dropped frames 643, 647, 648
Dual monitors
and Big Trim mode 508
and Small Trim mode 509
using 406
Dupe detection 489
Duplicate frames, detecting 489
Duplicating
clips and sequences 309
columns in Text view 323
settings 109
Duration tracking 412, 413
DV Capture Offset
procedure for 264
DV capture offset
described 262
DV digital cut delay
described 648
procedure for 650
DV project
planning 56
DV Scene Extraction
explained 257
setting up 258
DV Stream export 677
DVD
exporting to 668
E drives (Windows) 75
Edit decision list (EDL) 651
Edit session, ending 73
Editing
audio 527
avoiding sync breaks during 610
beginning 451
clips into sequences 458
Index
group clip material 619
in MetaSync 454
in the Timeline 491
monitoring audio during 458
types of
selective camera cutting (Group Clip) 628
with the Script window 400
Edits
adding 487
backtiming 489
copying to Clipboard 462
extending 515
Extract 461
first edit, making 455
first edits, described 451
instant rough cut procedure 457
Lift 461
nesting, defined 504
Overwrite 459
Replace 460
Segment mode 491
splice-in 458, 458
undoing or redoing 457
EDL Manager 651
Effects
Audio EQ 564
Audio Pan/Vol effect, creating 547
audio, rendering 546
editing and nesting in Timeline 504
mapping buttons for 143
plug-in, rendering 585, 593
real-time preview, delaying start 418
real-time preview, prefilling for 418
types of 503
Effects Editing toolset 131
Ejecting
drives (Macintosh) 76
Ejecting tapes with a button or key 279
Emptying trash 90
End key 428
Enlarge Frame command (Edit menu) 386
Enlarging tracks
in the Timeline 481
Entering
frames-per-second rates for PAL transfers 190
723
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

key numbers 190 preparing for OMFI export 656

optional timecodes 191 procedure for 679
pulldown of the sync point 185 reasons for 656, 656
Trim mode 506 using drag-and-drop method 682
Environment, using toolsets to control 127 with Avid Codec for AVI 689
EQ effect with Avid Codecs for QuickTime 662, 690
adjusting while playing 578 Extending an edit 515
applying 566 External display monitor
removing 572 connecting 417
templates for 574 selecting setting 418
EQ-specific features viewing with 417
Audio EQ tool 566 External fader controller
Error log, reviewing 149 adjusting volume with 554
Exiting Trim mode 507 using 562
Export (File menu) 711, 712 Extract button 462
Export settings Extract edits 461
creating new 684
customizing 683
templates 681
F
Exporting Fader controller
AAF 685 external, adjusting volume with 554
Avid AVI files 688 external, using 562
bins as AFE files 711 FaderMaster Professional fader controller
clips 679 recording audio gain 563
drag-and-drop method for 682 supported 554
DV Stream files 677 Fades
frames 679 adding with Head Fade and Tail Fade buttons
graphic files 706 602
OMFI 685 Fading audio 601
preparing for 656 Fast menu
projects as AFE files 711 bin 85, 304
QuickTime Movie files 660 button, opening the Tool palette with 433
QuickTime Reference Movie files 657, 658 Locators window 441
sequences 679 Settings 107
shot log files 195 Timeline 478
to Avid | DS 674 File management 345
to Digidesign Pro Tools 665 Files
to DVD 668 exporting
to Sorenson Squeeze 671 procedure for 679
to third-party applications 675 reasons for 656
tracks as audio files 705 using drag-and-drop method 682
Windows Media 695 guidelines for importing 281
with Avid Codecs for QuickTime importing mixed resolutions 58, 282
installing 693 importing using drag-and-drop method 288
Exporting files procedure for importing 284
preparing for 656

724
 ABCDEFGHIJKLMNOPQRSTUVWXYZ
reimporting 294
reimporting, procedure for 296
Filler
adding during a trim 521
adding to sequences 501
setting duration of 502
Film
columns, displaying 184
information, logging 183
minimum information for capturing 183
timecodes, entering 191
Film features 652
Film material, using matchback with 651
Film Options
described 651
Film settings
for transfer 202
pulldown phase 173
selecting 654
FilmScribe application 651, 652
Film-to-tape transfer
audio requirements for NTSC 226
Filter Automation Gain command (Automation Gain
Fast menu) 560
Filtering drives 200
Find Bin button in the Script window 400
Find command 448
Find command (Edit menu) 382
Find Script button 399
Finding
clips and bins from the Script window 400
flash frames in Timeline 490
frames with timecode 448
related media files 359, 359
script from marked takes 399
text in the Script window 382
Fine-tuning
audio transitions 600
FireWire
connecting a DV camera or deck with 209
Firewire
performing digital cut with 645
Fixing
sync breaks 611
Flash frames
finding, in Timeline 490
Index
Focusing the Timeline 484
Folders
Avid Projects 46
Avid Users 46
Avid Xpress Pro 45
creating in projects 85
deleting 89
managing 91
SupportingFiles 45
Font
changing for monitor displays 416
changing in the Script window 376
setting for bins 126
setting for clip name 416
Footage
clearing marks from 431
loading into monitors 420
marking and subcataloging 429
source, locating for motion effects 450
viewing and playing 405
Four-frame display
described 494
suppressing 495
Four-frame display, trimming in 518, 518
Frame count numbers
tracking with ink numbers and file names 326
Frame count, total, converting durations to 147
Frame offset timecode
using to cue a frame 447
Frame view
arranging frames in a bin 336
changing frame identifying the clip in 335
changing frame size in 334
changing the bin background color for 334
described 333
in Media tool 346
rearranging frames 335
Frame-accurate recording 636
Frames
accessing in footage 423
arranging in bin 336
changing frame identifying clip 335
cueing by frame offset timecode 447
displaying in Locators window 443
duplicate, detecting 489
enlarging or reducing 334
725
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

exporting 656 Group menu 627

flash frames, finding 490 Grouping procedures 620
rearranging in Frame view 335
using timecode to find 448
Frames-per-second rates for PAL transfers 190
H
Frequencies (audio), adjusting 564 Hard subclips 260
Full-Monitor Display 622 Hardware command (Tools menu) 151
Function key commands (Capture Settings) 261 Hardware tool
checking system configuration with 151
G displaying 116
using 151
Ganging HDTV
footage in monitors 618 workflow with downconversion 55, 56
Ganging, multiple tracks in the Audio Mix tool 546 Head Fade button 602
General settings Head leader
described 102 creating audio 343
dialog box 201 creating video 342
Global output levels Headings
calibrating 634 of bin columns 319
Global settings, Import 282 Headings command (Bin menu) 312
Go To Page command (Script menu) 382 Hiding
Go To Scene command (Script menu) 382 bin columns 303
Graphic files slate frames 387
exporting 706 video in Composer monitor 408
Group Clip High shelf in Audio EQ tool 566
editing 619 Highlighting offline media clips 481
Full-Monitor Display 621 Holding slates on screen 386
Quad Split Source view 621 Home key 428
Group Clip mode
described 624
Group Clip Nine Split Edit 621
I
Group Clip Quad Split Edit 621 Identifying
Group menu 627 sample rate, using color 535
grouping 620 Ignore Time in Digital Cut tool 645
Quad Split Source view 622 Import settings
selective cutting in 628 creating and using 282
switching camera angles in 626 modifying 283
techniques 625 new, creating 282
workflow options 628 Importing
Group clips a script 373
creating 620 color bars 339
Group Clips command (Bin menu) 620 MetaSync files 286
Group Clips dialog box shot log files 158
options 620 Importing files
Group clips, consolidating 355 batch import 294

726
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

creating settings 282 Interface settings

described 281 access and description 99
in mixed-resolution projects 58, 282 dialog box 104
modifying settings 283 Interpolating position
Photoshop files 288, 288 for script integration 385
preparing for 281 ITV enhancements 301
procedure for 284
reimporting 294
using drag-and-drop method for 288
J
IN and OUT points J-K-L keys
dragging 431 performing smooth audio scrub using 530
marking 429 shuttling with 426
In/Out buttons (Audio tool) trimming 513
defined 231 J-K-L keys (Three-Button Play) 426
Indicating off-screen dialog 393 J-K-L keys for trimming 513
Indicators JL Cooper fader controllers 554
See also Color indicators JL Cooper FaderMaster Pro MIDI automation
Play Length "In Use" 429 controller 554
Info Display window JL Cooper MCS-3000X MIDI automation controller
displaying Hardware 116 554, 561, 561
displaying Memory 114
displaying project information 114
Info window K
displaying 414 Key numbers
opening from a Script window 375 entering 190
Ink numbers formats for 190
displaying frame count numbers 326 Keyboard
Installing controlling decks with 277
Audio Suite plug-ins (Windows) 579 controlling playback from 426
AudioSuite plug-ins (Macintosh) 580 mapping user-selectable buttons to 144
Avid Codecs for QuickTime 693 Keyboard palette 426
Instant rough cut Keyframes
creating 457 adjusting volume for individual 554
Interactive screening Keykode format 190
in Script window 402 Keys
Interactive Television (ITV) enhancements 301 J-K-L, shuttling with 426
Interface Appearance settings Keys, navigating with 141, 428
button style 124 Keystroke, creating a tape name with 278
options 116
Interface appearance templates 125
Interface components L
changing button separation of 123 LANshare client, setting up 140
changing button shading depth of 122 Lassoing
changing button style of 124 objects 308
changing color of 117 one or more segments in Timeline 492
changing shading style 121

727
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

transitions 506 Locators window

Launching deleting locators in 446
Avid application (Macintosh) 48 displaying frames in 443
Avid application (Windows) 48 displaying information in 446
Launching the application 60 printing 444
Layering sorting locators 442
mapping buttons for 143 using 441
L-cut 520, 520 viewing and navigating in 442
L-edit 520, 520 Locking tracks, procedure 473
Left Arrow key 428 Logged clips
Left Margin command (Script menu) 376 batch capturing from 268
Left Margin dialog box 376 Logging
Lift button 461 and capturing at the same time 246
Lifting material 461 automatically with DV 258
Limitations described 153
for adjusting volume 549 directly to a bin 176
for AudioSuite plug-ins 592 film information 183
Matchback 653 pausing deck while 180
Lined script, described 368 preroll 154
Linking timecode 156
clips to script 383 tips for 153
toolsets to other settings 134 with a non-Avid-controlled camera or deck 181
workspaces and user settings 138 with an Avid-controlled camera or deck 176
Load Filler command (Clip Name menus) 500 Logs
Loaded sequences double-checking 157
switching between 421 reviewing error 149
Loading shot log files 153, 158
clips and sequences 420 Low shelf in Audio EQ Tool 566
filler 500
footage 420
media database 357
M
takes from the Script window 391, 398, 398 Maintaining sync
Locator icon while trimming 521
changing color of 443 with Add Edit 617
Locators Make New
accessing in sequence or clip 443 using template 675
adding while editing 439 Managing
creating automatically with DV 257 bins 91
deleting 440, 444, 446 folders 91
displaying comments 441 media files 345
icon, changing color of 443 sync breaks 610
marking an area with 440 Manual recording 636
moving to previous or next 440 Mapped network drives, making available 150, 150
syncing with 616 Mapping
using 437 buttons to Timeline top toolbar 434
Locators Fast menu 441

728
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

menu commands 145 finding related 359

modifier key 145 loading the database 357
user-selectable buttons 144 managing 345
Margins manipulating with Media tool 345
adjusting in Script window 376 moving between systems 708
Mark Locator button 440 relinking 360
Marking unlinking 366, 366
audio clips 432 voice-over 599
entire clips or segments 429 Media Files Capture settings 223
footage 405 Media offline, relinking 360
IN and OUT points 247, 429 Media relatives
segments 432 selecting, for an object 316
tape location, using Mark Memory button 157 Media Station XL
with locators 437, 440 capturing with 55
Master clips Media tool
recapturing 271 basic features of 346
Master shot, in the lined script 369 opening 347
Match Frame edit, using 449 Media Tool Display dialog box 347
Match Frame feature Media Tool Fast menu 346
for Group Clip editing 628 Memory
locating source footage for motion effects 450 viewing 114
locating source footage with 449 Memory marks, adding 157
using 449 Memory window 115
Matchback option Menu commands
limitations 653 Adjust Deck (Deck Selection pop-up menu) 641
using 651 Adjust Pan/Vols (Audio Mix Fast menu) 545
Matchframing Adjust Pan/Vols (Audio Mix tool) 545
discussed 449 Adjust Pan/Vols (Automation Gain Fast menu)
motion effects 450 560
MCS-3000X fader controller Audio Data (Timeline Fast menu) 533
recording audio gain 563 Audio EQ (Tools menu) 564
supported 554 Audio Mix (Tools menu) 540
Media Audio Mixdown (Clip menu) 603
deleting 311 Auto-configure (Deck Selection pop-up menu)
Media Creation settings 198 641
Media databases AutoSync (Bin menu) 608
loading 357 Batch Capture (Clip menu) 274
refreshing 358 Calibrate Hardware Sliders (Automation Gain
Media directories, refreshing 358 Fast menu) 560
Media files Color (Script menu) 393
backing up 359 Console (Tools menu) 150, 150
capturing to multiple 223 Custom Sift (Bin menu) 314
consolidating Delete Take (Script menu) 389
defined 350 Enlarge Frame (Edit menu) 386
procedure 353 Export (File menu) 711, 712
deleting 348

729
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Filter Automation Gain (Automation Gain Fast audio 603

menu) 560 video tracks 678
Find (Edit menu) 382 Modifier key, mapping 145
Go To Page (Script menu) 382 Modify command
Go To Scene (Script menu) 382 using in Text view 329
Group Clips (Bin menu) 620 Modify command (Clip menu)
Hardware (Tools menu) 151 brief description of 192
Headings (Bin menu) 312 using 192
Left Margin (Script menu) 376 Modify Pulldown Phase dialog box 189
Load Filler (Clip Name menus) 500 Modifying
mapping 145 bin information 192
Modify (Clip menu) 192 clip information 328
New Script (File menu) 373 data directly 328
Open Bin (File menu) 88 data with Modify command 329
Reduce Frame (Edit menu) 386 import settings 283
Remove Automation Gain (Automation Gain pan values 547
Fast menu) 560 pulldown phase, after capturing 279
Remove Clip Gain (Audio Mix Fast menu) 545 settings 108
Remove Clip Gain (Audio Mix tool) 545 Modifying clip information 192
Remove Pan (Audio Mix Fast menu) 545 Monitoring a solo track 471
Remove Pan (Audio Mix tool) 545 Monitoring audio
Remove Pan (Automation Gain Fast menu) 560 in Timeline tracks 470
Remove Pan/Vols (Audio Mix Fast menu) 545 while editing 458
Remove Pan/Vols (Automation Gain Fast menu) Monitoring tracks in Timeline 470
560 Monitors
Set Font (Edit menu) 376 clearing 422
Set Level (Audio Mix tool) 545 customizing display for 405
Set Pan (Audio Mix Fast menu) 545 dual 406
Set Pan (Automation Gain Fast menu) 559 ganging footage in 618
Show All Takes (Script menu) 387 resizing 408
Show Frames (Script menu) 387 settings font and point size for 416
Menus Mono option (audio) 604
navigating in 141 Motion effects
MetaSync locating source footage for 450
adding a track for editing 454 matchframing 450
importing files 286 Motion effects, described 503
ITV enhancements in 301 Mounting drives 76
Meters Movement
volume 232 controlling in Timeline 486
Mixed resolutions 282 Moving
Mixed-resolution projects 58 between locators 440
Mixer clips and sequences 309
adjusting volume with 554 projects between systems 708
using 562 script marks 398
Mixing and monitoring audio 230 settings between systems 112, 709
Mixing down slates in the Script window 388

730
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Multiple formats O
working with 59
Multiple settings Offline editing, detecting duplicate frames during
selecting among 110 489
working with 108 Offline media
Multiple tracks highlighting in Timeline 481
adjusting and ganging 546 selecting in bins 316, 316
managing sync with 613 Off-screen dialog
MXF in the lined script 369
choosing at target audio format for transcode 357 indicating in the Script window 393
Off-screen indicators (script integration)
adding to takes 392
N described 370
Nagra Offset, DV Capture 264
capturing from 226 OMFI files
Naming settings 109 described 685
Naming tapes 156 methods for exporting 685
from the keyboard 278 preparing to export 656, 656
Navigating One speed at a time, changing play direction 427
in dialog boxes 141 Open Bin command (File menu) 88
in Locators window 442 Open dialog box 88
in Timeline 483 OpenGL Hardware section 418
with Home, End, and Arrow keys 428 Opening
Nesting bins in SuperBin 305
described 504 project window 78
NetReview files the application 60
displaying locator creation information 446 the Capture tool 214
Network drives command 150, 150 the Media tool 347
New bins the Script window 374
creating 85 the Tool palette 433
New export settings, creating 684 toolsets 127
New master clips Opening projects automatically 68
creating 586 Organizing with bins 299
New Script command (File menu) 373 Output
New sequences options 631
setting up 451 preparing for 631
setting up tracks for 454 Output formats
Next In Group button 626, 626 described 59
Non-Avid-controlled camera, logging with 181 Overlap edits (L-edit), creating 520
Non-Avid-controlled deck, capturing from 253 Overwrite button 459
Non-Avid-controlled deck, logging with 181 Overwrite edits 459
Non-drop-frame timecode, described 154
NTSC (National Television Systems Committee) P
video
capturing audio from 226 Page and scene numbers (Script window)
adding 380

731
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

changing 381 Playing

deleting 382 Play Length function 429
searching for 382 sequences 464
Page Down key, navigating with 141 takes from the Script window 392
Page Up key, navigating with 141 Playing, changing one speed at a time 427
PAL (Phase Alternating Line) video Plug-in effects
frames-per-second rates for transfers 190 rendering 585
Palettes Plug-ins
Command 142 AudioSuite 579
Keyboard 426 dialog box 584
Tool 433 Fast menu 585
Pan Pop-up monitor
adjusting 542 resizing 405
adjusting defaults 533 Port Server Settings dialog box 140
adjusting in Audio Mix tool 560 Position bar, using in the Timeline 423, 483
modifying 547 Position indicator lights (Automation Gain tool) 558
Pan adjustment Position indicator, using in the Timeline 423, 483
bypassing 547 Prefilling
Parametric midrange in Audio EQ tool 566 for real-time effect preview 418
Passthrough Mix tool Preparing
adjusting audio mix 239 digital bars and tone 339
adjusting audio volume 240 for audio input 229
adjusting pan values 241 for audio output 632
described 237 for output 631
resizing 239 record tapes for audio output 636
using 237 sequences for export 656
Pasting text in the Script window 379 to batch capture 268
Patching tracks in the Timeline 267, 474 to capture 197
Peak Hold pop-up menu (Audio tool) Preroll
defined 232 logging 154
Photoshop files method for setting 224
importing multilayered 289 using control track for 224
procedure 293 Previewing a digital cut 642
understanding 289 Previous In Group button 626, 626
importing single-layer 288 Printing
Pitch Shift AudioSuite plug-in 586 bins 338
Play button (Script window) 392 locators 444
Play Length "In Use" indicator 429 the Timeline 504
Play tab, Play Length Toggle button 429 Private project, selecting 63
Playback Pro Tools
controlling 423 exporting to 665
with audio scrub 528 Profiles
Playback buffer size (Macintosh only) 582 Windows media .prx files 697
Playback loop Profiles, user
trim during 514 adding 70
Playback loop, starting 464 changing 71

732
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

described 69 Q
Project information
backing up 72 Quad Split button 622
restoring 73 Quad Split display 622
Project name Quad Split Source view 621
changing 46 Quick Transition dialog box 601
Project settings QuickTime export, described 690
displaying 105 QuickTime movie export
Project window procedure 660
bins display 79 QuickTime Reference Movie files
closing 78 export procedure 658
Info display, using 114 QuickTime Reference movies
opening 77 discussed 657
settings display 96 Quitting
working with 77, 77 DAE (Macintosh only) 581
Projects the Avid application 73
backing up 72
browsing for 66 R
closing 71
creating a new 68 Ratcheting play speed 427
DV 56 Ratcheting with J-K-L keys 426
exporting as AFE files 711 Read Audio Timecode, described 304
mixed-resolution 282 Rearranging clips 338
moving between systems 708 Recapturing
opening 69 batch capturing 271
opening automatically 68 described 271
planning 51 master clips and subclips 271
relinking media files for 366 using Decompose during 272
restoring from backup 73 Recapturing sequences
saving 72, 72, 72 described 272
selecting a private 63 procedure 276
selecting a shared 62 saving two versions 272
starting 51 Record tapes
types of 52 preparing for audio output 636
video 55, 56 Recording
video, using script integration 371 a digital cut 643, 646
Pulldown assemble-edit, enabling 637
advanced, described 55 automation gain information 560
finding at the sync point 185 frame-accurate digital cuts 637
in 23.976 project 53 manually 636
Pulldown phase to device via Firewire or RS422 645
modifying after capturing 279 voice-over narration 594
modifying before capturing 189 Recording (Capturing)
option in Film Settings dialog box 173 across timecode breaks 226
Pulldown switch (Capture tool) and logging at the same time 246
setting 226 batch capturing 269

733
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

described 243 Rendering

from a non-Avid-controlled deck 253 and AudioSuite plug-ins 593
on-the-fly 249 audio effects 546
preparing for 197 plug-in effects 585
to the Timeline 266 Replacing
using time-of-day timecode 254 Timeline view 482
Recovering Replacing edits 460
material from the Clipboard 463 Rerecording (Recapturing)
Redoing edits 457 described 271
Reduce Frame command (Edit menu) 386 using Decompose during 272
Reducing tracks Reset Peak button (Audio tool)
in the Timeline 481 defined 231
Refreshing media databases 358 Resizing
Reimporting files Audio Mix tool 541
described 294 Capture tool 269
using Batch Import dialog box 294 Composer monitor 410
Reimporting imported files 296 monitors 408
Related media files, finding 359 slates in the Script window 386
Relinking Source pop-up monitor 405
by resolution 363 Resolution, relinking by 363
consolidated clips 365 Resolutions
media files 360 and compression 241
moved projects 366 choosing in Capture tool 219
Remove Automation Gain command (Automation digital video 241
Gain Fast menu) 560 mixed 282
Remove Clip Gain command (Audio Mix Fast Response, system, with external monitor 417
menu) 545 Restoring
Remove Pan command (Audio Mix Fast menu) 545 projects from backup 73
Remove Pan command (Automation Gain Fast Timeline view 482
menu) 560 Retrieving bin files
Remove Pan/Vols command (Audio Mix Fast menu) from the Avid Attic (Windows) 94
545 from the Avid Attic Macintosh) 95
Remove Pan/Vols command (Automation Gain Fast Reveal File command (File menu) 359
menu) 560 Reviewing
Removing trim edits 512
Add Edits 488 Revising scripts 402
Audio EQ effects 572 Right Arrow key 428
bins with SuperBin enabled 308 Rollers 506
color indicators (Script window) 394 Rough cut
drives from list 200 assembling in the Script window 400
off-screen indicators (Script window) 393 creating 457
text from the Script window 379 Rounding buttons and toolbars 122
Renaming Rubberbanding in Audio Gain Automation 550
bins 86
settings 109
Renaming tracks 476

734
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

S using for playback 398

using to find script 399
Sample plot, displaying 533 Script range, splicing a 401
Sample rate Script settings, using 373
audio, when preparing for audio output 632 Script text
changing 604 changing font of 376
changing audio sample rate 354, 357 cutting, copying, and pasting 379
identifying by color 535, 535 removing 379
Saving selecting 377
Audio EQ effects 570 Script view
bins 91 defined 336
custom bin views 303 entering 337
custom Timeline views 482 rearranging clips in 338
Script window 374 Script window
Scanning for tapes 178, 253, 256 adding
Scene and page numbers (Script window) color indicators to 393
adding 380 page and scene numbers in 380
changing 381 takes in 390
deleting 382 adjusting
searching for 382 margins in 376
Screen resolution 241 take lines in 392
and Macintosh systems 43 assembling a rough cut in 400
setting 43 changing
Screenings font in 376
interactive, in Script window 402 scene or page numbers in 381
Script integration cutting, copying, and pasting text in 379
See also Color indicators, Off-screen indicators, deleting
Scripts, Script marks, Script window, slates in 389
Slates, Takes takes in 390
described 369 displaying
elements of 370 clip and sequence information from 375
for video projects 371 take numbers in 391
holding slates on screen 386 editing with 400
importing a script for 373 exploring 375
interpolating position 385 finding bins from 400
lining conventions in 368 hiding slate frames in 387
workflow 371, 400 holding slates on screen in 386
Script Mark button 395 indicating off-screen dialog in 393
Script marks interactive screening in 402
adding 394 linking clips to 383
adding during automatic screening 396 loading takes from 391
deleting 399 moving slates in 388
described 370 opening, closing, and saving 374
manually placing 394 playing takes from 392
moving 398 removing text in 379
using 394 resizing slates in 386

735
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

screening and marking in 396 Selecting

searching through 380 a deck 210
selecting a preroll method 224
slates in 385 a tape 217
text in 377 additional transitions in Trim mode 510
splicing a range of script from 401 audio tracks for scrubbing 529
Scripts between trim sides in Trim mode 509
importing into the Script windows 373 clips and sequences 309
linking clips to 383 drives 198
revising 402 Film settings 654
Scroll bar media relatives 316
in Timeline 484 offline items in a bin 316
Scrubbing (audio) 528, 528, 532 QuickTime codecs 662
Scrubbing audio 529 segments in Timeline 492
Scrubbing, digital 531 slates in the Script window 385
activating with Caps Lock key 532 source tracks 218
Searching takes in Script window 387
a clip or sequence 448 target drives 220
for page and scene numbers in the Script window text in the Script window 377
382 tracks in Timeline 468
in the Script window 380 trim sides 513
Segment 492 video output 632
Segment Drag Sync Locks option (Timeline Send To
settings) 498 using predefined templates 664
Segment mode Sequence information
deleting segments 499 changing 453
Extract/Splice-in edits 496 displaying in a Script window 375
fixing sync in 611 Sequences
four-frame display accessing locators in 443
described 494 adding filler to 501
suppressing 495 adding tracks to 454
Lift/Overwrite edits 497 changing audio sample rate for 604
Segment Drag Sync Locks option 498 changing start timecode for 453
Segment Mode pointer 492 clearing from monitors 422
Segments copying 310, 462
cutting, copying, and pasting in Timeline 503 copying, into and out of the SuperBin 307
deselecting in Timeline 493 creating playable 355
lassoing in Timeline 492 cueing 423
marking entire 432 deleting 311
moving in sync 498 duplicating 309
selecting in Timeline 492, 492 editing clips into 458
slipping or sliding in Trim mode 516 exporting 655, 679
Select Project dialog box 60 extracting 462
Select Tape dialog box 178 lifting 461
finding a tape in 256 loading in Composer monitor 420
tape names in 253 moving 309

736
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

moving, into and out of the SuperBin 307 displaying 105

new, setting up 451 duplicating 109
new, starting 452 export, customizing 683
output options for 631 film, selecting 654
placing into clipboard 463 general 102, 201
playback loop in 464 import 282
playing 423, 464 in Settings scroll list 97
recapturing 271 interface 104
procedure 274 Interface Appearance 116
using Decompose 272 keyboard 426
recovering from clipboard 463 Media Files Capture 223
rerecording 271 modifying 108
selecting 309 moving between systems 112, 709
sifting 314 naming 109
switching between 421 selecting 108, 198
tracking the duration of 413 selecting for capturing 198
viewing 423 site, using 113
Set Bin Display command 300 sound card configuration 205
Set Bin Display dialog box 300 Timeline, showing toolbar 434
Set Color button (Script window) 393 trim 516
Set Font command (Edit menu) 376 types of 100
Set Font dialog box 376 Video Display 418
Set Level commands (Audio Mix Fast menu) 545 working with multiple 108
Set Offscreen button (Script window) 393 workspace 138
Set Pan command (Automation Gain Fast menu) 559 Settings scroll list
Set Pan commands (Audio Mix Fast menu) 545 changing display 106
Setting up described 98
a matchback project 653 table of settings 97
decks 208 using 100
new sequences 451 Shared project, selecting 62
the Capture tool 213 Shortcut menus (Macintosh) 41
tracks for new sequences 454 Shortcut menus (Windows) 41
Settings Shot log files
audio 204 converting with Avid Log Exchange (Macintosh)
audio pan default 533 167
basic 101 converting with Avid Log Exchange (Windows)
bin 102 162
bin display 300 exporting 195
button 96 importing 158
copying 111 Shot logs 153
deck 212 Show All Takes command (Script menu) 387
deck configuration 208 Show Frames command (Script menu) 387
deck preferences 213 Shutting down computer 74
defined 96 Shuttling
defining 101 with J-K-L keys 426
deleting 111, 111 Shuttling with J-K-L keys 426

737
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Sifting by color 314 and Small Trim mode 509

Site settings Space bar, navigating with 141
moving between systems 709 Special menu
using 113 Read Audio Timecode 304
Slates (script integration) selecting Group Clip Mode from 624
creating 384 Splice-in button 456
deleting 389 Splice-in edits 458
described 370 Splicing a range of script 401
hiding frames in 387 Split edit, creating 520
holding on screen 386 Squeeze
moving 388 exporting to 671
resizing 386 Start timecode, changing 453
selecting 385 Starting
showing one take in 387 a Playback loop 464
Slipping and sliding clips or segments in Trim mode Avid application (Macintosh) 48
516, 518, 518 Avid application (Windows) 48
Small Trim mode 509 DAE (Macintosh only) 581
Smooth audio scrub projects 51
compared to digital audio scrub 528 Starting the application 60
performing 530 Stepping
Soloing audio tracks in the Timeline 528 with J-K-L keys 426
Soloing tracks, monitoring in Timeline 472 Storage
Sorenson Squeeze estimating 242
exporting to 671 planning 242
Sorting requirements for 242
clips 331 Storing media on drives 200
clips, in descending order 332 Storyboard editing
clips, multilevel with columns 333 from the Script window 401
information in Locators window 442 Subcataloging footage 429
Sorting by color 314 Subclip status (Capture tool) 260, 261
Sound Card Configuration settings Subclips
access and description 99 creating 435
configuring sound cards 205 creating automatically with DV 257
Source footage creating during capturing 260
locating, for motion effects 450 creating with Make Subclip button 436
Source material recapturing 271, 271
displaying in the Timeline 485 SuperBin
Source material, loading into monitors 420 closing 306
Source pop-up monitor conserving screen real estate with 305
resizing 408 copying clips and sequences in and out of 307
viewing clips and sequences in 420 deleting bins in 308
Source tracks enabling 305
selecting 218 moving bins in and out of 306
Source/Record Editing toolset 130 moving clips and sequences in and out of 307
Source/Record monitors opening bins in 305
and Big Trim mode 508 SupportingFiles folder, defined 45

738
 ABCDEFGHIJKLMNOPQRSTUVWXYZ
Swap Cam Bank button 621
Switching
between loaded sequences 421
between workspaces 139
Switching group clip angles 626
Sync 475
autosyncing 607
fixing in Segment mode 611
fixing in Trim mode 611
ganging footage in monitors 618
issues with Client monitor 417
maintaining during segment move 498
maintaining during trim edit 521
Sync breaks
avoiding 610
fixing 611
managing 610
Sync lock
maintaining 614
using 614
Sync locking tracks 475
Sync point
finding the pulldown at 185
Sync Selection dialog box 608
Synchronizing
video and audio subclips 607
Syncing
with locators 616
with tail leader 615
Sync-locked tracks, trimming with 522
System clip gain values 550
System information, displaying 149
T importing 339
Tab key, navigating with 141
Tail Fade button 602
Tail leader
creating audio 343
creating video 342
syncing with 615
Takes (script integration)
adding 390
adjusting lines in 392
applying
Index
color indicators to 393
off-screen indicators to 393
changing representative frame for 391
deleting 390
described 370
displaying numbers for 391
loading 391
loading from script marks 398
playing 392
removing
color indicators from 394
off-screen indicators from 393
selecting 387
showing one per slate 387
Tape deck 176
Avid-controlled, logging with 176
non-Avid-controlled, logging with 181
Tape name
creating new with a keystroke 278
finding 178, 253, 256
Tapes
ejecting 279
naming for logs 156
naming from keyboard 278
recording a digital cut to 643, 646
selecting 217
Target bin, selecting 220
Target drives, selecting 220
Tearing off the Tool palette 433
Templates
AudioSuite effect 584, 591
for Audio EQ 574
for export settings 681
Test patterns
Text in the Script window
changing font of 376
cutting, copying, and pasting 379
linking clips to 383
removing 379
searching through 380
selecting 377
Text view
arranging bin columns in 322
bin column headings 319, 323
copying information between columns 331
739
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

deleting columns in 323 navigating in 483

described 318 pasting a segment in 503
duplicating columns in 323 patching when capturing 267
in Media tool 346, 346 printing 504
managing clip information in 327 saving a custom view 482
modifying clip information in 328 scroll bar 484
sorting clips in 331 selecting and deselecting segments in 492
Three-button play (J-K-L keys) 426 settings, accessing 478
Tidying up frames 336 source material, displaying 485
Time Compression Expansion AudioSuite plug-in top toolbar 434
586 Track Selector panel, using 467
Timecode tracks, changing color of 482
capturing with time-of-day 254 tracks, deleting 477
changing 453 tracks, enlarging and reducing 481
displaying 415 tracks, locking and unlocking 473
drop-frame and non-drop-frame 154 tracks, monitoring 470
entering 191 tracks, patching 474
logging 156 viewing clips in 420
using on audio track 304 Timeline Fast menu
using to find a frame 448 options 478
Timecode breaks, capturing across 226 using 478
Timecode breaks, digitizing across 226 Timeline View setting
Timecode window replacing 482
displaying 415 restoring default 483
Timecodes saving custom view 482
display options Time-of-Day Information, using to log 257
table of 411 Time-of-day timecode
Timeline 478 capturing with 254
adding offline media indicator 481 Time-remaining display 222
adjusting volume in 551 Tips for logging 153
audio gain keyframes in 552 Toggle Source/Record in Timeline button
audio tracks, selecting for scrubbing 529 (Timeline) 485
audio tracks, soloing 528 Tone
capturing to 266 setting calibration 633
controlling movement in 486, 486 Tone media, creating 234
copying a segment in 503 Tool palette 433
customizing 477, 480 Toolbar, top Timeline 434
cutting a segment in 503 Tools
displaying detail in 484 Audio EQ 550, 564
dupe detection in 489 Audio Mix 540
editing and nesting effects 504 Audio Punch-In 594
editing in 491 AudioSuite 579
finding flash frames in 490 Automation Gain 555
first edit displayed in 456 Avid Calculator 147
focusing 484 Console 148
identifying the sample rate 535 Digital Cut 638

740
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Hardware 151 Transcoder, connecting with 209

Locators 441
Media 345
Tools menu 142
Toolset
basic 128
Capturing 133
choosing 127
Color Correction 129
customizing 133
Effects Editing 131
linking to a workspace 134
Source/Record Editing 130
Top Timeline toolbar 434
Total Conform 59
Track Selector panel 467
Track Solo button (Automation Gain tool) 556
Tracking frames with frame numbers 326
Tracking information
options 411
Tracks
adding 454
audio, adjusting in Audio Mix tool 542
audio, mixing down 603
audio, monitoring in Timeline 470
audio, selecting for scrubbing 529
audio, soloing 528
changing color in Timeline 482
cycling through 472
deleting 477
enlarging in Timeline 481
exporting as audio files 705
ganging in the Audio Mix tool 546
locking and unlocking in Timeline 473
monitoring in Timeline 470
multiple, adjusting and ganging 546
multiple, managing sync with 613
patching in the Timeline 267, 474
reducing in Timeline 481
renaming 476
selecting in Timeline 468
solo, monitoring in Timeline 472
source, selecting 218
sync locking 475
sync-locked, trimming with 522
video, mixing down 678
Transcoding
creating a playable sequence by 355
Transferring
compatibility requirements for 708
projects between systems 708, 709
settings between systems 709
through AFE 711
Transitions
adding in Trim edit 510
audio, fine-tuning 600
lassoing 506
Trash
emptying 90
viewing contents in 89
Trim
during a playback loop 514
maintaining sync during 521
on-the-fly 513
sides, selecting 513, 517
with sync-locked tracks 522
Trim edit
adding black during 521
for video tracks 515
maintaining sync during 523
reviewing with Edit Review button 512
reviewing with Play Loop button 512
selecting additional transitions for 510
selecting transition sides for 509
slip or slide procedures 516
Trim mode
basic procedures 505, 511
Big Trim mode 508
customizing 516
described 505
entering 506
exiting 507
fixing sync in 611
selecting additional transitions in 510
Small Trim mode 509
using the four-frame display 518, 518
Trimming
adding black while 521
maintaining sync while 521
on-the-fly 513
video tracks 515

741
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

with Add Edit feature 617 Video leader

with J-K-L keys 511, 513 creating 342
with sync-locked tracks 522 Video mixdown 678
with the J-K-L keys 513 Video output
Turning off computer 74 selecting 632
Turnover points in Audio EQ tool 566 Video project
planning 55, 56
Video projects
U using script integration in 371
Undoing edits 457 Video resolutions
Unlinking 363 mixed 58
Unlinking media files 366 selecting in Media Creation dialog box 198
Unlocking tracks, procedure 473 Video tracks
User mixing down 678
selecting another 61, 108 Video tracks, trimming 515
User interface View Name dialog box (bin) 303, 303
appearance templates 125 Viewing
customizing appearance of 116 a list of bins 79
User names contents of Trash 89
changing 46 in Locators window 442
User profiles Viewing and marking footage, described 405
adding 70 Views
changing 71 Bin 302
creating 70 saving a custom Timeline 482
described 69 Script 336
User-selectable buttons Voice-over narration 594
Add Edit 600 Volume
Add Locator 439 adjusting for individual keyframes 554
mapping 144, 144 adjusting in the Audio Mix tool 542
Mark Locator 440 bypassing adjustments 547
Quick Transition 601 in the Timeline 551
limitations for adjusting 549
recording audio gain 560
V while playing an effect 548, 550
Variable-speed play 426 Volume meters
Video in the Audio tool, defined 232
hiding in Composer monitor 408 in the Timeline 552
leader Volume unit scale (Audio tool), defined 232
using to maintain sync 615 VTR (videotape deck)
monitoring in Timeline 470 Avid-controlled, logging with 176
Video compression, defined 241 logging with 176
Video deck 176 non-Avid-controlled, logging with 181
logging with a non-Avid-controlled 181
logging with an Avid-controlled 176
Video Effect Safe Mode button 643, 647, 648

742
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

W
Waveform plots (audio) 533
Windows Media
exporting as 695
Windows taskbar, using 41
Windows, dragging (Windows only) 42
Work environment, using toolsets to control 127
Workflow
script integration 371
Workflows
for video projects 55, 56
Working with multiple formats 59
Workspace
assigning buttons to 135, 137
assigning windows to 135
customizing 135
deleting 135
linking to a toolset 134
linking to user setting 138, 138
settings 136
Workspace buttons
assigning 137

Y
Yamaha 01v digital mixer
recording audio gain 563
supported 554

Z
Zooming in the Timeline 484

743
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

744