Avid DS Nitris Capture and Output Guide

Avid DS Nitris Capture and Output Guide

Avid

®

DS Nitris

Capture and Output Guide

Version 7.6

m a k e m a n a g e m o v e | m e d i a

Avid

®

2

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.

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 © 2005 Avid Technology, Inc. and its licensors. All rights reserved. Printed in USA.

The Avid DS Nitris application uses JScript and Visual Basic Scripting Edition from Microsoft Corporation.

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, Avid DNxHD, 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.

Adobe, Acrobat, and Acrobat Reader are either registered trademarks or trademarks of Adobe Systems

Incorporated in the United States and/or other countries. Microsoft, Windows, and Windows XP are registered trademarks of Microsoft Corporation. All other trademarks contained herein are the property of their respective owners.

Footage

Eco Challenge British Columbia — Courtesy of Eco Challenge Lifestyles, Inc., All Rights Reserved.

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 DS Nitris Capture and Output Guide • 0130-05574-02, Rev A • February 2005

3

4

Contents

Using This Guide

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Mouse, Pen, and Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Customizing the Pen or Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Avid DS Customer Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

E-mail Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Web Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Upload Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Avid Community Forum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Avid Educational Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Chapter 1

Capturing Material

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Workflow: Capturing Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Preparing to Capture Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Configuring the External Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Using the Physical Patching Matrix . . . . . . . . . . . . . . . . . . . . . . . . . 24

Editing and Deleting External Device Presets . . . . . . . . . . . . . . . . . 25

Activating a Device Preset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Exporting and Importing Device Presets . . . . . . . . . . . . . . . . . . . . . 25

Opening the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Selecting the Capture Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Selecting the Capture Target . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Specifying the Capture Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Specifying the Video Capture Quality . . . . . . . . . . . . . . . . . . . . . . . 29

5

6

Specifying the Audio Capture Quality . . . . . . . . . . . . . . . . . . . . . . . 31

Specifying Audio Input Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Setting the Audio Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Specifying Audio Settings for the External Device . . . . . . . . . . . . . 33

Specifying Video Input Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Specifying the Sync Source. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Checking the Sync Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Previewing Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Monitoring Audio Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Logging and Capturing Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Logging and Capturing Clips from Tape . . . . . . . . . . . . . . . . . . . . . . . . 39

Capturing Clips On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Adding Locators While Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Performing a Live Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Capturing Audio through a Microphone. . . . . . . . . . . . . . . . . . . . . . . . . 50

Capturing Material from File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Capturing from File by Dragging to a Bin . . . . . . . . . . . . . . . . . . . . . . . 56

Capturing from Layered Adobe Photoshop Files. . . . . . . . . . . . . . . . . . 57

Importing Encapsulated PostScript (EPS) Files . . . . . . . . . . . . . . . . . . 60

Creating Linked Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Relinking a Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Linking to a Sequence of Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Batch Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Recapturing at a Different Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Capturing Clips from the Avid Explorer . . . . . . . . . . . . . . . . . . . . . . . . . 67

Capturing Clips from the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Creating a Batch Capture List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Batch Capturing Without Interaction . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Using Scripts to Capture Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Creating a Script for Capturing Media . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Running a Script for Capturing Media . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Managing Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Adding a New Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Renaming a Tape and Changing the Comment . . . . . . . . . . . . . . . . . . . 84

Purging Media from Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Recapturing from Tape. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Deleting a Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Using Tapeless Archive for Film Transfer . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Chapter 2

Conforming AFE Files

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Using AFE Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Workflow: Conforming AFE Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Before You Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Conforming HD Projects from Offline Sources . . . . . . . . . . . . . . . . 95

Conforming HD Projects from HD Sources . . . . . . . . . . . . . . . . . . . 97

Conforming Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Conforming Matte Keys and Alpha Channels . . . . . . . . . . . . . . . . 101

Conforming AVX Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Sharing and Transferring Files . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Preparing Audio Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Step 1: Export AFE Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Exporting AFE Files from an Avid Editing System. . . . . . . . . . . . . 104

Exporting AFE Files from MediaLog . . . . . . . . . . . . . . . . . . . . . . . 107

Transferring Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Step 2: Import AFE Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Step 3: Create a Sequence and Master Clips . . . . . . . . . . . . . . . . . . . 112

Step 4: Recapture Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Step 5: Finish the Conformed Sequence . . . . . . . . . . . . . . . . . . . . . . . 116

Transferring Audio Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Using Audio from an Avid Editing System . . . . . . . . . . . . . . . . . . . 117

Exporting and Importing OMF Audio . . . . . . . . . . . . . . . . . . . . . . . 118

7

8

Sharing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Sharing MXF Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Sharing HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Configuring Storages for Sharing MXF Files . . . . . . . . . . . . . . . . 122

Conforming an MXF Sequence Created on Another Avid Editing

System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Sharing Media Captured on Avid DS Nitris. . . . . . . . . . . . . . . . . . 125

Capturing Audio as Separate Mono Tracks . . . . . . . . . . . . . . . . . 127

Conforming AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Exporting AAF Files from Avid DS Nitris . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Conforming AAF Sequences with MediaManager . . . . . . . . . . . . . . . . . . . 129

Setting Up MediaManager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Checking a Sequence into MediaManager . . . . . . . . . . . . . . . . . . . . . 131

Conforming a Sequence with MediaManager . . . . . . . . . . . . . . . . . . . 132

Chapter 3

Conforming OMF, EDL, and ALE Files

. . . . . . . . . . . . . . . . . . . . 147

Workflow: Conforming OMF, EDL, and ALE Files . . . . . . . . . . . . . . . . . . . 148

Conforming OMF Compositions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Opening an OMF File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Conforming an OMF File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Conforming an OMF File without Audio Media . . . . . . . . . . . . . . . 150

Conforming an OMF File with Audio Media . . . . . . . . . . . . . . . . . 153

Exporting an OMF File. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Conforming EDLs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Avid EDL Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

EDL Processor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Opening an EDL File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Setting EDL Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Conforming an EDL File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Creating Layers from an EDL . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Modifying an EDL File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Changing the Source Tape Name . . . . . . . . . . . . . . . . . . . . . . . . . 166

Rippling the Source Timecodes. . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Exporting an EDL File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Printing an EDL File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Proofing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Conforming ALE Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Importing an ALE File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Logging Clips from an ALE File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Chapter 4

Outputting Media

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Workflow: Outputting Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Preparing for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Processing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Selecting an Area to Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Monitoring Audio Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Configuring the External Device for Output . . . . . . . . . . . . . . . . . . . . . 179

Calibrating Video Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Specifying Downconvert Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Specifying the Sync Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Outputting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Outputting to Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Outputting to File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Preserving SuperWhite and SuperBlack Values . . . . . . . . . . . . . . 191

Using Advanced Settings to Crop and Resize. . . . . . . . . . . . . . . . 192

Outputting a Series of Image Files . . . . . . . . . . . . . . . . . . . . . . . . 196

Exporting AVI or QuickTime Reference Movies . . . . . . . . . . . . . . . . . . 198

Index

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

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10

Using This Guide

Congratulations on your purchase of an Avid DS Nitris system. You can use your system 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 is intended for all Avid DS Nitris users, from beginning to advanced, who need to capture, conform, or output material. It provides comprehensive, task-oriented instructions for:

• Capturing material from external devices and files

• Conforming projects transferred from other systems through AFE, AAF,

OMF

®

, EDL, and ALE files

• Outputting material to external devices and files 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: t

>

Symbol or Convention Meaning or Action

n c w

A note provides important related information, reminders, recommendations, and strong suggestions.

A caution means that a specific action you take could cause harm to your computer or cause you to lose data.

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.

This symbol indicates a single-step procedure.

Multiple arrows in a list indicate that you need to perform one of the actions listed.

Margin tips

Italic font

Courier Bold font

Bold font

Ctrl+

key

or

mouse action

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

Italic font is used to emphasize certain words and to indicate variables.

Courier Bold font identifies text that you type.

Bold indicates a user interaction.

Press and hold the first key while you press the last key or perform the mouse action. For example,

Shift+Alt+C or Ctrl

+

drag.

12

If You Need Help

Mouse, Pen, and Keyboard

You can use a two-button mouse (with wheel) or a pen and tablet. The left and right mouse buttons perform different operations. Unless otherwise stated, use the left mouse button.

The mouse and pen operate slightly differently. All the procedures in this guide are documented for the mouse. You can, however, easily use a pen or the keyboard.

Customizing the Pen or Mouse

By customizing the pen, you can adjust the click pressure, switch functions, and other features. For information on customizing the pen, refer to the documentation provided with your Avid DS Nitris system.

You can also customize the mouse. For example, you can select left-handed configuration or change the double-click speed. For information on customizing the mouse, refer to the Windows online Help.

If You Need Help

If you are having trouble using Avid DS Nitris:

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.

3. Check the documentation that came with your Avid application or your hardware for maintenance or hardware-related issues.

4. See “Avid DS Customer Support” on page 14.

5. For Technical Support, please call 800-800-AVID (800-800-2843).

13

Using This Guide

Avid DS Customer Support

The following sections describe various Avid DS Customer Support options.

E-mail Support

The e-mail address for Avid DS Customer Support is:

[email protected]

.

You can use it for sending bug reports, usability questions, and avidds.cab audit reports for system analysis. All e-mails are logged in the support database and assigned a case number. Send one support request per e-mail.

n

It is mandatory that you include your SID number in the body of your e-mail message for verification of your maintenance contract and case logging.

Otherwise, response will be delayed.

Web Support

The Avid DS Support Center at http://www.softimage.com/avidds provides quick access to a wide range of resources from the Avid DS teams and user community. Downloads, including presets, drivers, and Quick Fix Engineering

(QFE), provide the latest solutions for use with your Avid DS system. Online documentation, tutorials, and Knowledge Base articles ensure that you get the most out of your work with Avid DS. It's like having a dedicated Avid DS

Customer Support engineer sitting at your desk!

14

Avid DS Customer Support

Upload Utility

For troubleshooting purposes, you can upload your files for Avid DS

Customer Support personnel to examine. You can upload a project's archive, media files, or other necessary data. Simply zip the files that you need to upload and use a short name (for easy retrieval), such as archive.zip or

Case274877.zip.

To upload your files:

1. Go to the Avid web site at http://www.softimage.com/avidds.

2. Select

Contact > Upload Tool

.

3. Once the file upload is complete, send an e-mail to

[email protected]

to inform Avid DS Customer Support as there is no automatic notification when a file is uploaded on the FTP server. Please provide the complete and exact file name (case sensitive) to retrieve.

Avid Community Forum

Although the Avid DS community forum is frequently monitored by Avid employees, it is not part of the official support channels. You are invited to send your support requests to any of the above channels when required.

If you have an e-mail account, you can join the worldwide network of Avid DS users exchanging ideas. The mailing list has proven to be quite useful for users, and there is a constant stream of new subscribers.

To subscribe, send an e-mail to

[email protected]

with the following text in the body of your message:

subscribe ds

. You can get further information on using the automated list server by e-mailing

[email protected]

with “help” as your message.

You can also join other Avid forums on the Avid web site at http://www.avid.com. Select

Support > Forums

.

15

Using This Guide

Accessing the Online Library

The Online Library contains all the Avid DS Nitris documentation in PDF format. If it was installed on your system, you can access it from the Help menu in Avid DS Nitris.

n

You will need Adobe online.

®

Acrobat

®

Reader

®

installed to view the documentation

To access the Online Library:

t

In Avid DS Nitris, select

Help

>

Online Library

, or t

Insert the Software CD into your CD-ROM drive, and select

Online

Library

from the main menu.

To install Adobe Acrobat Reader:

1. If Acrobat Reader is not installed on your system, insert the Drivers CD into your CD drive.

Under the Various section, select

Utilities

.

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).

16

Chapter 1

Capturing Material

This chapter describes how to prepare to capture material, specify the capture quality, and capture and log material so that you can edit it in Avid DS Nitris.

This chapter includes the following topics:

Workflow: Capturing Material

Preparing to Capture Material

Logging and Capturing Material

Capturing Material from File

Creating Linked Clips

Batch Capturing

Using Scripts to Capture Media

Managing Tapes

Using Tapeless Archive for Film Transfer

Chapter 1

Capturing Material

Workflow: Capturing Material

You can capture material for your project from different sources, such as tape or file. The following illustration shows you the process of capturing material:

1

Configure inputs and quality settings.

Configure the VTR or other external device.

Select video/audio input, quality, and storage.

2

Preview material.

18

Preview video.

3

Log or capture material from...

File

Tape

AFE, AAF, OMF

®

Monitor audio levels.

, EDL, or ALE file.

4

For logged clips, batch capture from the timeline or Avid Explorer.

Preparing to Capture Material

Preparing to Capture Material

Before capturing media, you must configure settings for your workstation.

Configuration includes specifying the external device and the input signals coming from the external device; selecting the capture quality, storage location for the captured media, and other settings; and monitoring audio levels.

Use this checklist to help you prepare to capture.

Preparing to capture

Configure the external device

Select the capture mode

Select the capture target

Specify the capture quality

Specify audio input settings

Specify video input settings

Preview material

These tasks are described in the following sections.

c

Avid DS Nitris requires that the deck and the Avid Nitris DNA be genlocked to the same timing source when capturing. If you’re capturing a format that allows either tri-level or black burst sync (such as 1080i

59.94), you can use either sync source, so long as it is supported by the deck. For a list of sync options for each format, see “Downconverted

Output Formats and Sync Sources” in the Help.

n

If you are capturing material from file, configure the capture settings in advance through the Capture Settings view and capture through the Avid

Explorer. For more information, see “Capturing Material from File” on page 51.

19

Chapter 1

Capturing Material

Configuring the External Device

Before capturing from an external device, such as a deck, you need to set options for the device.The first time you work with a new device, you need to set parameters in the Deck Configuration view. The Deck Configuration view lets you save your settings as a preset. You can then select the preset in the

Deck Configuration view or select it from the Device pop-up menu in the

Capture Tool.

n

If you are recording through a microphone, activate the Microphone Input preset, ignore the External Device settings, and accept the Audio settings

(Input: Analog and Priority: Microphone). For more information, see

“Capturing Audio through a Microphone” on page 50,

To configure an external device:

1. Connect the external device to your Avid DS system, as described in the setup guide for your system.

2. Open the Deck Configuration view by doing one of the following: t

From the NLE Tools toolbar, click

Media IO > Deck Configuration

.

t

In a project root bin, open the Views folder and click

Deck

Configuration

.

The Deck Configuration view opens.

20

Deck presets list

Preparing to Capture Material

For information about options in the Deck Configuration view, click the

Help

button.

3. In the top part of the Deck Configuration view, right-click and select

Add

New Deck Preset

.

An icon named Deck Preset is added to the Deck Presets list. The name is selected and ready to be renamed.

4. Type a name for the preset.

5. From the Manufacturer list, select the name of the manufacturer of the external device.

21

Chapter 1

Capturing Material

6. From the Model list, select the model number.

Some models include a frame rate (23, 24, and so on). Make sure the template matches the playback rate of your deck.

If the model of your deck is not listed, it has not been tested by Avid and its accuracy or usability is not guaranteed. In most cases, however, you can use the deck for capture. Select a similar model from the same manufacturer. After completing the configuration, check some basic operations, such as cueing to a specific timecode and checking the accuracy of the capture and output to tape.

7. From the COM Port list, select the COM port that connects the serial cable from the external device to your system.

The serial cable should be connected to either

COM1

or

COM2

.

8. From the TC Mode list, select the type of timecode you want to use for input:

Auto

,

LTC

, or

VITC

. For more information, click the Help button.

Auto lets the external device determine which timecode to read.

n

If your external device cannot find a timecode when previewing material, your

TC Mode setting may be incorrect.

9. When outputting to tape, you must specify the edit mode by selecting

Auto

or

Assemble

from the Edit Mode list—see “Configuring the

External Device for Output” on page 179.

10. From the Edit Field list, select the field on which the output starts.

Deck Settings uses the Edit Field setting that is set on the external device.

11. In the Preroll text box, enter the amount of time that you want the external device to play before Avid DS Nitris starts to capture or output.

12. If you’re experiencing an offset between the external device and your system, you can compensate by adding or subtracting frames in the Play

Bias and Record Bias text boxes. The Play Bias option offsets the timeline whereas the Record Bias option offsets the VCR timecode entry point.

n

When you first connect the external device to your system, you should perform several capture and output tests to verify that the timecodes are accurate.

13. Make a selection from the Input and Priority lists.

The input you select will depend on the audio hardware connected to your system.

22

Preparing to Capture Material

14. Use the Audio Physical Patching matrix to assign the audio outputs from

the external device to the audio inputs on your workstation—see “Using the Physical Patching Matrix” on page 24.

n

The Input, Priority, and Audio Physical Patching settings are all saved with the device preset.

15. Click the

Check

button.

If the communication between the external device and your system is operating properly, nothing happens. If there is a problem, a message box appears, stating the possible cause of the problem.

You can also verify that the external device is operating within normal parameters by checking the five items in the External Device Status area, located beneath the transport controls.

16. Right-click the new preset and select

Save

or click the

Save

button.

17. Select a preset as the currently active external device—see “Activating a

Device Preset” on page 25.

n

If you’re using a deck that can be addressed in a format different from its recording speed, four bin columns provide you with a quick way to find your clips on the source tape:

• Avid DS Nitris Physical In

• Avid DS Nitris Physical Out

• Avid DS Nitris Physical Start

• Avid DS Nitris Physical Stop

These columns show timecodes in the same format as the deck faceplate.

n

Templates for output devices are located by default in the following folder:

C:\Program Files\Avid\DS_v7.0\Edm\Supporting Files\Machine_Templates.

The Supporting Files folder also contains the Backup_Machine_Templates folder, which holds older templates. To access additional templates in the Deck

Configuration view, copy template files to the Machine_Templates folder.

23

Chapter 1

Capturing Material

Using the Physical Patching Matrix

The Physical Patching matrix lets you assign the audio outputs from the external device to the audio inputs on your workstation.

If the material you want to capture has more audio tracks than the number of physical inputs on your workstation, you can capture the audio tracks in different passes. For each pass, you can re-assign the audio physical patching to capture the tracks you need.

For example, assume you only have two physical inputs (I1 and I2), but have four tracks of audio to capture (A1, A2, A3, and A4). On the first pass, you can capture tracks A1 and A2.

On the second pass, you can change the audio physical patching to A3 and A4, which lets you capture audio tracks 3 and 4.

You can also use the patching to:

• Rearrange the track destination

• Import specific tracks from a device

• Remove unwanted tracks

Since the Audio Physical Patching is saved with the device preset, each device can have its own specific audio patching.

24

Preparing to Capture Material

Editing and Deleting External Device Presets

You can save the settings for your external device as a preset, so that you don’t have to reconfigure the device each time you use it for capture or output.

To edit a preset:

1. Right-click the preset.

2. Select the options you want to change.

3. Click the

Save

button.

To delete a preset from the device list:

t

Right-click the preset and select

Delete

.

n

You cannot delete the active preset.

Activating a Device Preset

You can select one of your presets as the currently active external device. The device you choose will be the default device for capture, recapture, and output.

n

You can choose a different device preset in the Capture Tool and Output view.

To activate a device preset, do one of the following:

t

In the top part of the Deck Configuration view, right-click the preset and select

Activate

.

t

Double-click the preset.

A green check mark appears on the preset’s icon.

Exporting and Importing Device Presets

You can share presets with other Avid DS Nitris systems by exporting and importing deck presets.

To export deck presets:

1. In the Bin tools section of the Deck Configuration view, click the

Fast

Menu

button and select

Export Deck Presets

.

The Select Deck Presets Export Folder dialog box opens.

2. Select the folder into which you want to export the presets.

25

Chapter 1

Capturing Material

3. Click the

Select

button.

All presets are exported to the folder you selected.

To import deck presets:

1. In the Bin tools section of the Deck Configuration view, click the

Fast

Menu

button and select

Import Deck Presets

.

The Select Deck Presets Import Folder dialog box opens.

2. Select the folder from which you want to import the presets.

3. Click the

Select

button.

All presets in the selected folder are imported to your system.

Opening the Capture Tool

The Capture Tool lets you configure the settings you need to capture media from an external device and perform the capture.

26

Locators controls

Preparing to Capture Material

To open the Capture Tool, do one of the following:

t

From the NLE Tools toolbar, click

Media IO > Capture Tool

.

t

Select

View > Single-Instance Views > Capture Tool

.

Live

Tape

On-the-Fly

Timeline/Deck Control

Log/Capture Mode

In and Out

(On-the-Fly only)

Start Capture

Video/Audio

Capture Settings

Input Monitor

Sync Source

Video Input Parameters

Audio Input Settings

Expand/Collapse

27

Chapter 1

Capturing Material

Selecting the Capture Mode

You can choose one of three different capture modes in the Capture Tool:

Live

: Lets you specify settings for capturing material by simply starting

and stopping the capture—see “Logging and Capturing Clips from Tape” on page 39.

Tape

: Lets you specify settings for capturing material between in and out-

points or for logging empty master clips—see “Logging and Capturing

Clips from Tape” on page 39.

On-the-fly

: Lets you specify settings for capturing material between in

and out-points that you set as the tape plays—see “Capturing Clips Onthe-Fly” on page 44.

Selecting the Capture Target

You can choose one of several capture targets in the Capture Tool.

To select a capture target, do one of the following:

t

Select one of the following from the Target list:

-

Project Root

: Creates master clips in the folder with the project name

(the project folder).

-

Main Explorer Location

: Creates master clips in a bin you selected in the Avid Explorer.

The most recently activated bin within the project root becomes the capture target. An icon in the title bar marks a bin as the capture target.

-

Auto-Source

: Creates master clips in a folder with the same name as the tape name.

t

Click the Target button and select a folder. Avid DS Nitris creates master clips in the folder you select.

You cannot create master clips outside the current project, so

Avid DS Nitris checks the path to make sure the folder is within the project folder.

28

Preparing to Capture Material

Specifying the Capture Quality

You set the video and audio capture quality when you create your project or sequence. You can keep these default settings or adjust them for the material you are going to capture or recapture.

For your video material, you can change the resolution, bit depth, compression, and storage device. For your audio material, you can change the sample rate, bit depth, and storage device.

Specifying the Video Capture Quality

You can also set the video capture quality in the Capture Settings

view—see “Capturing

Material from File” on page 51

.

Video capture settings let you define the resolution, bit depth, and compression ratio at which images are captured.

You can save space on your disk array by capturing video material in compressed format. Typically, compressed material is used for a rough cut, where you capture large amounts of material at a lower quality. After that, you can recapture the edited material uncompressed before proceeding with a more detailed edit.

To specify video capture quality:

1. Do one of the following: t

From the NLE Tools toolbar, click

Media IO > Capture Tool

.

t

Select

View > Single-Instance Views > Capture Tool

.

2. Click the

Video/Audio Capture Settings

button.

The video and audio capture settings are displayed.

29

Chapter 1

Capturing Material

30

For more information about video capture options, click the

Help

button.

3. In the Video panel, select a resolution from the

Resolution

list. The resolutions that are displayed depend on your Avid DS Nitris system hardware.

4. Set the

Color Space

to be used for your media.

The options you have available depend on your video format and resolution.

5.

From the

Bit Depth list, select a bit depth, depending on what your hardware allows.

6. From the Compression list, select a compression or

Uncompressed

. The compressions that are displayed depend on the selected video format. For information about compressions, see “Avid DNxHD Compressions” and

“JFIF Compressions” in the Help.

7. From the Capture To list, select the storage device on which your video media will be stored.

The status of the storage device you selected is displayed. If the storage device is accessible in real time, the status marker is green. If the storage device is not accessible in real time, the status marker is red.

The Time Available box indicates how much video material you can successfully capture based on your quality settings. If you have insufficient storage space, consider deleting any unused media on your disk array—see “Purging Media” on page 1144.

Preparing to Capture Material

Specifying the Audio Capture Quality

You can also set the audio capture quality in the Capture Settings

view—see “Capturing

Material from File” on page 51

.

The audio capture settings let you define the quality at which your audio material is captured. These settings depend on the audio hardware connected to your workstation.

When you’re capturing material from a digital input, the audio input sample rate and protocol settings are set according to the input signal detected by your hardware.

With digital input, such as AES/EBU or S/PDIF, the sample rate is determined and set by the external device (CD player, DAT, etc.). If the digital input cannot be detected (for example, the external device is turned off), the default sampling rate is set to 48 kHz.

To specify audio capture quality:

1. Do one of the following: t

From the NLE Tools toolbar, click

Media IO > Capture Tool

.

t

Select

View > Single-Instance Views > Capture Tool

.

2. Click the

Video/Audio Capture Settings

button.

For information about audio capture options, click the

Help

button.

3. In the Audio panel, select a sample rate from the

Sample Rate

list. The higher the sample rate, the more accurate the capture process will be.

4. From the Bit Depth list, select a bit depth. The higher the value, the more precise the audio will be.

5. From the Capture To list, select the disk array on which your audio material will be stored.

The status of the storage device you select is displayed. If the storage device is accessible in real time, the status marker is green. If the storage device is not accessible in real time, the status marker is red.

The Time Available box indicates how much audio material you can successfully capture based on your quality settings. If you have insufficient storage space, consider deleting any unused media on your disk array. For more information, see “Purging Media” on page 1144.

31

Chapter 1

Capturing Material

Specifying Audio Input Settings

You can specify two types of audio input settings in the Capture Tool:

• Audio format and channel routing

• Settings for the external device

Setting the Audio Format

Your choices for audio format and available channels depend on the installed audio hardware.

To set the audio format and assign audio channels:

1. In the Capture Tool, click the

Input Monitor

button.

2. Select the audio format from the

Audio Format

list.

32 f

For information about audio formats, click the

Help

button.

Preparing to Capture Material

3. Use the channel routing matrix to assign the incoming audio tracks to the desired audio channels of the clip.

Click in the appropriate boxes to make the assignments. The number of available channels depends on the installed audio hardware and the selected audio format. You should know, in advance, to which tracks the audio has been recorded on the tape.

n

If you click on a square in the matrix and an empty circle appears, that particular assignment is not available due to limitations of the audio hardware.

For example, to switch the settings for track A1 and A2 so that track A1 is assigned to Right (R) and track A2 is assigned to Left (L), click the R square in column A1 and the L square in column A2. Notice that you can have only one track assigned to one audio channel.

Old assignment

New assignment

Specifying Audio Settings for the External Device

Settings for the external device are determined by the selection you make from the device list. This list includes presets that you create in the Deck

Configuration view. For more information, see “Configuring the External

Device” on page 20. You can change the audio settings for the preset in the

Capture Tool, but they are not saved with the preset.

To specify audio parameters for the external device:

1. In the Capture Tool, click the

Audio Input Settings

button.

2. Select the type of audio input from the

Input

list.

3. Select the priority for the audio input from the

Priority

list.

The options available depend on the Input selection.

4. Specify the audio output assignments in the physical patching

matrix—see “Using the Physical Patching Matrix” on page 24.

33

Chapter 1

Capturing Material

Specifying Video Input Settings

If your system includes an Avid Nitris DNA, you must select the type of video input signal: Serial Digital, component, composite, or S-Video (Serial Digital is required for HD). For component, composite, and S-Video, you can calibrate video input by adjusting the video parameters.

n

You cannot adjust input parameters for Serial Digital.

To select video input:

1. In the Capture Tool, click the

Video Input Parameters

button.

2. Select the input source from the Input Selection list.

34

To adjust video input parameters:

1. Connect a waveform monitor, vectorscope, or other equipment for calibrating video input, depending on your production environment.

2. In the Capture Tool, click the

Video Input Parameters

button.

3. Select the input source from the Input Selection list.

4. Select

Professional

or

Consumer

, depending on the type of deck that is connected.

Preparing to Capture Material

5. Using color bars or a test pattern, adjust one or more video parameters by dragging the slider or by clicking the minus (-) or plus (+) button.

For information about video parameters, click the

Help

button.

6. To save your settings, click the

Save Parameters

button.

You can save one set of parameters for each type of video input.

7. To restore the default settings for all video inputs, click the

Factory

Settings

button.

Specifying the Sync Source

For systems with an Avid Nitris DNA, you need to select the sync source for reference timing: either tri-level sync or black burst sync (NTSC or PAL).

Avid DS Nitris requires that the deck and the Avid Nitris DNA be genlocked to the same timing source when capturing.

HD formats whose frame rate aligns with 29.97 fps (NTSC) or 25 fps (PAL) can use either tri-level sync or black burst sync. If you are capturing one of these HD formats (such as 1080PsF 29.97 or 1080PsF 25), you can use either tri-level or black burst as the sync source.

For a list of sync options for each format, see “Downconverted Output

Formats and Sync Sources” in the Help.

To specify the sync source:

1. In the Capture Tool, click the

Sync

button.

For HD sequences, the Expected Sync Source field displays the format of the sequence or its interlaced equivalent.

For SD sequences, the field displays NTSC or PAL Black Burst.

35

Chapter 1

Capturing Material

2. Select the sync source that is compatible with the sequence:

Tri-Level,

Black Burst,

or

Any

.

n

You can also set the sync source in the Output Tool.

Checking the Sync Source

The Sync (S) light (located on the right of the toolbar below the timeline) indicates the sync source that is being used by the current sequence.

Sync light

Green:

Indicates that the sequence is receiving the correct sync for the frame rate.

Yellow:

Indicates that the sequence is using internal sync from the Avid

Nitris DNA. For professional production you should make sure to connect the correct external sync.

Red:

Indicates that the sequence is not receiving the correct sync for the frame rate. You should correct this situation.

Previewing Material

Before capturing video or audio material from a tape or live capture session, you can preview it to decide how much preroll or post-roll to add, or to

monitor the audio levels (see “Monitoring Audio Input” on page 37). When

you preview audio material, you can use the Audio Input monitor to set incoming audio levels, depending on your hardware.

To preview video or audio material:

1. In the Capture Tool, click either the

Live

button, the

Tape

button, or the

On-the-Fly

button.

2. Use the transport controls to play the video or audio material you want to preview.

36

Play button

Preparing to Capture Material

Monitoring Audio Input

You can monitor your incoming audio in a panel in the Capture Tool or in the

Audio Input Monitor view. Each input strip in the input monitor corresponds to channels that are recorded from the source device.

Input monitor with mono tracks

Input strips

Peak indicator

Level meter

Strip name

If you need to adjust the audio input signal, the method you use depends on your system hardware:

• If your system includes an Avid Nitris DNA, you should adjust the audio level before it enters the Avid Nitris DNA. For example, you can adjust the audio output on a deck or use an external mixer.

37

Chapter 1

Capturing Material

• If your system includes Equinox-Mykerinos hardware, you can lower the incoming signal through faders on the audio input strips. However, you cannot use the faders to boost the audio signal. Any audio level changes are saved with the audio clip.When you later recapture this material,

Avid DS Nitris uses the levels that you set when you originally captured the material.

You can adjust the audio after capturing by using the Avid DS Nitris

Mixer—see “Understanding the Mixer” in the Help.

To monitor the audio input levels:

1. In the Capture Tool, click the

Live

button,

Tape

button, or

On-the-Fly

button.

2. Open the audio monitor in one of the following ways: t

In the Capture Tool, click the

Input Monitor

button.

t

Select

View > Multi-Instance Views > Audio Input Monitor

.

3. Set the audio format and assign the incoming audio tracks to the desired

audio channels of your clip—see “Setting the Audio Format” on page 32.

4. Use the transport controls in the Capture tool to preview the audio.

Logging and Capturing Material

Depending on the source from which you are capturing material, you can:

• Log and capture the material at the same time

• Log the material and batch capture it later

• Log a clip that is linked to material on a network

If you’re capturing material from a tape or other external device, you can log the clips needed for your sequence and then batch capture them later. Logging lets you specify the in and out-points for material on tape without actually capturing the material.

As you log or capture your material, master clips are created in a bin in the

Avid Explorer. These clips contain information about the original media on tape or file, as well as the source in and source out timecodes.

38

Logging and Capturing Material n

You can also create logged clips from the following sources:

• AFE files (Avid Log Exchange)

• AAF files (Advanced Authoring Format)

• OMF files (Open Media Framework

®

)

• EDLs (Edit Decision Lists)

• ALEs (Avid Log Exchange)

For more information on logging clips from these sources, see “Conforming

AFE Files” on page 91 and “Conforming OMF, EDL, and ALE Files” on page 147.

Logging and Capturing Clips from Tape

The Capture Tool provides you with three modes in which to capture media from an external device: Live, Tape, and On-the-Fly. Tape mode lets you specify exact in-points and out-points, When capturing material using Tape mode, you can capture the media between the selected in and out-points or log empty master clips.

The captured clips are displayed in a bin. Logged video clips display the

Avid DS Nitris clapboard icon in the Thumbnails and Script view. Icons for the audio and video clips without media are red.

39

Chapter 1

Capturing Material

You can place logged clips on the timeline to create a sequence and then edit them like any other master clip, even though they do not include media. Later, you can capture the media at any time directly from the timeline.

In the Thumbnails view of a bin, video and audio clips without media are displayed with red icons.

In the Details view of a bin, video and audio clips without media are preceded by a red icon.

To log and capture clips from a tape:

1. Do one of the following: t

From the NLE Tools toolbar, click

Media IO > Capture Tool

.

t

Select

View > Single-Instance Views > Capture Tool

.

2. Configure the external device, specify the capture quality, and other

perform other tasks listed in “Preparing to Capture Material” on page 19.

3. Click the

Tape

button.

4. From the device list, select a deck preset.

5. (Optional) Set a custom preroll for the deck.

This setting temporarily overrides the setting in the deck template but does not change it.

40

Logging and Capturing Material

6. Click the

Check

button.

If the communication between the external device and your system is operating properly, nothing happens. If there is a problem, a message box appears, stating the possible cause of the problem.

You can also verify that the external device is operating within normal parameters by checking the five items in the External Device Status area, located beneath the transport controls—see “Transport Controls (Capture and Output Tools)” in the Help.

7. Make sure the

Timeline/Deck Control

button is set for

Deck

.

8. Click the

Log/Capture Mode

button to either capture or log material.

9. In the Clip Name text box, enter a name to prefix all captured clips.

10. From the source name list, select the tape’s name.

If the tape is new, click the

New Tape

button and enter a name for the

tape. The tape name is added to the Tape Library—see “Managing Tapes” on page 82.

c

It is very important to assign a unique name to every tape because

Avid DS Nitris uses it to identify the captured media.

11. From the Target list, select a location to hold the clips—see “Selecting the

Capture Target” on page 28.

12. Click the

Video

button to capture the video channel of the material.

13. Click the

Audio

button to capture one or more audio channels of the material.

14. To record additional material before the in-point and after the out-point, type the appropriate number of frames in the

Heads

and

Tails

text boxes.

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15. Use the transport controls to play or shuttle the tape to the point where you want to start the capture and click the

Mark In

button.

The timecode of the in-point you selected is displayed in the In timecode box.

Mark In Mark Out

In timecode box

Out timecode box

16. Play or shuttle the tape to advance to the point where you want to end the capture and click the

Mark Out

button.

The out-point is displayed in the Out timecode box. The Duration timecode box displays the length of material to be captured.

n

Tip

: If you already know the in and out timecodes, you can type them directly in the In or Out timecode boxes. You can also enter a value for the duration and Avid DS Nitris will calculate the out-point.

You can use the numeric keypad to enter in-points and out-points. Begin typing the timecode and an entry box is displayed. When you finish typing, press the I key to set an in-point or the O key to set an out-point. You can also type a duration and press the D key. To go to a particular location on the tape, type the timecode and press Enter.

17. Click the

Start/Stop Capture

button.

As the material is logged, or logged and captured, clips appear in the Avid

Explorer according to the in and out points that you specified.

You can add locators with comments while capturing. For more

information, see “Adding Locators While Capturing” on page 46.

n

If Avid DS Nitris is unable to capture the material on the first attempt, it will try again. If it fails again, Avid DS Nitris will attempt the capture a third time with an additional preroll of five seconds. If the capture fails again, an error message is displayed with a possible explanation for the problem.

42

Logging and Capturing Material n

If you encounter problems capturing material from tape, you should deactivate the viewer using the Viewer button in the status bar and try capturing again.

When capturing full resolution HD material at 29.97 and 30 frames per second, the viewer is automatically deactivated.

Logged video clips appear with an image of the Avid DS Nitris clapboard icon, since they do not have any media. Both video and audio clip icons are also red to show that no media has been captured. You can later capture these clips in one batch directly from the Avid Explorer.

c

If any frames are skipped during the capture, the capture stops, and an error message is displayed. Clips are created for the material that was captured up to the point at which frames were dropped.

If Avid DS Nitris detects any problems during capture, the Capture Error

Log is displayed. The Capture Error Log dialog box displays the clip that could not be captured, including tape source name, in-point, and outpoint. It also gives you a brief description of the type of error that occurred.

a.

To save this log as an .html file, click the

Save As

button.

b.

In the Save As dialog box, navigate to an appropriate folder, type a name for the log and click the

Save

button.

The log is saved as an .html file and can be viewed in any HTML browser.

n

Avid DS Nitris stops a capture session if it detects any timecode breaks on the source tape. It creates a master clip from the in-point to the timecode break.

The capture session may stop a frame or two after the actual timecode break.

If this happens, you may have to cut or trim some of the unusable frames from your clip.

To resume capture, enter new in and out-points in the In/Out timecode boxes and click the

Start/Stop Capture

button.

n

If there is insufficient material for the deck to preroll before capturing, you will not be able to capture the material. In this case, use the Live capture option to capture the material.

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Capturing Clips On-the-Fly

Capture on-the-fly mode lets you capture material from tape as it plays. You start the capture and then set in and out-points for the material you want to capture. After you stop the capture, clips are created in the Avid Explorer, based on the in and out-points you set during playback. In this way you can create multiple clips without having to start and stop playback.

n

Avid DS Nitris creates a temporary media file for the complete capture and then creates the individual clips. Make sure you have enough storage space for the temporary media file and the created clips. Avid DS Nitris deletes the temporary file after creating the clips.

Capture on-the-fly is similar to live capture because in both cases you capture while the tape is playing. Capture on-the-fly, however, requires deck control through an RS-422 connection and a valid timecode signal. As a result, timecode is always accurately captured and clips can be recaptured.

To log and capture clips on-the-fly:

1. Do one of the following: t

From the NLE Tools toolbar, click

Media IO > Capture Tool

.

t

Select

View > Single-Instance Views > Capture Tool

.

2. Configure the external device, specify the capture quality, and perform

other tasks listed in “Preparing to Capture Material” on page 19.

3. Click the

On-the-Fly

button.

4. From the device list, select a deck preset.

5. Click the

Check

button.

If the communication between the external device and your system is operating properly, nothing happens. If there is a problem, a message box appears, stating the possible cause of the problem.

You can also verify that the external device is operating within normal parameters by checking the five items in the External Device Status area, located beneath the transport controls—see “Transport Controls (Capture and Output Tools)” in the Help.

6. Make sure the

Timeline/Deck Control

button is set for Deck.

7. Make sure the

Log/Capture Mode

button to set to Capture.

8. In the Clip Name text box, enter a name to prefix all captured clips.

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Logging and Capturing Material

9. From the source name list, select the tape’s name.

If the tape is new, click the

New Tape

button and enter a name for the

tape. The tape name is added to the Tape Library—see “Managing Tapes” on page 82.

c

It is very important to assign a unique name to every tape because

Avid DS Nitris uses it to identify the captured media.

10. From the Target list, select a location to hold the clips—see “Selecting the

Capture Target” on page 28.

11. Click the

Video

button to capture the video channel of the material.

12. Click the

Audio

button to capture one or more audio channels of the material.

13. Click the

Start/Stop Capture

button.

The tape begins playback.

14. To set an in-point and an outpoint, do one of the following: t

Click in the viewer to set an in-point, and then right-click in the viewer to set an out-point.

t

In the Capture tool, click the In button and then the Out button.

t

On the keyboard, press the I key and then the O key.

A clip will be created for each of the in and out-points that you set.

Continue to set in and out-points on the material you want to capture.

You can add locators with comments while capturing. For more

information, see “Adding Locators While Capturing” on page 46.

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Chapter 1

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Start of session

In point

15. To finish the capture session, do one of the following: t

Click the

Start/Stop Capture

button.

t

Press the Esc key.

The On the Fly Capture Time Spans dialog box appears.

Out point

End of session

16. Click OK.

Clips appear in the folder you selected for each of the in and out-points that you set. The clips are named as follows:

BaseClipName

,

BaseClipName

-001, and so on. Each clip’s timecode matches that on the tape, making it possible for you to recapture the material at a different compression rate or resolution.

n

If you encounter problems capturing material from tape, you should turn off the viewer by deselecting the Viewer button in the status bar and try capturing again. When capturing full resolution HD material at 29.97 and 30 frames per second, the viewer is automatically deactivated.

Adding Locators While Capturing

For complete information on locators, see “Using

Locators” in the Help.

You can add locators (markers) to the clips you are capturing from tape or onthe-fly. These markers are linked to a specific timecode and behave in the same way as Clip locators.

You cannot add locators during Live capture.

46

Logging and Capturing Material

To add a predefined locator:

1. Begin capturing from tape or on-the fly.

2. Do one of the following: t

On the keyboard, press a locator button (F1 through F3).

t

In the Capture tool, click a locator button (F1 through F3).

The comments for predefined locators are:

F1: Needs color correction

F2: Needs scratch removal

F3: Start of good take n

Locators F4 through F8 include the comments “Comment 4,” “Comment 5,” and so on. You can change these comments on the Locator Properties property page.

To add a locator with a custom comment:

1. Begin capturing from tape or on-the fly.

2. Type your comment.

3. Press the A key or click the Add button.

A red locator is added to the clip.

To add scene and take numbers:

1. Begin capturing from tape or on-the fly.

2. Press one or both of the following keys:

S key (Scene button): Adds a locator with the title “Scene

x

, Take

x.”

Each time you click the Scene button, the Scene number is incremented and the Take number is reset to 1. You can add a custom message.

T key (Take button): Adds a locator with the title “Scene

x

, Take

x.”

Each time you click the Take button, the Take number is incremented.

A red locator is added to the clip.

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Performing a Live Capture

Live capture mode lets you capture a video stream from a deck, camera, or other source, without the need for deck control. It is a quick but less accurate way of capturing material.

If there is a proper SMPTE or AES/EBU timecode signal, the material is assigned the incoming timecode and the resulting clip can be recaptured. If no timecode signal is present, Avid DS Nitris assigns an arbitrary timecode to the clip, starting at 00:00:00:00. Clips starting with this arbitrary timecode cannot be recaptured.

n

If the device you plan to use for recapture cannot be controlled with an RS-422 remote connection, Avid DS Nitris will let you recapture a clip, but it will most probably not find the correct timecode.

Live capture is similar to capture on-the-fly because in both cases you capture while the tape is playing. Capture on-the-fly, however, requires deck control

through an RS-422 connection and a valid timecode signal—see “Capturing

Clips On-the-Fly” on page 44.

To perform a live capture:

1. Do one of the following: t

From the NLE Tools toolbar, click

Media IO > Capture Tool

.

t

Select

View > Single-Instance Views > Capture Tool

.

2. Configure the external device, specify the capture quality, and perform

other tasks listed in “Preparing to Capture Material” on page 19.

3. Click the

Live

button.

4. From the device list, select a deck preset.

5. Select the Timecode source:

VITC or LTC through the RS-422 serial connection on the computer

LTC through the LTC IN connection (XLR) on the Avid Nitris DNA

6. Click the

Check

button.

If the communication between the external device and your system is operating properly, nothing happens. If there is a problem, a message box appears, stating the possible cause of the problem.

48

Logging and Capturing Material

You can also verify that the external device is operating within normal parameters by checking the five items in the External Device Status area, located beneath the transport controls—see “Transport Controls (Capture and Output Tools)” in the Help.

7. Make sure the

Timeline/Deck Control

button is set for

Deck

.

8. Make sure the

Log/Capture Mode

button is set for

Capture

.

9. In the Clip Name text box, enter a name to prefix all captured clips.

10. From the source name list, select the tape’s name.

If the tape is new, click the

New Tape

button and enter a name for the tape.

c

It is very important to assign a unique name to every tape because

Avid DS Nitris uses it to identify the captured media.

11. From the Target list, select a location to hold the clips—see “Selecting the

Capture Target” on page 28.

12. Click the

Video

button to capture the video channel of the material.

13. Click the

Audio

button to capture one or more audio channels of the material.

14. If recording from tape, use the transport controls to play the tape.

15. Click the

Start/Stop Capture

button.

The capture begins and the progress bar displays the number of seconds of material captured. This value updates while the capture is in progress.

n

If you encounter problems capturing material from tape, you should deactivate the viewer using the Viewer button in the status bar and try capturing again.

When capturing full resolution HD material at 29.97 or 30 frames per second, the viewer is automatically deactivated.

16. When you want to stop capturing, do one of the following: t

Click the

Stop

button on the progress bar.

t

Click the

Start/Stop Capture

button.

t

Press the Esc key.

The captured material is represented by a clip in the folder you selected. If the tape is playing, click Capture again to resume capturing.

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Chapter 1

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Capturing Audio through a Microphone

You can create master clips for audio input by connecting a microphone to the

Mic inputs on the back of the Avid Nitris DNA and using the Capture Tool to capture audio. You can use the following connectors:

• Mic 1 or Mic 2 for a single microphone (mono)

• Mic 1 and Mic 2 for two microphones (stereo)

• Mic 1 and Mic 2 for two microphones (two mono channels)

You might need to use an external mixer to adjust the input levels.

To configure for microphone input:

1. On the Avid Nitris DNA, connect a microphone to the Mic 1 input or the

Mic 2 input, or connect two microphones, one to each input.

2. Open the Capture tool and click the Live button.

3. Select Microphone Input as the input device.

You can also activate the Microphone Input preset in the Deck

Configuration tool. See “Configuring the External Device” on page 20. In

this case ignore the External Device settings and accept the default Audio settings (Input: Analog, Priority: Microphone).

4. Click the Input Monitor button to open the audio input pane.

5. From the Audio Format list, select Mono or Stereo to match your inputs.

6. In the channel routing matrix, assign the incoming audio tracks to the desired audio channels of the clip.

7. Use the input level meters to view the audio levels. If you are using a mixer, adjust the input levels if necessary.

8. Select other capture settings. See “Logging and Capturing Clips from

Tape” on page 39.

9. When you are ready to record, click the

Start/Stop Capture

button.

10. To stop recording, click the

Stop

button on the progress bar.

50

Capturing Material from File

Capturing Material from File

When capturing material from file, you can do any of the following:

• Capture media from selected files

• Log the selection as clips without capturing the media

• Create linked clips, which act as pointers to source media located on a local disk or anywhere on the network

You can capture material from video, audio, and image files. For a list of supported file types, see “Capture File Formats” in the Help.

When you capture material from file, it’s important to select the correct media conversion mode, pixel ratio, and premultiplication setting. The media conversion modes let you determine how media of differing formats are converted when captured into Avid DS Nitris. Files coming from different formats, such as NTSC, PAL, and computer graphics, all have different file pixel ratios. If the pixel ratio of the source file is different than that of the current sequence, then the file’s pixels are scaled to match those of the current sequence. When you select the correct premultiplication setting, you can avoid incorrect compositing results.

If you’re capturing still images, you can specify their duration on the Editing property page of the User Preferences dialog box. By default, the duration of captured still images is set to 1 second.

n

You can capture from a single file or a series of files at the same time.

n

You can import graphics without having to capture them. For more information, see “Importing Images” in the Help.

Show/Hide Panel

To log and capture clips from file:

1. In the Avid Explorer, click one of the

Show/Hide Panel

buttons to display a panel. Then click the arrow next to the button and select

My System

.

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Chapter 1

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2. In the tree, click

My Computer

or

My Network Places

and navigate to the folder where the files that you want to capture are located.

The files are displayed in a bin.

52

3. In the bin, select the file or files that you want to capture.

To select a series of files, click the first file, hold down the Shift key, and click the last file. To select multiple files, hold down the Ctrl key and click each file name.

n

If you select a sequential list of still files of the same type, such as all .jpg or all .bmp, during capture you are given the choice of combining the files into one master clip or creating individual clips.

4. Right-click a file and select

Capture Settings

.

The Capture Settings dialog box opens.

Capturing Material from File

Help button

For information about options in the Capture Settings dialog box, click the

Help

button.

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Chapter 1

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5. In the Media Capture panel of the Capture Settings dialog box, select a

location to hold the clips—see “Selecting the Capture Target” on page 28.

If you select

Auto-Source

, master clips are created in a folder named File

Source.

6. From the Media Conversion list, select one of the following modes:

Mode To

Center, Keep Original

Size

Center the media in the viewer along both the X and Y axes. Any portion of the image falling outside the viewer is cropped. This option does not modify the original size of the media.

Scale to Fit Scale the media in both the X and Y axes to fit the sequence settings. This option may reduce image clarity.

Scale, Keep Aspect Ratio Scale the media in both the X and Y axes to fit the image settings, but retain the ratio between width and height.

Keep Original Size and

Position

Display the media in the viewer without modifying its original size or position.

54

Capturing Material from File

The following illustrations show a 540x304 image captured using various media conversion modes.

Center, Keep Original Size Scale to Fit

Scale, Keep Aspect Ratio Keep Original Size and Position

7. If the source image contains an alpha channel that you want to capture with the clip, select the

Keep Alpha

option. Only image formats that support alpha channels are applicable. For example, .bmp images do not support alpha channels.

8. If you want to adjust the colors of the captured file to remove banding, select

Auto-Dither

.

9. If you want to convert the frame rate of the video file you are capturing to the same frame rate used by the sequence, select the

Convert Video

Frame Rate

option.

n

This option does not apply to still images or audio files.

If you capture an audio file with a sample rate different from than that currently set in the

Audio Sample Rate

list, a message box opens, asking you if you want to convert the audio file to the selected rate.

10. If you are sharing MXF audio files with other Avid applications, select

Import audio files into separate mono tracks

. For more information,

see “Capturing Audio as Separate Mono Tracks” on page 127.

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Chapter 1

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11. In the Source Description section, select the appropriate options for the files you are capturing.

For information about these options, click the Help button, and then click on the link for Media Capture Settings.

12. Close the Capture Settings dialog box to save your settings.

13. Right-click on the selected files and select one of the following:

Option

Capture

Log

Link

Description

Creates master clips and captures the media. This option takes substantially longer because the media must be digitized.

Creates master clips without capturing the media.

n

Logged clips appear with the message “Media Not

Available” when they are placed in the viewer or timeline.

You can later capture these clips in one batch directly from the Avid Explorer or the timeline.

Creates linked clips, which act as pointers to source media located on a local disk or anywhere on the network—see

“Creating Linked Clips” on page 60.

As the material is logged or captured, clips appear in the target bin.

n

You can cancel the capture session at any time by clicking Cancel in the progress bar. A message box opens, asking you if you want to keep the material that was captured so far. If you click Yes, clips are created for the material that was captured until you clicked Cancel.

Capturing from File by Dragging to a Bin

You can capture media from file by right-clicking the source file and dragging it to the bin in which you want to create the master clip.

To capture from file by dragging to a bin:

1. Check the Capture Settings view to make sure your settings are

correct—see “Capturing Material from File” on page 51.

You don’t need to specify the capture target.

2. Right-click the file or files you want to capture.

56

Capturing Material from File

3. Drag the files to the bin in which you want to create the master clips.

4. Release the mouse button, and select

Capture Here

.

As the files are captured, master clips appear in the target bin.

You can also use the menu to open the Capture Settings view, create a linked clip, or create a logged clip. Other options let you copy or move files and create shortcuts.

Capturing from Layered Adobe Photoshop Files

There are two ways to capture from Adobe Photoshop files into

Avid DS Nitris:

• Select the file or files in a bin, right-click and select

Capture

.

• On the Editing toolbar, click

Generate > Import Photoshop

.

The first option captures only the flattened Photoshop image as a still. If you want to preserve all the layer information, you should use the second option.

When you capture from a layered Photoshop image into Avid DS Nitris using the Import Photoshop command, a Targa image file is created for each

Photoshop layer. A sequence with one composite container clip is created in a new bin in the Avid Explorer, along with a master clip for each layer. These master clips are linked to the Targa files. Each layer in the Photoshop file is recreated in the composite container clip as a layer and corresponding clip on a composite track. Each layer is composited in the same order as the original

Photoshop file.

DVEs are applied to each clip to position them appropriately, and the opacity of each layer is adjusted to match the opacity levels in the original Photoshop file. An additional folder is created called

Linked layers

, which contains the source Targa files to which the master clips are linked. Having access to these source files makes it easier for you to delete them, if needed.

The Photoshop images must be 8 bit RGBA or grayscale files. Only normal blending information is supported, and text and shape information are rasterized when captured.

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Chapter 1

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Example

Every time you capture from a layered Photoshop file, a new bin is created in the Avid Explorer. The bin is named after the Photoshop file you captured. The sequence, master clips, and Linked layers folder are all stored in this new folder. The master clips are named after the layer they represent followed by the name of the Photoshop file in parentheses.

For example, if you capture from a Photoshop file called Poster.psd that contains the following layers:

• Sky

• Sea

• Boat

A new bin called “Poster” is created in the Avid Explorer. Within that bin, a new sequence called “Poster” is created, a folder called “Linked layers” is created, as well as the following master clips:

• Sky (Poster)

• Sea (Poster)

• Boat (Poster)

The \Linked layers folder contains the following files:

• Sky (Poster).tga

• Sea (Poster).tga

• Boat (Poster).tga

To capture from layered Photoshop files:

1. In the Avid Explorer, select the folder in which you want the new folder to be created.

2. If you are importing a file with a pixel ratio different from that of the current sequence, click the Capture Settings button in the Avid Explorer toolbar. In the Media Capture section, specify a custom pixel ratio.

3. In the Editing toolbar, click

Generate > Import Photoshop

.

The Import Adobe Photoshop dialog box opens.

4. Select the Photoshop file and click

OK

.

A message is displayed telling you that the clip was successfully saved.

58

Capturing Material from File

Linked layers folder contains Targa files.

5. Click

OK

.

A new folder is created in the Avid Explorer and named after the

Photoshop file. Within that folder, a folder called

Linked layers

is created that contains the source Targa files. A sequence file with one composite container clip is also created, along with a master clip for each layer. In the composite container clip, each layer in the Photoshop file is recreated as a layer and corresponding clip on a composite track. The lower-left corner of the final composited image is placed in the lower-left corner of the viewer.

A sequence file is created along with a master clip for each layer.

The lower-left corner of the final composited image is place in the lower-left corner of the viewer.

New file created in Avid Explorer.

All layers are visible.

DVE applied to each clip.

Since the master clips are linked to the Targa files, the images maintain their original size. To view images that are larger than the sequence resolution, right-click in the result area of the layer view to turn off the

Output Frame Size option.

For more information, see “Working with Layered Photoshop Images” in the

Help.

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Chapter 1

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Importing Encapsulated PostScript (EPS) Files

You can import EPS files into Avid DS Nitris, but they are treated differently than other file imports. EPS files are imported from within the Graphics layout and no master clips are created for the EPS file. Instead, the EPS information is imported directly into your current graphics session.

The color information in the EPS files is retained and each shape in the EPS file is a separate stroke in Avid DS Nitris.

n

You can import solid colors, but not gradients.

n

Avid DS Nitris can import files created with Adobe Illustrator 8.0 or earlier versions. To work with Illustrator 9.0 files, save it as a version 8.0 file.

You can also import EPS files as brush strokes. For more information, see

“Creating Custom Brushes” in the Help.

To import an EPS file:

1. With the position indicator over a clip in the timeline, switch to the

Graphics layout.

2. From the Tools toolbar, click

Import > EPS File

.

The Open dialog box opens.

3. Select an EPS file and click the

Open

button.

The EPS file is imported into your graphics session.

Creating Linked Clips

By creating links to media files that are not stored on your disk array, you can work with media files without having to capture them to your disk. These files, called

linked clips

, can reside on a local disk or anywhere on the network until you’re ready to output your sequence.

60

Creating Linked Clips

Some projects may require you to work with images at varying resolutions

(sizes). When you capture these files, you must convert the material to the working resolution of the current sequence. By linking to the material instead, you can keep the material at its original resolution regardless of the sequence’s frame size. Once you’ve completed your edits, you can process the linked material, which creates a cache file of the image area that is visible in the viewer.

Linking clips can also be useful when more than one person needs access to the same file. You can capture the file as a linked clip, drop it into your sequence, and continue to use it as a reference while another person continues to work on the source media file. Changes made to the original file automatically appear in the linked clip, both in the Avid Explorer and on the timeline. n

If another person tries to modify a file that’s linked to a clip in an open project, they will not be able to save that file due to a sharing violation. You must close the project that contains the linked clip for them to be able to save the original file.

Once you’re ready to output the sequence, you can either capture the source file or simply process the clip on the timeline. If you process the material, a cache file is created. Once a cache is created, Avid DS Nitris no longer refers to the source media file, but uses this cache file during playback. Any further changes to the source file do not appear in the linked clip on the timeline. Like any other cache however, the cache for the linked clip can be purged, which relinks the clip to the source file. For more information, see “Purging Caches” in the Help.

Linked clips appear in the Avid Explorer as regular clips, but their file type icons are underlined in red, indicating that no actual media has been captured.

Some linked clips do not require processing and can be played back in real time (such as .gen, .omfi, .mxf, .dpx, or .cin files).

If the “Media Not Found” message appears in the viewer when using linked clips, it’s possible that Avid DS Nitris has lost the connection to the linked file.

All you have to do is re-establish the link. For more information, see

“Relinking a Clip” on page 62.

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To create a linked clip:

1. In the Avid Explorer, open a bin and select the file (s) that you want to capture as linked clips. To select a series of files, click the first file, hold down the Shift key, and click the last file. To select multiple files, hold down the Ctrl key and click each file name.

n

If you select a sequential list of still files of the same type (such as all .jpg or all .bmp), you are given the choice of combining the files into one master clip or capturing individual clips.

2. Right-click a file and select

Capture Settings

.

The Capture Settings dialog box opens.

3. Select the settings that apply to the files that you want to capture—see

“Capturing Material from File” on page 51.

n

Since linked files are brought into Avid DS Nitris at their original resolutions, there is no need to convert them to the current sequence’s resolution. As a result, the Media Conversion modes are not applicable when the Link option is selected.

4. Close the Capture Settings dialog box.

5. Right-click the selected files and select

Link

.

As the material is linked, clips appear in the selected bin. The clip icons are underlined in red to indicate that no media has actually been captured.

Relinking a Clip

If you move the media of a linked clip to a new location, you need to reestablish the link. Avid DS Nitris lets you relink more than one clip at a time.

To relink a clip through the Media Properties dialog box:

1. Right-click the linked clip in a bin and select

Properties

.

The Clip Properties dialog box opens.

2. Select the

File Info

tab.

In the Status text box, the following message is displayed: “File is missing from expected location”.

3. Click the

Relink File

button.

62

Creating Linked Clips

4. In the Relink File dialog box, navigate to the new location of the media file, select it, and click

OK

.

5. Close the Clip Properties dialog box by clicking

OK

.

The link is re-established.

n

If you go back into the Clip Properties dialog box, you will see that the status of the linked file has changed to “File is Present.”

To relink one or more clips through the Avid Explorer:

1. Right-click one or more linked clips and select

Relink

.

Avid DS Nitris tries to relink by using the most recent path used in a relink operation. If the media file is not found in that path, the Relink dialog box is displayed.

If you want to force the Relink dialog box to be displayed, hold down the

Control key while you select

Relink

.

2. In the Relink dialog box, navigate to the location of the media file, select it, and click

OK

.

The link is re-established. If multiple clips are linked to media files in the same folder, all links are re-established.

Linking to a Sequence of Files

You can create a linked clip that represents a sequence of files based on the contents of a Group folder (see “Avid DS Nitris Group Folders” in the Help).

For example, a Group folder that contains 117 files, named BottleFish1.pic through BottleFish117.pic, is labeled:

BottleFish[1..117:117].pic

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The clip linked to this folder is named BottleFish1.Clip.

Group folder

Pattern-based linked clip

This pattern-based linked clip is especially efficient when working with digital intermediate files (DPX) or other groups of sequential files (such as those created by Softimage

®

XSI

®

).

Advantages to using a pattern-based linked clip are:

• Improved memory usage: A pattern-based linked clip uses much less memory than a list-based linked clip. This is especially important for scanned film files, for which a sequence of 16,000 files is not unusual.

• Creation of a complete master clip with an incomplete Group folder: A pattern-based linked clip can represent thousands of files without the need to have those files in a local directory.To create a linked clip you need only the first and last files in a series. This feature lets you create a master clip in advance of receiving all files. For example, if a 3D scene is being rendered overnight, you can create a master clip based on preliminary first and last files and begin to work with the clip immediately, while the rendered files are added to the folder.

64

Properties of a list-based linked clip

Creating Linked Clips

You can also link directly to a series of files, as described in “Creating Linked

Clips” on page 60, but this list-based linked clip does not provide the

advantages of a pattern-based linked clip. You can see the difference between the two types of linked clips on the File Info tab of the clip’s property page.

Properties of a pattern-based linked clip

To create a pattern-based linked clip:

1. In the Avid Explorer, navigate to an Avid DS Nitris group folder.

2. Right-click the Group folder and select

Capture Settings

.

3. Select the settings that apply to the files that you want to capture. For information about capture settings, click the Help button.

4. Close the Capture Settings dialog box.

5. Right-click the Group folder and select

Link

.

The clip appears in the selected bin. The clip icon is underlined in red to indicate that no media has actually been captured.

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Batch Capturing

In an offline/online workflow, you first create an offline sequence by using logged clips or compressed media. To create the final, online sequence, you need to capture media for the logged clips or recapture compressed media in uncompressed format. You can efficiently capture a group of clips from the

Avid Explorer or timeline in one pass. This is called

batch capturing

.

n

You cannot recapture from the timeline clips that were captured at one frame rate and then converted to a different frame rate. You can recapture the original clips from a bin, or recapture the clips from a sequence that matches the original frame rate.

Recapturing at a Different Quality

If you have already captured clips with media, you can recapture media at a different quality. You can initially capture clips at a lower quality to save disk space and increase processing time, and then recapture at a higher quality for the final output. You can also recapture media for clips that have been partially or completely purged.

If you recapture media at a different quality, Avid DS Nitris lets you keep the original media. In this case, the master clip represents two (or more) media files of different qualities.

n

To see if a clip has more than one capture quality, right-click the clip in a bin and select

Properties

. In the property dialog box, select the

Media

property page.

When you place the clip in a sequence, Avid DS Nitris automatically uses the media which has the same resolution as the sequence.You can set a preference to display media that doesn’t exactly match the sequence settings. For more information, see “Understanding Video Quality Matching” in the Help.

You can purge the original media at any time. For more information, see

“Purging Media” on page 1144.

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Batch Capturing

Capturing Clips from the Avid Explorer

When you log material, empty master clips (without media) are created in a bin in the Avid Explorer. You can then capture source material from tape or file. The master clips hold information about the in and out-points of material from tape or about the location of an original file.

n

Avid DS Nitris stops the deck, rewinds and then prerolls before capturing material. If, however, it detects two or more clips on the same tape and they are separated by less than 5 seconds, it will skip the preroll and capture both pieces of media in one pass. This feature, known as

streaming capture

, can reduce the time to recapture media especially if your clips are lined up one right after the other on a single tape.

To capture clips from Avid Explorer:

1. (Optional) If you want to view a list of clips to be captured, set a user

preference—see “Creating a Batch Capture List” on page 74.

2. From the NLE Tools toolbar, click

Media IO > Deck Configuration

.

Check the settings and activate the deck preset for the connected

deck—see “Configuring the External Device” on page 20.

3. In a bin, select the master clips that you want to recapture.

4. (Optional) To delete media associated with the clips, right-click the selected clips and select

Purge Media

—see “Purging Media” in the Help.

5. Right-click the selected clips and select

Capture Settings

to specify the

video quality and audio quality settings—see “Specifying the Capture

Quality” on page 29.

6. Right-click the selected clips and select one of the following:

-

Recapture with Options

to open a dialog box that lets you select the video and audio tracks you want to recapture.You can choose not to recapture tracks that you originally captured, but you cannot capture new tracks. For example, if you created a clip by capturing video only, you cannot recapture the clip with video and audio.

-

Recapture

to begin the recapture process, using the settings specified in the Recapture with Options dialog box.

7. If you selected Recapture with Options, the Explorer Recapture Options dialog box opens.

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68 a.

Click the

Video

button to recapture the video portion of your media.

b.

Click the

Audio

button to recapture the audio portion of your media.

c.

Click the audio tracks (A1, A2, and so on) that you want to recapture.

By default, all audio channels are active. The actual number of available channels depends on the installed audio hardware and the selected audio format, as configured in the Capture Tool or Deck

Configuration. Configured channels are indicated by a filled-in square.

d.

If you want the capture to begin immediately, leave the

Time Delay

option deselected. If you want to capture certain files at a specific time in the future, select the

Time Delay

option.

For more information about options in the Explorer Recapture

Options dialog box, click the

Help

button.

e.

Click the

Recapture

button.

8. If you selected the Display Capture List option, the Batch Capture list is displayed. If you are satisfied with the list, click

OK

.

If you’re capturing from a tape that is currently in the VTR, then capture starts automatically. As the clips are captured, the progress bar updates.

n

If Avid DS Nitris is unable to capture the material on the first attempt, it will try again. If it fails again, Avid DS Nitris will attempt the capture a third time with an additional preroll of five seconds. If the capture fails again, the error is displayed in the Capture Error Log, with the possible cause of the problem.

n

If you encounter problems recapturing material from tape, you should deactivate the viewer using the Viewer button in the status bar and try capturing again. When recapturing full resolution HD material at 29.97 and

30 frames per second, the viewer is automatically deactivated.

Batch Capturing

9. If the tape is not in the VTR, the Insert Tape dialog box opens.

For information about options in the Insert Tape dialog box, click the

Help

button.

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a.

Insert the specified tape. Click the

Skip Tape

button to bypass capturing all the clips with this tape’s source name.

b.

(Optional) Change the external device by selecting a deck preset from the device list.

To create a deck preset, see “Configuring the External Device” on page 20.

c.

Use the transport controls in the dialog box to cue the tape, if necessary. For example, in the case of repeated timecode, cue the tape so that the recapture starts at the correct position.

d.

Click

OK

.

The capture begins.

If you selected the Time Delay option, the Start Capture At dialog box opens. Enter the date and time at which you want the capture to begin and click

OK

. The progress bar appears with the current date and time, as well as the capture start date and time you specified.

10. If any problems are detected during recapture, the Capture Error Log dialog box is displayed.

70

The Capture Error Log dialog box lists all the clips, including tape source name, in, and out-points, that could not be recaptured. It also gives you a brief description of the type of error that occurred.

Batch Capturing

11. To save this log as an .html file, click the

Save As

button.

12. In the Save As dialog box, navigate to an appropriate folder, enter a name for the log, and click the

Save

button.

The log is saved as an .html file and can be viewed in any Web browser.

Capturing Clips from the Timeline

When you log clips from a tape or file, or conform using an ALE file, AAF file, OMF file, ALE file, or EDL, master clips without media are created in a bin, in the timeline, or in both. You can edit these clips into the timeline, and edit their in and out-points before capturing the media.

You can also capture media from clips on the timeline when the clips have media and you want to use a different audio or video quality.

When you capture clips from the timeline, the new clips retain the audio and video tracks used in the original clip.

n

When you capture from the timeline, all the frames in a clip are recaptured unless otherwise specified.

n

Avid DS Nitris stops the deck, rewinds and then prerolls before capturing material. If, however, it detects two or more clips on the same tape and they are separated by less than 5 seconds, it will skip the preroll and capture both pieces of media in one pass. This feature, known as streaming capture, can reduce the time to recapture media especially if your clips are lined up one right after the other on a single tape.

To recapture clips from the timeline:

1. (Optional) To view a list of clips to be captured, you need to set a user

preference—see “Creating a Batch Capture List” on page 74.

2. From the NLE Tools toolbar, click

Media IO > Deck Configuration

.

Check the settings and activate the deck preset for the connected

deck—see “Configuring the External Device” on page 20.

3. Click

Media IO > Capture Settings

and specify the video quality and

audio quality settings—see “Specifying the Capture Quality” on page 29.

4. (Optional) To delete media associated with the sequence, select

Data

Management > Purge Media

—see “Purging Media” in the Help.

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5. If you do not want to recapture the entire sequence, select the tracks, clips, or time span that you want to recapture.

6. From the NLE Tools toolbar, click the

Media IO

button and select one of the following:

-

Recapture Entire Timeline with Options

to open a dialog box that lets you change the heads and tails of the clip (handles) and set other options.

-

Recapture Entire Timeline

to begin the recapture process, using the settings specified in the Recapture Entire Timeline with Options dialog box.

-

Recapture Selection with Options

to open a dialog box that lets you set options.

-

Recapture Selection

to begin the recapture process, using the settings specified in the Recapture Selection with Options dialog box.

7. If your selection lets you set options, Timeline Recapture Options dialog box opens.

72 a.

To record additional material before the in-point and after the outpoint, enter the appropriate number of frames in the

Heads

and

Tails

text boxes.

n

You can only add heads and tails to the clip on the timeline up to the length of the original master clip. You cannot extend the clip beyond what was originally captured.

b.

To capture only the active frames of clips on the timeline, select the

Recapture Only Active Material

option.

Batch Capturing n

When you select this option, clips with time effects (Timewarp, Interlace,

Deinterlace, 3:2 Expand, or 3:2 Contract) are recaptured in their entirety regardless of the active areas. For all other types of container clips, only the active portions of the container clips are recaptured.

c.

If you want the capture to begin immediately, leave the

Time Delay

option deselected. If you want to capture certain files at a specific time in the future, select the

Time Delay

option.

For more information about options in the Explorer Recapture

Options dialog box, click the

Help

button.

d.

Click the

Recapture

button.

8. If you selected the Display Capture List option, the Batch Capture list is displayed. If you are satisfied with the list, click

OK

.

If you’re capturing from a tape that is currently in the VTR, then capture starts automatically. As the clips are captured, the progress bar updates.

n

If Avid DS Nitris is unable to capture the material on the first attempt, it tries again. If it fails again, Avid DS Nitris will attempt the capture a third time with an additional preroll of five seconds. If the capture fails again, the error is displayed in the Capture Error Log, with the possible cause of the problem.

n

If you encounter problems recapturing material from tape, you should deactivate the viewer using the Viewer button in the status bar and try capturing again. When recapturing full resolution HD material at 29.97 and

30 frames per second, the viewer is automatically deactivated.

9. If the tape is not in the VTR, the Insert Tape dialog box opens.

a.

Insert the specified tape. Click the

Skip Tape

button to bypass capturing all the clips with this tape’s source name.

b.

(Optional) Change the external device by selecting a deck preset from

the device list. To create a deck preset, see “Configuring the External

Device” on page 20.

c.

Use the transport controls in the dialog box to cue the tape, if necessary. For example, in the case of repeated timecode, cue the tape so that the recapture starts at the correct position.

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d.

Click

OK

.

The capture begins.

If you selected the Time Delay option, the Start Capture At dialog box opens. Enter the date and time at which you want the capture to begin and click OK. The progress bar appears with the current date and time, as well as the capture start date and time you specified.

For information about options in the Insert Tape dialog box, click the

Help

button.

10. If any problems are detected during recapture, the Capture Error Log is displayed.

The Capture Error Log dialog box lists all the clips, including tape source name, in, and out-points, that could not be recaptured. It also gives you a brief description of the type of error that occurred.

a.

To save this log as an .html file, click the

Save As

button.

b.

In the Save As dialog box, navigate to an appropriate folder, enter a name for the log, and click the

Save

button.

The log is saved as an .html file and can be viewed in any Web browser.

Creating a Batch Capture List

When you have many clips to recapture, you might want to generate a list to review what you’re recapturing. The capture list in Avid DS Nitris not only lets you review what you’re capturing, but also lets you prioritize items, as well as remove items from the list.

To create a batch capture list:

1. Select

File > User Preferences

.

2. Select the

Capture

tab.

3. Select

Display recapture list

.

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Batch Capturing

4. Follow the recapture process described in “Capturing Clips from the Avid

Explorer” on page 67 or “Capturing Clips from the Timeline” on page 71.

Before the recapture process begins, the Capture List dialog box opens.

Clips with check marks beside them are part of the list and will be recaptured

5. Double-click an entry in the list to remove it from the list of clips to be recaptured. Double-click it again to add it back to the list.

6. Use the

Move Up

and

Move Down

buttons to prioritize the capture list.

Clips at the top of the list are captured first.

7. Click the

Source Name

or

Clips

column heading to sort the list according to the source name or the clip name.

8. Click

OK

to begin capturing.

If you are capturing from a tape that is currently in the VTR, then capture starts automatically. As the clips are captured, the progress bar updates.

If the tape is not in the VTR, the Insert Tape dialog box opens. For more

information, see “Capturing Clips from the Avid Explorer” on page 67 or

“Capturing Clips from the Timeline” on page 71.

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Batch Capturing Without Interaction

You can set your user preferences so that a batch capture proceeds without your needing to interact with the application for each tape.

To perform a batch capture without interacting with the application:

1. Select

File > User Preferences

and select the Capture tab.

2. Select the following options:

Eject the tape after digitize

No interaction when inserting new tape

Display recapture list.

3. Click

OK

.

4. When you are ready to start the batch capture, follow the recapture

process described in “Capturing Clips from the Avid Explorer” on

page 67 or “Capturing Clips from the Timeline” on page 71. Before the

recapture process begins, the Capture List dialog box opens.

5. Note the order of the recapture, and arrange the physical tapes in the same order.

6. Click

OK

to begin recapturing.

The Insert Tape dialog box opens and asks for the first tape.

7. Insert the first tape in the capture list.

When all clips have been recaptured from the tape, the deck ejects it.

8. Insert the next tape.

c

Avid DS Nitris cannot distinguish between tapes so make sure you insert them in the same order that is used in the capture list.

Using Scripts to Capture Media

Avid DS Nitris lets you create scripts to automate the capture process. Instead of defining the capture properties each time you capture media, you can do it once, create a script based on what you did, and then run that script the next time you capture. Creating a script can be as simple as copying the contents of the History pane to the Editing pane of the Script Editor and then saving it.

76

Using Scripts to Capture Media n

You can use scripts to capture media from file only.

A script is a set of commands that can be executed in sequence as if they were a single command. Simple scripts are a set of native Avid DS Nitris commands. More advanced scripts use a third-party scripting language as the glue that holds the commands together. With a scripting language, your scripts can use variables, constants, conditional statements, loops, and procedures.

You can change the default scripting language in the User Preferences dialog box (Scripting/Logging property page). For more information, see “Choosing a Scripting Language” in the Help

.

n

Tip

: When using a script to capture media, make sure that the Start Capture command appears only once at the end of your script. If your script contains more than one Start Capture command, it will not work.

Creating a Script for Capturing Media

To create a script for capturing media:

1. Select

View > Single-Instance Views > Script Editor

.

The Script Editor view opens.

Menu bar

History pane

Editing pane

2. Select

View > Multi-Instance Views > Capture Settings

.

3. Configure the video and audio input.

Each command that you set is logged in the History pane of the

Script Editor.

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4. In the Avid Explorer, select a file, right-click, and select

Capture

,

Log

, or

Link

.

5. Once the capture is complete, select the contents of the History pane in the

Script Editor.

6. From the menu bar, click

Copy

or press Ctrl+C.

7. Click in the Editing pane and then click

Paste

or press Ctrl+V.

The contents of the History pane are displayed in the Editing pane.

Copy contents from

History pane to Editing pane to create a script.

8. Click the

Save

button.

The Save As dialog box opens.

9. Type a name for your script in the File name text box and click the

Save

button.

By default, all scripts are saved in the DSScripts folder.

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Using Scripts to Capture Media

Running a Script for Capturing Media

To run a script for capturing media:

1. From the Script Editor, select

File > Open

.

The Open dialog box opens.

2. Browse through the folders to locate the script you want to run. Select the file and click the

Open

button.

The contents of the script appear in the Editing pane of the Script Editor.

3. If you want to make changes to the script, you can modify the contents of the script by cutting, copying, or typing directly into the Editing pane.

4. Click the

Run

button.

The script runs through each line and performs the associated commands.

c

Once a script is running, the only way to terminate it is to exit

Avid DS Nitris. Never test your script by running it on valuable unsaved data.

To create a toolbar button for a script file:

1. Create a media input script and save it in the

\DSScripts

folder.

2. In the Avid Explorer, open the

\DSScripts

folder.

3. Select the script file you created, hold down the Ctrl key, and drag the file to a toolbar.

The Add Script Command dialog box opens.

n

You can also create a toolbar button from one or more lines in the History or

Editing pane of the Script Editor. Select the contents of the script and then drag them onto a toolbar. A toolbar button is created with the name

Scriptnumber.

4. In the Command Name text box, enter a name for the toolbar button.

By default, the Command Name is the name of the saved script file.

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5. Specify a Command Name for Scripting. This is the name that is logged to the command history when you click the toolbar button. You can also use this name to invoke this script from within another script. The command name for scripting cannot use spaces or punctuation.

6. If necessary, select the scripting language from the Language list. The list contains the supported languages that are installed on your computer.

If you dragged lines from the Script Editor onto the toolbar, then the default language is the one specified in your preferences—see

“Scripting/Logging Property Page” in the Help.

If you dragged a saved file, the default language is based on the file name extension:

Scripting language

JScript

PerlScript

Python Active X Scripting Engine

VB Script Language

File extension

.js

.pls

.pys

.vbs

7. Do one of the following: t

If your script does not contain any procedures, there is nothing more to do. Click

OK

to close the Add Script Command dialog box and add the button to your toolbar.

t

If your script does contain procedures, continue with the following:

8. Click the

Parse Script

button.

The script is parsed and the procedures and arguments are “found”.

c

Parsing a script may execute global code, that is, any code that is not within a defined procedure. In such cases, it will also run procedures that are called from global code.

9. If your script contains procedures, you can specify which one to execute when the button is clicked. Select a procedure from the Script Procedure box. If you do not specify a procedure, only global code will be executed, as well as any procedures that are called from global code.

80

Using Scripts to Capture Media c

Even when a procedure is specified, global code may be executed before the procedure is called. This is a side-effect of parsing the script with some scripting engines. To be certain that your script behaves predictably in all situations, do not mix global code and procedures.

10. If the selected procedure contains arguments, they are listed under

Parameters. For each argument, specify the value to use when the script is run by doing one of the following: t

Enter a value in the corresponding Value box. This value will be used whenever you click the button to run the script.

t

Click twice in the Value box, and select Prompt On Run from the list.

With this option, when you click the button to run the script, a dialog box prompts you to enter a value.

11. Click

OK

.

The Add Script Command dialog box closes and the new button is added to the toolbar.

n

If you want to go back and edit the script, right-click on the toolbar button and select Edit Script. A dialog box opens and you are prompted to save your script. Click No. The contents of your script are displayed in the Editing pane of the Script Editor and are ready for editing.

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Managing Tapes

The Tape Library view lets you add tapes to a project and manage the tapes associated with a project.

To access the Tape Library view:

t

In an Avid Explorer panel, open the Views folder and click

Tape Library

.

Bin toolbar

Tapes list

Bin tools

Clips and sequences list

Bin tools

To view the clips and sequences associated with a tape:

t

Select one or more tapes.

The Tape Library view consists of two sections. The top section lists the tapes in your project, and the bottom section lists the master clips and sequences that are associated with one or more selected tapes.

If you import clips or sequences from another project, the associated tape is added to the Tape Library. The name of the original project appears in parentheses.

82

Managing Tapes

You can perform the following tasks in the Tape Library:

• Use Bin tools to change how tapes or clips and sequences are displayed.

• Double-click a clip or sequence to display it in the Source viewer.

• Right-click on a tape, clip, or sequence to perform tasks such as renaming, purging, and deleting.

Adding a New Tape

You can use the Tape Library view to add a new tape.

To add a new tape:

1. Do one of the following: t

In the bin tools section of the Tapes list, click the

Fast Menu

button and select

Add New Tape

.

t

In the bin toolbar, click the

New

button.

The Add New Tape dialog box opens.

n

You can also add a new tape by clicking the

Tool.

New Tape

button in the Capture

2. Enter a name for the tape.

A tape name must be less than 64 characters and cannot contain the following characters: / \ : ; * ? “ < > | . ^ #

3. (Optional) Enter a comment.

To display a comment, select the

Details

or

Script

view.

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4. If the tape from which you are capturing material contains timecode that appears more than once, select the

Manual Reel

option.

This option deactivates the streaming capture functionality, and allows you to manually cue the tape to the appropriate timecode. You can use this option for any type of problem that requires user interaction, such as short timecode breaks or other problem sections in a tape. You can also select or deselect this option by right-clicking a tape icon.

c

If you have flagged a tape with the Manual Reel option during capture, don’t deactivate it during recapture because it may cause recapture errors.

5. Click

OK

.

The new tape appears in the top section of the Tape Library view.

Renaming a Tape and Changing the Comment

After adding a tape to a project, you can rename it or change the comment.

n

If you rename a tape that is shared between projects, the name is changed only in the current project.

To rename a tape:

1. Right-click a tape and select

Rename

.

The Set Tape Name dialog box opens.

2. Enter a new name.

A tape name must be less than 64 characters and cannot contain the following characters: / \ : ; * ? “ < > | . ^ #

3. Click

OK

.

To change a comment:

1. Right-click the tape and select

Change Comment

.

The Set Tape Comment dialog box opens.

2. Enter a new comment.

3. Click

OK

.

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Managing Tapes

Purging Media from Tape

You can purge media associated with a selected tape or tapes. Purging media retains the master clips and sequences, so that you can later recapture the media.

To purge media from tape:

t

Select a tape or tapes, right-click, and select

Purge

.

Recapturing from Tape

If you have purged media for a tape, you can use the Tape Library view to recapture all master clips associated with the tape.

To recapture all master clips associated with a tape:

t

Select a tape or tapes, right-click, and select

Recapture

.

You can also recapture master clips from the Clips and Sequences List section of the Tape Library view. You cannot recapture sequences by selecting a tape.

You must recapture from the bottom section of the Tape Library view, from a

bin, or from the timeline. For more information, see “Batch Capturing” on page 66.

Deleting a Tape

You can delete one or more tapes from the Tape Library view. c

Deleting a tape will delete all media, master clips, and sequences associated with that tape.

Master clips and sequences shared with other projects are preserved, but their media is deleted.

To delete a tape and its associated media, clips, and sequences:

1. Select one or more tapes, right-click, and select

Delete

.

A dialog box displays the media, clips, and sequences to be deleted and asks for conformation.

2. Click

OK

.

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Using Tapeless Archive for Film Transfer

Film-originated television shows use the telecine transfer process as part of the production workflow. The Tapeless Archive feature uses Avid DS Nitris archiving technology to make the telecine transfer process faster and more cost-efficient. Current methods of creating the final, best-light transfer use either negative cutting or film-to-tape, tape-to-tape transfer, both of which are time-consuming and expensive.

A workflow that uses Tapeless Archive relies on a log file for creating a new best-light transfer tape. Because this log file (a “pseudo-archive”) is created in the same way as a Avid DS Nitris archive, it allows for handles, duplicated use of shots, and efficiently combines neighboring shots into single events. A telecine operator then uses the log (a tab delimited text file) to create a final transfer tape. This tape is almost identical to the over-length neg cut roll that would have resulted from the traditional method. The resulting cost-savings is significant, especially for high-definition footage.

The final conform process on the Avid DS Nitris system is faster and more efficient because it can use streaming capture from a single tape, cutting HD

VTR costs. In addition, the Avid DS Nitris editor does not need to modify the timecodes of the clips or edit the sequence for pulldown, as would be the case with the traditional methods.

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Using Tapeless Archive for Film Transfer

The following illustration shows two parts of a Tapeless Archive workflow.

This workflow is described in the subsequent procedures.

Film sources

Part 1: Creating the tapeless archive

One-light transfer to multiple tapes

A

A

Offline

Media

Composer

B

B

AFE file

C

C

Avid DS

Nitris archivetape. log

Part 2: Finishing the project

Film sources

A archivetape. log

Best-light transfer to a single tape

B

A1

C

CUT

Avid DS

Nitris

FInal cut

To enable the Tapeless Archive feature:

1. Right-click on a toolbar, such as the NLE Tools toolbar.

2. Select

Customize Toolbar

.

The Customize Toolbar window is displayed.

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Chapter 1

Capturing Material

3. Select Editing from the Command Categories list, select Tapeless Archive from the Available Commands list, and drag it to an empty area of the toolbar.

A button labeled

Tapeless Archive

is added to the toolbar.

Alternatively, you can add the command to an existing button, such as the

Editing button.

To use the Tapeless Archive for film transfer:

1. Transfer the film rushes onto beta SP tapes synced with audio as a lowcost, one-light transfer. Each rushes roll corresponds to a punched negative roll.

2. On an offline system, capture from the transfer tapes, edit the sequence, and export an AFE file. You can also output a digital cut to use for reference.

3. On the Avid DS Nitris system, import the AFE file. Batch capture the video and audio with the desired handles. Capture the digital cut for reference.

4. Edit the sequence. Do not finish all effects, because you will be recapturing the final media.

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Using Tapeless Archive for Film Transfer

5. Select the

Tapeless Archive

command.

The Source Tape List dialog box appears.

6. Select the tapes you want to include, add heads or tails, and select the inpoint to start the archive (in most cases 00:00:00:00).

The archive list allows for duplicated use of shots and combines neighboring shots into single events, resulting an a list that minimizes the required footage.

7. Click OK.

Avid DS Nitris creates the archive files.

8. Locate the archivetape.log file in the archive folder and send it to the telecine suite. Use a floppy drive or other removable media or the network to transfer the file.

9. The telecine operator opens the archivetape.log file in a spreadsheet program and uses the log to create a best-light transfer, in most cases to a single tape.

10. Restore the archived project, using the tape provided by the telecine operator—see “Restoring Projects” in the Help.

11. Complete the effects and titling to finish the show. Drag the clip handles to get more material if necessary.

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12. Create the final master tape.

If, during finishing, you need to retransfer a particular clip (perhaps to get longer handles), you can determine the original film and tape roll numbers and timecode by right-clicking the clip and selecting

Properties

. Then have a telecine transfer done on this clip, and recapture the clip.

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Chapter 2

Conforming AFE Files

Conforming is the process of bringing a project from an offline environment into Avid DS Nitris, so you can continue and finish the editing process. This chapter describes how to load an Avid File Exchange (AFE) file into

Avid DS Nitris and recreate a sequence on which you can apply further edits and effects.

This chapter includes the following topics:

Using AFE Files

Workflow: Conforming AFE Files

Conforming AAF Files

Exporting AAF Files from Avid DS Nitris

Conforming AAF Sequences with MediaManager

You can also conform OMF, EDL, and ALE files (see “Conforming OMF,

EDL, and ALE Files” on page 147), but AFE files have a higher level of

support for effects and titles.

n

In this information, the general term “Avid editing system” refers to Avid applications other than Avid DS Nitris, such as Symphony

,

Media Composer

®

, Film Composer

®

, Avid Xpress

®

, and NewsCutter

®

.

Chapter 2

Conforming AFE Files

Using AFE Files

Avid DS Nitris cannot directly open projects from Media Composer or other

Avid editing systems. To transfer bins, clips, or sequences to Avid DS Nitris, you must use an intermediate file format. For the highest level of conform, use

AFE (Avid File Exchange) files.

AFE files are based on AAF (Advanced Authoring Format) technology. AFE files, however, are designed especially for sharing information among Avid applications. AFE files let you transfer one or more bins, their contents, and information about the contents, including master clips, subclips, and sequences.

You

must

use AFE files if you are conforming from the following products:

• Media Composer Adrenaline

v1.5 or later

• Avid Xpress Pro v4.5 or later

• Avid Xpress DV v4.5 or later

• NewsCutter Adrenaline FX v5.5 or later

• NewsCutter XP v5.5 or later

AAF files from earlier versions can still be used for conforming, but Avid

recommends using AFE files. See “Conforming AAF Files” on page 127.

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Workflow: Conforming AFE Files

Workflow: Conforming AFE Files

The following illustration shows the basic steps in the conform process using

AFE files.

1

Export an AFE file directly from the Avid editing system or through Avid

MediaLog.

2

On an Avid DS Nitris system, open the AFE file in an Avid Explorer bin.

Avid Unity shared storage

3

Create a sequence and master clips.

5

Finish and output the sequence.

4

Link to Avid Unity shared storage or recapture media.

Master

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Detailed information about these steps is included in the following sections:

Before You Begin

Step 1: Export AFE Files

Step 2: Import AFE Files

Step 3: Create a Sequence and Master Clips

Step 4: Recapture Media

Step 5: Finish the Conformed Sequence

Before You Begin

Proper planning results in a more efficient workflow. Ideally you can plan the project before the offline edit begins, but that’s not always possible. In any case, review the information in the following sections before you begin the conform process:

Conforming HD Projects from Offline Sources

Conforming HD Projects from HD Sources

Conforming Effects

Conforming Matte Keys and Alpha Channels

Conforming AVX Plug-Ins

Sharing and Transferring Files

Preparing Audio Media

Depending on your workflow, review the following sections:

“Transferring Audio Media” on page 116

“Sharing Media” on page 119

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Workflow: Conforming AFE Files

Conforming HD Projects from Offline Sources

To conform an HDTV (high-definition TV) project that was offlined on an

Avid editing system, the offline sequence must be edited at the proper frame rate. The following table lists the required Avid editing project types for different HD formats and frame rates.

HD format

Avid DS Nitris project type Avid editing project type

1080i 50 fields/sec (25 fps)

1080i 60 fields/sec (30 fps) or 59.94 fields/sec (29.97 fps)

1080PsF 23.97 fps

25i PAL

30i NTSC

1080PsF 24 fps

1080PsF 25 fps

1080PsF 30 fps or 29.97 fps

24p NTSC

23.976p NTSC a

24p NTSC or 24p PAL

25i PAL

30i NTSC

720p 60 fps or 59.94 fps 30i NTSC a. Requires Symphony 4.5 or later, Media Composer or Film Composer 11.5 or later, Media Composer Adrenaline 1.0 or later, Avid Xpress 5.5 or later, or Avid

Xpress Pro 4.0 or later.

For information on working with audio, see “Using Audio from an Avid

Editing System” on page 117.

For information on conforming projects using shared media (including

DNxHD media), see “Sharing Media” on page 119.

You can also conform a project that was created in HD format on an Avid

editing system that supports HD projects and media. See “Conforming HD

Projects from HD Sources” on page 97.

If you need to convert the timecode of a sequence (for example, from 30 fps to

24 fps, you can use the EDL Processor. See “EDL Processor” on page 159.

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To conform an HD project from offline sources, follow this basic workflow:

1. Downconvert the HD source tapes to SD (standard-definition) tapes, using the 16:9 anamorphic aspect ratio.

For 24p sources, make sure the conversion uses non-drop-frame timecode and 2:3 pulldown, with the A frame at :00 or any frame that ends in 0 or 5

(:05, :10, :15, and so on).

2. On an Avid editing system, create an offline project with the proper frame rate.

3. Capture the SD source tapes into the Avid editing system using an offline resolution.

4. Edit the sequence.

5. (Optional if recapturing) On the Avid editing system, duplicate the finished sequence, copy the duplicate into a new bin, and decompose the duplicate.

The Avid editing system creates new master clips that use only the media in the sequence, plus any handles you specify. These new clips are not linked to media, but are intended for recapture. You can delete the decomposed clips from the bin, because Avid DS Nitris recreates the clips during the conform process. For more information on decomposing, see the documentation for your Avid editing system.

6. Export an AFE file to recreate the sequence or project on the

Avid DS Nitris system. Export directly from an Avid editing system or export through MediaLog

, depending on the version of your Avid

editing application. See “Step 1: Export AFE Files” on page 103.

7. On the Avid DS Nitris system, create a sequence with a frame rate that matches that of the source tapes.

8. Import the AFE file. See “Step 2: Import AFE Files” on page 110 and

“Step 3: Create a Sequence and Master Clips” on page 112.

9. Recapture the HD media on the Avid DS Nitris system. See “Step 4:

Recapture Media” on page 116.

10. Finish and output the project. See “Step 5: Finish the Conformed

Sequence” on page 116.

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Workflow: Conforming AFE Files

Conforming HD Projects from HD Sources

To conform an HDTV project that was offlined on an Avid editing system using DNxHD media, make sure the offline sequence is edited at the proper format and frame rate. Media Composer Adrenaline HD and

Avid Xpress Pro HD support the HD project formats described in the following table. This table also lists their equivalents in Avid DS Nitris.

HD format

Avid editing project type

720p/59.94

1080p/25

1080p/23.976

1080i/50

1080i/59.94

HD format

Avid DS Nitris project type

720p 59.94 fps

1080PsF 25 fps

1080PsF 23.97 fps

1080i 50 fields/sec

1080i 59.94 fields/sec

For a list of shared DNxHD resolutions, see “Avid DNxHD Compressions” in the Help.

For information on working with audio, see “Using Audio from an Avid

Editing System” on page 117.

The following procedure describes steps for conforming a project that requires recapture or HD media. For information on conforming projects using shared

HD media, see “Sharing Media” on page 119.

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Conforming AFE Files

To conform an HD project from HD sources, follow this basic workflow:

1. On an Avid editing system, create an offline project with the proper frame rate.

2. Capture the HD source tapes into the Avid editing system using a DNxHD resolution.

3. Edit the sequence.

4. (Optional if recapturing) On the Avid editing system, duplicate the finished sequence, copy the duplicate into a new bin, and decompose the duplicate.

The Avid editing system creates new master clips that use only the media in the sequence, plus any handles you specify. These new clips are not linked to media, but are intended for recapture. You can delete the decomposed clips from the bin, because Avid DS Nitris recreates the clips during the conform process. For more information on decomposing, see the documentation for your Avid editing system.

5. Export an AFE file to recreate the sequence or project on the

Avid DS Nitris system. Export directly from an Avid editing system or export through MediaLog, depending on the version of your Avid editing

application. See “Step 1: Export AFE Files” on page 103.

6. On the Avid DS Nitris system, create a sequence with a format and frame rate that matches that of the offline project.

7. Import the AFE file. See “Step 2: Import AFE Files” on page 110 and

“Step 3: Create a Sequence and Master Clips” on page 112.

8. Recapture the HD media on the Avid DS Nitris system, as either DNxHD

or uncompressed. See “Step 4: Recapture Media” on page 116.

9. Finish and output the project. See “Step 5: Finish the Conformed

Sequence” on page 116.

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Workflow: Conforming AFE Files

Conforming Effects

Latest information:

For the latest information on the conform process, such as which versions of Avid editing products are supported and the level of support for effects and titles, refer to the Help or the

Avid DS Nitris Conform Guide.

This guide is available on the

Avid DS Nitris Customer Support website or the Avid Knowledge Base.

Also, refer to the Avid DS Nitris release notes.

Level of support:

Be aware that not every effect in the original sequence will be completely conformed. For specific information, refer to the Help or the

Avid DS Nitris Conform Guide

. Also, during the conform process, you can view a log which lists any effects and parameters that are not supported.

Titles:

Place titles in the original sequence before you create an AFE file so that the title is conformed as part of the sequence. Avid DS Nitris does not conform titles as master clips. Titles promoted to 3D are not supported.

Motion effects:

Like titles, source-side motion effects are conformed only as part of a sequence.

Video levels:

If the original sequence includes graphics that use video levels (ITU-R 601 levels, which include “SuperBlack” and

“SuperWhite”), Avid DS Nitris preserves information about the video levels when creating master clips (through AFE files). When you recapture the graphics, Avid DS Nitris automatically recaptures them at the original levels.

Layered Photoshop graphics:

Layered Photoshop graphics that have been imported as layers in the original sequence are not conformed correctly. You need to import the original layered graphic into

Avid DS Nitris using the Generate > Import Photoshop command.

Audio effects:

Audio pan, Audio EQ, and AudioSuite plug-ins are not conformed. In the original sequence, you can mix down the areas that contain these adjustments or effects and then output an audio mix—see

“Transferring Audio Media” on page 116.

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Color Correction:

Color corrections made in Color Correction mode with the Symphony Color Correction tool are not conformed. For color corrections to be conformed, you must apply the Color Correction effect from the Effect Palette, as described in the

Avid Symphony Color

Correction Guide

. This problem does not occur if you use the Avid Color

Correction tool (available with Avid editing products other than

Symphony).

Secondary color correction is not conformed.

In Avid Symphony, the gamma is applied in RGB space between the superblack and superwhite range while in Avid DS Nitris, the RGB gamma is applied between the black and white range. Therefore, there is a small discrepancy in conform when conforming color corrected sequences from Avid Symphony with applied HSL gamma, particularly for gamma values close to 0 or much larger than 1.

Multi-cam:

Multi-cam groups are not conformed. Only the selected clip is conformed.

Foreground level and effects on V1:

Avid DS Nitris always displays images on video track V1 as completely opaque and ignores any setting to

Foreground Level (Opacity in Avid DS Nitris). On the Avid editing system, add Generated Black (created through the Title Tool or as an imported graphic) beneath any effects that use Level in this manner.

Effects applied to filler:

Color Correction and Pan and Scan applied to filler on the top track of the original sequence are conformed correctly in

Avid DS Nitris, but other effects are not. Clips on lower tracks are not affected by the effect applied to the filler. For example, if a Color Effect is applied to filler on V2 and used to desaturate all the clips beneath it on

V1, none of the clips will be desaturated when the sequence is conformed.

On the Avid editing system, always apply effects directly to a clip or use nesting to apply an effect to multiple clips.

Avid DS Nitris Editor systems:

Avid DS Nitris Editor systems cannot open composite containers for editing. If a sequence is going to be conformed on an Avid DS Nitris Editor system, avoid using effect constructions that are conformed as composite containers, such as multitrack Submasters or Matte Keys that include a nested background.

Soft Cuts and Short Transitions:

Most Avid editing systems use a special interpolation for transitions to provide support for soft cuts and very short transitions (such as a four-frame dissolve). Avid DS Nitris does

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Workflow: Conforming AFE Files not yet support this type of interpolation, so these transitions will not conform totally and might require some adjustment after the conform process.

Conforming Matte Keys and Alpha Channels

Matte Key clips:

Place matte keys in the original sequence before you create an AFE file so that the matte key is conformed as part of the sequence. Avid DS Nitris does not conform matte keys as master clips.

Traditional matte keys (Matte Key effect):

On the Avid editing system,

Foreground (fill) and Matte elements must be nested inside the Matte Key effect or the effect will not be conformed correctly. Use the Collapse function on the fill and matte before you apply the Matte Key effect. Then replace the Submaster effect with a Matte Key effect.

Matte Key effects are conformed as Matte containers. If the fill and matte were not nested on the Avid editing system, you can fix the problem in

Avid DS Nitris by cutting the fill element and pasting it into the container.

For more information, see “Working with Mattes” in the Help.

Imported matte keys:

Matte keys created from still graphics and imported to an Avid editing system are conformed as Matte containers with all parameters intact.

However, imported graphics promoted to 3D Matte Keys are not conformed. Avid DS Nitris replaces the 3D Matte Key as a DVE within a

Composite container without the original effect parameters. To set up the matte key correctly:

Open the composite container.

In Layers View, marry the fill and matte by dragging the matte to the fill layer.

Invert the alpha channel.

Delete the old matte layer and the DVE effect on the alpha channel.

Apply a Layer DVE inside the container or a DVE clip to the outside and recreate any animation.

QuickTime movies:

Imported QuickTime movies with alpha are not conformed correctly. You need to manually invert the alpha channel using the Avid DS Nitris Matte container properties.

Sequential file formats:

Sequential file formats with alpha channels that have been imported to an Avid editing system are now conformed correctly.

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Conforming AVX Plug-Ins

• Avid DS Nitris currently supports only AVX

®

1.0 plug-ins.

For information about support for Avid AVX plug-ins, see the Effects

Support Table in the

Avid DS Nitris Conform Guide.

For information about third-party plug-ins, see the AVX web page at www.avid.com/partners/avx.

• If you need to share an AVX plug-in, make sure the same plug-in is installed on both systems. On the Avid DS Nitris system, the default path is drive:\Program Files\Avid\AVX_Plug-ins.

Sharing and Transferring Files

• Media Composer Macintosh systems, and other Macintosh-based Avid editors, cannot use MXF media created by Avid DS Nitris, due to a 31character file name limit. This situation occurs when an Avid DS Nitris system creates a storage on a Unity volume to share with other Avid editing systems. This problem does not affect Windows systems.

• If you are conforming a sequence that includes still graphics, the graphics will link automatically if you copy them to a folder in the same path as the folder used in the offline edit. For example, if the offline sequence includes graphics imported from a folder named Graphics at the top level of drive D (D:\Graphics), create a folder named D:\Graphics on the online editing system and copy the graphics to it.

• To make it easier to move files between products and across platforms, use the following guidelines when naming files:

Do not use the following characters in project, bin, or other file names: / \ : * ? ” < > |

The Windows system does not recognize these characters in file names and will substitute other characters, possibly making the file name unrecognizable or causing other problems.

Do not add spaces at the beginning or end of a file name. The

Windows system will display such files, but might be unable to open them.

Do not use a period at the end of a file name. The Windows system will display such files, but might be unable to open them.

On Avid Macintosh systems, you can enable a setting that prevents you from using Windows restricted characters in file names and automatically adds the correct file name extensions to files for your project. When you select the Use Windows Compatible File Names

102

Workflow: Conforming AFE Files setting, the file name extension .avp is added to project files and .avb is added to bin files when they are saved. These file name extensions are attached to existing files as well.

• If the project includes titles and you are moving between Macintosh and

Windows systems, make sure you have the same font with exactly the same name (preferably from the same manufacturer) on both the

Macintosh and Windows systems. Check the font carefully because the same font can have slightly different names. For example, Times New

Roman on the Macintosh system is named Times New Roman Regular on the Windows system.

In some cases, you might need to convert the Macintosh font to a

Windows font by using a font conversion program.

For information on how Avid DS Nitris substitutes title fonts, refer to the

Help or the

Avid DS Nitris Conform Guide

.

For best results, use TrueType or PostScript fonts. Bitmap fonts can cause scaling problems.

Preparing Audio Media

Instead of recapturing or linking to audio media, you can capture or import an

audio mix. For more information, see “Transferring Audio Media” on page 116.

Step 1: Export AFE Files

AFE files are the preferred method of conforming sequences created on other

Avid editing systems.(see “Using AFE Files” on page 92). You can create

AFE files from the following products (Windows versions only):

• Symphony 4.5 and later

• Media Composer or Film Composer 11.5 and later

• Media Composer Adrenaline 1.0 and later

• Avid Xpress 5.5 and later

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• Avid Xpress DV 4.1 and later

• Avid Xpress Pro 4.0 and later

• NewsCutter and NewsCutter XP 5.5 and later

• NewsCutter Adrenaline FX 5.0 and later

• Avid MediaLog 11.1 and later. You can use MediaLog on either the Avid editing system or the Avid DS Nitris system.

You cannot create AFE files from the Macintosh version of these products. To create an AFE file from an Avid editing product running on a Macintosh system, copy the project folder from the Macintosh system to the

Avid DS Nitris system. Then use MediaLog on the Avid DS Nitris system to create the AFE file. A project folder has the same name as the project, and is usually located in the Avid Projects folder on the Macintosh HD. For information about the location of project folders, see the documentation for your Avid editing system.

n

MediaLog is shipped with your Avid DS Nitris system. For complete information about MediaLog, see the MediaLog Help or the

Avid MediaLog

User’s Guide

(available in Adobe Acrobat format on the MediaLog CD).

MediaLog is also available in the Download area of the Avid DS Nitris

Customer Support web site (http://www.softimage.com/avidds).

MediaLog 20.x and 21.1 do not support 24p PAL and 25p PAL projects. For these projects, use MediaLog 21.3 or later, which is available for download.

Exporting AFE Files from an Avid Editing System

To export an AFE file from an Avid editing system:

1. (Optional if planning to recapture) On the Avid editing system, duplicate the finished sequence, copy the duplicate into a new bin, and decompose the duplicate.

The Avid editing system creates new master clips that use only the media in the sequence, plus any handles you specify. These new clips are not linked to media, but are intended for recapture. You can delete the decomposed clips from the bin, because Avid DS Nitris recreates the clips during the conform process. For more information on decomposing, see the documentation for your Avid editing system.

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Workflow: Conforming AFE Files

2. Do one of the following: t

To create a file that includes all bins in a project, click the Project window and select

File > Export

. The Export Project As dialog box opens. Select a location, name the file, and click the

Save

button.

t

To create a file that includes the contents of a single bin, open the bin, click the bin, and select

File > Export

. (Make sure no objects in the bin are selected.) The Export Bin As dialog box appears. Select

Avid

File Exchange (*.afe)

from the “Export Bin As” list. Choose a location, name the file, and click the

Save

button.

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t

To create a file that contains a clip or sequence, select the clip or sequence and then select

File > Send To > Avid DS

.

106

You cannot change options for this export, so click OK. The resulting file includes the source bin as well as the object you chose, but does not include other objects that might be in the bin.

n

The Send To command creates AFE files in the following products only:

• Media Composer Adrenaline v1.5 or later

• Avid Xpress Pro v4.5 or later

• Avid Xpress DV v4.5 or later

• NewsCutter Adrenaline FX v5.5 or later

• NewsCutter XP v5.5 or later

Earlier versions create AAF files. See “Conforming AAF Files” on page 127.

Workflow: Conforming AFE Files

3. Transfer the AFE file to a location that you can access from the

Avid DS Nitris workstation.

You can use removable media, a network server, or an Avid Unity shared storage system.

Exporting AFE Files from MediaLog

You can run MediaLog on the Avid editing system or on the Avid DS Nitris system. You can export AFE files only from the Windows version of

MediaLog. For more information, see “Step 1: Export AFE Files” on page 103.

n

MediaLog is shipped with your Avid DS Nitris system. For complete information about MediaLog, see the MediaLog Help or the

Avid MediaLog

User’s Guide

(available in Adobe Acrobat format on the MediaLog CD).

MediaLog is also available in the Download area of the Avid DS Nitris

Customer Support web site (http://www.softimage.com/avidds).

To export an AFE file from MediaLog v20.

x

or later:

1. (Optional if planning to recapture) On the Avid editing system, duplicate the finished sequence, copy the duplicate into a new bin, and decompose the duplicate. For more information on decomposing, see the documentation for your Avid editing system.

2. If you plan to run MediaLog on an Avid editing system, close the Avid editing application.

3. If you plan to run MediaLog on an Avid DS Nitris system, transfer the

Avid editing project folder to the \MediaLog\Avid Projects folder on the

Avid DS Nitris workstation or to an Avid Unity workspace. A project folder has the same name as the project, and is usually located in the Avid

Projects folder on the Avid editing system. Alternatively, copy a single bin, then create a new project and add the bin. Bins are located in the project folder.

For information about the location of project folders, see the documentation for your Avid editing system.

4. Open MediaLog by double-clicking the desktop icon or selecting

Start >

Programs > Avid > Avid MediaLog

.

c

Do not share user settings between MediaLog and the Avid editing system. The settings might become corrupted.

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The Select Project dialog box opens.

Browse button

The user and user settings are determined by the system login. If the project does not appear in the project list, use the Browse button to navigate to the project you want to transfer. Select the project and click

OK.

5. In the Select Project dialog box, select the project and click OK.

The project opens.

Project window Bin

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Workflow: Conforming AFE Files

6. Do one of the following:

To create a file that includes all bins in a project, click the project window and select

File > Export

. The Export Project As dialog box opens. Select a location and click the

Save

button.

To create a file that includes the contents of a single bin, open the bin, click the bin (make sure no objects in the bin are selected), and select

File > Export

. Select

AFE

from the dialog box. In the Export Bin As dialog box, choose a location and click the

Save

button.

To create a file that includes selected objects, open the bin, select the objects you want to include in the file, and select

File > Export

.

Select

AFE

from the dialog box. In the Export As dialog box, choose a location, name the file, and click the

Save

button.

MediaLog creates an AFE file.

c

Make sure to close MediaLog before opening Avid DS Nitris. If MediaLog and Avid DS Nitris are open at the same time, Avid DS Nitris performance is seriously affected.

n

AFE export to a network drive takes much longer than export to a local drive.

Avid recommends that you export to a local drive and then copy the exported file to a network location.

7. If you are running MediaLog on an Avid editing system, make sure the

AFE file is in a location that you can access from the Avid DS Nitris workstation.

You can use removable media, a network server, or an Avid Unity shared storage system.

n

If you open a project in an Avid editing system after you have created an AFE file from the project, the following message might appear: An incompatible (or damaged) setting has been skipped. The original project should not be affected.

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Transferring Media

If you are using a removable drive to share media, disconnect the drive from the offline system and connect it to the Avid DS Nitris system. For information on connecting and disconnecting an external media drive, refer to your system setup guide.

Step 2: Import AFE Files

After you have determined the location of the transferred file, you can import it into Avid DS Nitris.

To import an AFE file:

1. Create an Avid DS Nitris project and sequence.

2. Use the Avid Explorer to select the folder that holds the AAF or AFE file.

The file opens in the AAF/AFE View.

AFE file

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3. Double-click the file.

The imported bin or bins are displayed.

Workflow: Conforming AFE Files

Imported bin

4. Double-click an imported bin to display its contents.

Audio clip

Master clips

Sequence

The contents can include master clips, subclips, and sequences. For a description of Avid editing system icons, see “AAF/AFE List” in the

Help.

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The columns initially displayed match the columns displayed when the

AFE file was created. You can show additional columns or hide selected columns, as described in “Customizing the Details and Script Views” in the Help.

n

Bin columns from AFE files are not associated with new Avid DS Nitris master clips.

At this point, you haven’t yet created an Avid DS Nitris sequence or master clips.

Step 3: Create a Sequence and Master Clips

After you have imported the AFE file, you can drag a sequence onto the timeline and create master clips that are associated with the sequence. You can also create master clips by dragging an imported clip or sequence to a bin or by dragging one or more bins to a folder.

To create a sequence and master clips:

1. If the AAF/AFE settings are not displayed, click the AAF/AFE Settings button.

AAF/AFE Settings button

AAF/AFE settings

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2. In the AAF/AFE settings, select the

Create Associated Clips

option.

Select this option if you want to create master clips by dragging an imported clip or sequence to the timeline.

Deselect this option if you have already created master clips and you want to avoid creating a duplicate set. Duplicate clips are marked by the addition of a sequential number (001, 002, and so on).

3. To append the original project name to the master clip source names when creating master clips, select the

Force Creation of External Tape

Sources

option. This option distinguishes between clips that are created from tapes associated with the conform and clips that are not. Selecting this option does not prevent you from linking to shared media files or recapturing from the source tape.

For example, if you are conforming an AFE created on another Avid system and you want Avid DS Nitris to link to the media captured by that system, or recaptured media from the source tapes, select this option. If you are conforming an AFE and you want Avid DS Nitris to link to media that you have already captured (such as through an ALE file), do not select this option.

4. (Option) To create linked clips, select

Create Linked Clips for File

Sources

.

For information about linked clips, see “Creating Linked Clips” on page 60.

5. Specify the path for the folder in which you want to create the master clips after you drag a clip or sequence to the timeline. Click the browse (...) button to navigate to the folder.

Avid DS Nitris checks the path to make sure the folder is within the project folder.

6. To keep the same folder for any new master clips you create, select the

Lock Path option. Deselect this option to create master clips in folders that match the names of the imported bins. Deselecting this option lets you keep the original project structure when you conform with AFE files.

7. Open a new sequence in your project. Make sure the frame rate matches

that of the original project (see “Conforming HD Projects from Offline

Sources” on page 95).

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8. Do one of the following: t

Create or open a sequence and drag a clip or sequence from the

AAF/AFE View onto the timeline. To match the timecode of the imported sequence to the timecode of the sequence in the timeline, hold down the U key while you drag the sequence to the timeline.

t

Drag clips or sequences, or both, from the AAF/AFE View into a bin.

t

Drag one or more bins from the AAF/AFE View into a folder.

The conform process begins. Depending on the length of the sequence or the number of items, a progress bar is displayed.

When the conform is complete, the sequence, its clips, and supported effects are recreated in Avid DS Nitris. Titles are recreated only if they are part of the sequence.

If you are sharing media, the clips are automatically linked.

If you are recapturing media, empty master clips are created in the folder that you have specified. When you open the folder in a bin, the clip icons are red since no media has been captured yet.

A message box displays a summary of the information contained in the

AAF/AFE Conform Log and asks if you want to view the log.

9. To view the AAF/AFE Conform Log, click

Yes

.

The AAF/AFE Conform Log window displays information about how the effects and parameters were supported. Use this information to finish the final sequence.

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10. To save the log as an .html file, click the

Save

button.

The Save As dialog box opens.

11. Navigate to an appropriate folder, type in a name for the log, and click the

Save

button. Click

OK

to close the log window.

12. Save the sequence.

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Step 4: Recapture Media

If you are not sharing media, you need to recapture media for the empty

master clips. For more information, see “Batch Capturing” on page 66.

Step 5: Finish the Conformed Sequence

Depending on the number and types of effects, you may need to process or recreate effects. Refer to the AAF/AFE Conform Log as you review the sequence. For information on the level of support for effects and titles, refer to the latest version of the Help or the

Avid DS Nitris Conform Guide.

You can download this guide from the Avid DS Nitris Customer Support website or the

Avid Knowledge Base.

Transferring Audio Media

Instead of recapturing and editing audio media, you can capture or import an audio mix.

Possible workflows are:

• Creating a digital cut of the final audio mix in Media Composer (or other

Avid editing system) and capturing the audio in Avid DS Nitris.

• Exporting an OMF file with embedded audio media from an Avid editing system and importing it into Avid DS Nitris.

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Using Audio from an Avid Editing System

If you want to use audio from Media Composer (or another Avid editing system) in the final sequence, make sure the frame rates match the frame rates on the Avid DS Nitris system. To transfer the audio, you can perform a digital cut and capture audio from tape or, in most cases, you can use OMF. Refer to the following table for more specific information:

Avid editor project

Digital cut output format

OK to use

OMF?

Avid DS Nitris format

30i NTSC (29.97 fps frame rate) Standard NTSC Yes

25i PAL (25 fps frame rate) Standard PAL Yes

24p NTSC (24 fps frame rate) 24 (NTSC)

Destination TC rate depends on output device.

24p NTSC (24 fps frame rate) 23.976 (NTSC) No a

23.976p NTSC b

24p PAL

23.976 (NTSC)

24 (PAL)

Yes

Yes

Yes

NTSC (29.97 fps)

PAL (25 fps)

1080 PsF, 24 fps

1080 PsF, 23.97 fps

1080 PsF, 23.97

1080 PsF, 24 fps a. See the article “How to Reduce the Audio Play Rate from 24 fps to 23.976” in the

Avid DS Nitris Customer Support Knowledge Base (Previous Releases section) b. Requires Symphony 4.5 or later, Media Composer or

Film Composer 11.5 or later, Media Composer Adrenaline 1.0 or later, Avid Xpress 5.5 or later, or Avid Xpress Pro 4.0 or later.

If the frame rate of the audio doesn’t match the frame rate of your sequence, you can change the frame rate by using the Media Tool.

For example, if you are converting a sequence from true 24 fps to 23.976 fps

(NTSC), you need to adjust the frame rate of the audio clips, so that they remain in sync with the video. The sample rate of the audio clips will remain the same but they will now be slightly longer or shorter to remain in sync. For more information, see “Converting the Reference Frame Rate of Audio Clips” in the Help.

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Exporting and Importing OMF Audio

The following procedure outlines the workflow for exporting audio as an OMF file from an offline Avid editing system, transferring the audio to

Avid DS Nitris, and importing the audio to Avid DS Nitris.

To export and import audio as an OMF file:

1. Make sure the project frame rates match—see “Using Audio from an Avid

Editing System” on page 117.

2. On Media Composer or another Avid editing system: t

Export a sequence, project, or bins as an AFE file t

Export the audio track as an OMF file (composition and audio media)

If you are transferring the audio to

Avid DS Nitris

, embed the audio media and export it as OMF 2.0.

For more information on creating an OMF file, see the Help or the documentation for the Avid editing system.

3. Transfer the OMF file to the Avid DS Nitris workstation and import.

For more information, see “Conforming an OMF File” on page 150.

4. Create a new sequence and conform the OMF file.

n

Conforming an OMF file requires a new sequence, so conform the OMF file before conforming the AFE file.

n

OMF files that are exported at a frame rate must be conformed in the timeline.

OMF files that are exported as sample-accurate must be conformed in an audio container.

5. Conform the AFE file by dragging the sequence from a bin to the timeline.

6. Batch capture the video media. Optionally, capture the audio if you want to use it for a scratch track.

7. Sync the sweetened sound.

8. (Optional) Delete the audio scratch track.

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Sharing Media

Avid DS Nitris can share compressed and uncompressed media with other

Avid editing systems. You can share media by using AFE files and Avid

Unity

MediaNetwork shared storage. You can also transfer media files over a network or by using removable SCSI drives.

Avid editing systems can share two media formats:

• MXF: Avid DS Nitris can link to MXF files and play them in real time. It can also create and modify MXF files and share them with other Avid

editing systems. See “Sharing MXF Media” on page 121 and “Sharing

HD Media” on page 122.

• OMFI: Avid DS Nitris can link to OMFI files and play them in real time.

The storage that holds the media must be configured as “None” (readonly) in the Avid Media Storage dialog box. Avid DS Nitris cannot create

OMFI files.

The following tables list how Avid DS Nitris supports the shared media formats. Avid DS Nitris can relink to all formats through AFE files and play the media in real-time (RT).

MXF Compression Capture Import

(source)

Export Relink

DNxHD (all 8-bit and

10-bit compressions) a

RT

1:1 (uncompressed 8-bit and 10-bit) b

RT

2:1, 3:1, 10:1, 20:1

(JFIF interlaced)

RT

2:1s, 4:1s, 15:1s

(JFIF single-field)

DV 25

DV 50

No

No

No

DVCPRO HD No

MPEG2 IMX (30, 40, 50) No

Yes

Yes

Yes

Yes

Yes

Yes

No

Yes

Yes

Yes

Yes

Yes

Yes

Yes

No

Yes a. Requires Avid DS Nitris v7.5 QFE 3 b. Requires Avid DS Nitris v7.5 QFE 3 for uncompressed 10-bit.

RT

RT

RT

RT

RT

RT

No

RT

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OMFI Compression Capture

Import

(source) Export Relink

1:1 (uncompressed)

2:1, 3:1, 10:1, 20:1

(JFIF interlaced)

No

No

2:1s, 4:1s, 15:1s

(JFIF single-field)

DV25

DV50

No

No

No

MPEG2 IMX (30, 40, 50) No

Yes

Yes

Yes

Yes

Yes

Yes

No

No

No

No

No

No

RT

RT

RT

RT

RT

RT

Avid DS Nitris can also share the following audio formats:

• 48k/16 bit, 48k/24 bit

• 44.1k/16 bit, 44.1k/24 bit

• 32k/16 bit, 32k/24 bit

Avid DS Nitris does not support the following formats:

• Progressive resolutions

• Multicamera resolutions

• AVR resolutions.

You cannot share caches or precomputes between Avid DS Nitris and other

Avid editing systems.

Note the following:

• If you are sharing media on an Avid Unity MediaNetwork workspace, make sure that both the offline and the online systems have access to the workspace.

• If you are transferring files on a removable SCSI drive or drives, make sure that you can correctly transfer the drives. For information on disconnecting and connecting removable drives, refer to your system setup guide and operating system help.

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• If you are copying files to a local drive (one already attached to your

Avid DS Nitris system) or a drive you can access through the Media

Indexer, locate or create a folder named OMFI MediaFiles (for OMFI files) or Avid MediaFiles (for MXF files) on the drive.

This folder name must use the correct uppercase and lowercase letters and include a space between OMFI and MediaFiles or between Avid and

MediaFiles. For more information about folders for MXF storage, see

“Sharing MXF Media” on page 121.

• If you are linking to media that does not match the compression of the sequence (for example, if you are linking to DV25 in an uncompressed sequence), make sure to set the option “Use the Closest Media Available” in the Sequence Preferences dialog box.

For information about how to set up storage, see “Managing Your Storage

Areas” in the

Avid DS Nitris Installation and Administration Guide

or the

Help

.

Sharing MXF Media

MXF (Material Exchange Format) is an industry-standard container format that encapsulates media and production metadata into a single file. MXF is supported as a native file format on Avid DS Nitris, Media Composer, and other Avid applications (in addition to .gen files on Avid DS Nitris and .omfi files on other Avid applications). MXF support provides a common file format for direct media interchange among Avid applications, as well as with thirdparty MXF-compliant products. MXF supports both standard-definition and

high-definition formats (see “Step 1: Export AFE Files” on page 103 and

“Sharing HD Media” on page 122).

Avid DS Nitris also supports MXF as a file format for import and export.

The following applications can create, play, output, and share MXF files:

• Avid DS Nitris v7.5 and later

• Media Composer Adrenaline v1.5 and later

• Avid Xpress Pro v4.5 and later

• Avid Xpress DV v4.5 and later

• NewsCutter Adrenaline FX v5.5 and later

• NewsCutter XP v5.5 and later n

MediaManager does not support MXF files.

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Sharing HD Media

Avid DS Nitris can share HD projects and Avid DNxHD media with

Media Composer Adrenaline HD systems. DNxHD media is an MXF media format created by Avid to deliver mastering-quality HD media at standarddefinition data rates and file sizes. To share this media, you must be running

Avid DS Nitris v7.5 QFE 3 or later, which is available from the Avid DS

Support Center (www.softimage.com/avidds).

This version of Avid DS Nitris lets you share DNxHD media captured on

Media Composer Adrenaline HD systems, and lets Media Composer

Adrenaline HD systems share DNxHD media captured on Avid DS Nitris systems. Avid Xpress Pro HD systems can also share this media, but cannot capture it.

For a list of shared DNxHD resolutions, see “Avid DNxHD Compressions” in the Help.

For a list of compatible project formats, see “Conforming HD Projects from

HD Sources” on page 97.

Configuring Storages for Sharing MXF Files

Before you share MXF files, you need to configure the storages correctly in

Avid DS Nitris. Avid DS Nitris requires separate storage areas (one for audio and one for video) to write MXF media. By default, other Avid editing systems create a single folder for MXF media, named Avid MediaFiles\MXF, and can write both audio and video files to the same folder.

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To share MXF media between Avid DS Nitris and other Avid editing systems, create correctly named folders and configure them in the Avid DS Nitris

Media Storage Configuration tool, as described in the following table:

Folder Description

Type of configuration in

Media Storage

Configuration tool

\Avid MediaFiles\MXF Where Media Composer and other Avid editing systems write MXF video and audio files so that Avid DS Nitris can link to them.

Read-only

\Avid MediaFiles\Video Storage Where Avid DS Nitris writes MXF video files so that other Avid editing systems can link to them.

MXF video files

\Avid MediaFiles\Audio Storage Where Avid DS Nitris writes MXF audio files so that other Avid editing systems can link to them.

MXF audio files n

Avid DS Nitris and other Avid editing systems can link to MXF media in the same shared folder but cannot create MXF media in the same shared folder.

On an Avid Unity MediaNetwork, create and configure the following folders:

\\

server_name

\

workspace_name

\Avid MediaFiles\MXF

\\

server_name

\

workspace_name

\Avid MediaFiles\VideoStorage

\\

server_name

\

workspace_name

\Avid MediaFiles\AudioStorage

Make sure to use the correct syntax:

• Include a space between Avid and MediaFiles

• Don’t include a space for MediaFiles, VideoStorage, and AudioStorage

• Use the correct uppercase and lowercase letters.

For more information on configuring storage, see “Configuring Storage for your Workstation” in the

Avid DS Nitris Installation and Administration Guide

or the Help.

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Conforming an MXF Sequence Created on Another Avid Editing System

In this workflow, a Media Composer or other Avid editing system creates

MXF files, and Avid DS Nitris links to those files.

To conform an MXF sequence created on another Avid editing system, follow this basic workflow:

1. Make sure any storage devices or Avid Unity MediaNetwork workspaces are configured correctly. For more information on configuring storage, see

“Configuring Storage for your Workstation” in the

Avid DS Nitris

Installation and Administration Guide

or the Help.

2. On the Avid editing system, create a project and capture the source footage in MXF format at a supported resolution.

Alternatively, you can capture in OMFI format and later use the Transcode feature to convert the media into MXF format.

3. Edit the sequence.

4. Export an AFE file to recreate the project or sequence on the

Avid DS Nitris system. Export directly from an Avid editing system or export through MediaLog, depending on the version of your Avid editing

application. See “Step 1: Export AFE Files” on page 103.

5. If you are transferring media, rather than sharing in an Avid Unity environment, do one of the following: t

If you are transferring media to Avid DS Nitris over a network, copy the \Avid MediaFiles\MXF folder to a folder to a local drive.

Alternatively, copy audio files to an MXF audio storage and copy video files to an MXF video storage. Configure the storages if necessary. t

If you are transferring media on a removable drive, connect the drive and configure the new storage.

6. Import the AFE file. See “Step 2: Import AFE Files” on page 110

7. Create Avid DS sequences and clip. See “Step 3: Create a Sequence and

Master Clips” on page 112.

The sequences and clips automatically link to the media.

8. Finish and output the project. See “Step 5: Finish the Conformed

Sequence” on page 116.

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Sharing Media Captured on Avid DS Nitris

You can share MXF master clips captured on Avid DS Nitris with other Avid editing systems. You can share MXF HD (DNxHD) media only with other systems that support MXF HD media

To share MXF master clips created on Avid DS Nitris, follow this basic workflow:

1. Make sure any storage devices or Unity MediaNetwork workspaces are configured correctly

.

See “Configuring Storages for Sharing MXF Files” on page 122

2. On the Avid DS Nitris system: a.

Create a project. In the New Sequence dialog box, select the proper capture settings: MXF storages (one for audio and one for video), desired compression, and so on. MXF storage can be shared (in an

Avid Unity environment) or local (and later transferred).

n

If you are going to capture audio from a multi-stream file, make sure to select the option “Import audio into separate audio tracks” in the New Sequence

dialog box. For more information, see “Capturing Audio as Separate Mono

Tracks” on page 127.

b.

Capture and edit the media.

c.

Export an AAF file (see “Exporting AAF Files from Avid DS Nitris” on page 128).

3. If you are transferring media to the Avid editing system, rather than sharing in an Avid Unity environment, do one of the following: t

If you are transferring media over a network, copy the MXF audio storage and the MXF video storage to the local drive.

t

If you are transferring media on a removable drive, connect the drive.

4. On the Avid editing system, open a project with a matching frame rate.

5. Import one or more AAF files.

The Avid editing system creates a master clip for each AAF file.

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6. Select the new master clips and select Clip > Relink.

The Relink dialog box opens.

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7. Deselect the option “Relink only to media from the current project,” accept the other defaults, and click OK.

The master clips are relinked with the MXF media.

n

You can use the Media Tool to create master clips, but this method does not always work, for example, when a clip from Avid DS Nitris includes alpha.

n

Media Composer Macintosh systems, and other Macintosh-based Avid editors, cannot use MXF media created by Avid DS Nitris, due to a 31-character file name limit. This situation occurs when an Avid DS Nitris system creates a storage on a Unity volume to share with other Avid editing systems. This problem does not affect Windows systems.

Conforming AAF Files

Capturing Audio as Separate Mono Tracks

By default, Avid DS Nitris creates a single .wav or MXF file and track from a multi-stream audio file. This is the most efficient way to work with audio files in Avid DS Nitris. However, other Avid applications cannot link to a multistream file. If you are capturing multi-stream audio to share with other Avid editing applications, you need to select the “Import audio into separate audio tracks” option. Selecting this option causes Avid DS Nitris to create multiple single-stream files.

You can set the option in the following dialog boxes: Capture Settings, New

Sequence, New Project, and Sequence Preferences (Audio property page).

Conforming AAF Files

AFE files are the preferred method for conforming projects that have created on other Avid editing systems. You

must

use AFE files if you are conforming from the following products:

• Media Composer Adrenaline v1.5 or later

• Avid Xpress Pro v4.5 or later

• Avid Xpress DV v4.5 or later

• NewsCutter Adrenaline FX v5.5 or later

• NewsCutter XP v5.5 or later

Avid’s goal is to work toward compliance with the AAF Edit Protocol and to make AAF files simpler and easier to read by other vendors. For this reason,

AAF files from the product versions listed above are streamlined.

To conform projects using AAF files from earlier versions, follow the same

workflow as AFE files (see “Workflow: Conforming AFE Files” on page 93).

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Exporting AAF Files from Avid DS Nitris

Avid DS Nitris lets you create an AAF file from a master clip. The AAF file contains composition information in a format that can be shared with other applications, such as Avid Media Composer. These files contain the metadata for the master clip but not the media itself, so they need to be used through shared storage.

For example, you might have finished an effects-intensive scene on

Avid DS Nitris, created from MXF media (see “Sharing MXF Media” on page 121). If you need to send the sequence to Media Composer, first use the

Timeline to Clip command to create a new master clip in a shared storage area.

Then export the master clip as an AAF file, and import the AAF into Media

Composer. On the Media Composer system, relink the master clip to the media generated by Avid DS Nitris.

Because Avid DS Nitris creates AAF files from master clips only, you need to use the Timeline to Clip command to create an AAF file for a sequence.

You can import an AAF file from Avid DS Nitris into the following products:

• Media Composer Adrenaline v1.5 or later

• Avid Xpress Pro v4.5 or later

• Avid Xpress DV v4.5 or later

• NewsCutter Adrenaline FX v5.5 or later

• NewsCutter XP v5.5 or later

To create an AAF file:

1. Right-click one or more master clips in a bin and select

Export to AAF

.

A browse dialog box is displayed. You cannot change any options; the entire master clip is exported.

2. Navigate to the folder where you want to save the file or files and click

Select.

AAF files are created with the same names as the clips.

3. On the Avid editing system, import the AAF file and link to the media.

See “Sharing Media Captured on Avid DS Nitris” on page 125 for

information about linking to the media.

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Conforming AAF Sequences with MediaManager

Avid Unity MediaManager is a media database that allows you to search for and manage media objects (master clips, sequences, effects, and any other type of object that references digital media) in an Avid Unity MediaNetwork shared storage environment.

If your Avid DS Nitris system is part of an Avid Unity environment that includes MediaManager, you can use MediaManager to share clips and sequences through AAF files.

n

For the highest level of conform, Avid recommends using AFE files, not AAF files, for conforming projects from other Avid applications. For more

information, see “Conforming AAF Files” on page 127.

You can work with MediaManager in two different ways:

• As an embedded view in the Avid DS Nitris application

• As a separate web browser n

Currently Avid DS Nitris lets you use MediaManager to check out AAF sequences only. You cannot check files in to MediaManager.

n

For complete information on how to use MediaManager, see the

MediaManager documentation. Not all features of MediaManager are currently supported in Avid DS Nitris.

To use MediaManager with Avid DS Nitris you need the following:

• Your Avid DS Nitrisworkstation must be a client in an Avid Unity workgroup environment.

• You must have access to a server running MediaManager v3.7 or later.

(This server is represented by the MediaManager host name).

• You must have a MediaManager account.

• To view the media, you must index the storage device for the media—see

“Managing Your Storage Areas” in the

Avid DS Nitris Installation and

Administration Guide

or the Help.

You do not need to load MediaManager software on your Avid DS Nitris system.

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Setting Up MediaManager

To use MediaManager as an embedded view, you must specify the name of a

MediaManager server (the host name). You can specify more than one server.

If you will always use the same MediaManager account, you can set up automatic login to the MediaManager host.

To specify a MediaManager server:

1. In an Avid Explorer panel, open the Views folder and click

MediaManager

.

An Avid Explorer window opens.

2. Double-click the Add MediaManager icon.

The MediaManager Host Configuration dialog box opens.

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Conforming AAF Sequences with MediaManager

3. Type the MediaManager Host Name and click

OK

.

An icon for the MediaManager host is displayed in the view.

To set up automatic login to the MediaManager host:

1. Right-click the MediaManager host icon and select

Modify Host

Settings

.

The Add Login Information dialog box opens.

2. Type your user name and password.

3. Click

OK

.

To remove a MediaManager host:

t

Right-click the MediaManager host icon and select

Remove

.

Checking a Sequence into MediaManager

To transfer a sequence through MediaManager, use the MediaManager checkin feature. Do not export the sequence as an AAF file.

To check a sequence into MediaManager:

1. On an Avid editing system, right-click the sequence that you want to check in and select

Check in AAF to Media Manager

.

A message box prompts you to enable associations for the referenced clips.

2. Click

OK

.

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Conforming a Sequence with MediaManager

The steps for conforming an AAF sequence with MediaManager are similar to those for conforming an AAF file.

To conform a project through MediaManager:

1. Open MediaManager by doing one of the following: t

Open a web browser and connect to the MediaManager server.

t

In the MediaManager Setup view, double-click the MediaManager host icon.

If you did not enable automatic login, the MediaManager login screen is displayed.

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2. Type your account name and password.

The MediaManager browser is displayed.

Conforming AAF Sequences with MediaManager

3. Locate the sequence you want to conform. You can sort the sequences to help you locate AAF sequences.

4. Follow the steps in “Step 3: Create a Sequence and Master Clips” on page 112.

If you are working with MediaManager in a web browser, the AAF/AFE settings are displayed after you drag a sequence to the timeline or a bin.

For information about AAF/AFE settings, see “AAF/AFE View” in the

Help.

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Conforming AAF Sequences with MediaManager

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Conforming OMF, EDL, and ALE

Files

This chapter describes how to load an Open Media Framework (OMF), Edit

Decision List (EDL), or Avid Log Exchange (ALE) file into Avid DS Nitris and recreate a sequence on which you can apply further edits and effects.

This chapter includes the following topics:

Workflow: Conforming OMF, EDL, and ALE Files

Conforming OMF Compositions

Conforming EDLs

Conforming ALE Files

Chapter 3

Conforming OMF, EDL, and ALE Files

Workflow: Conforming OMF, EDL, and ALE Files

The following illustration shows the basic steps in the conform process using

OMF files, EDLs, or ALE.

1

Import the EDL, OMF, or

ALE file.

2

Conform the file to

Avid DS Nitris.

or

Log as clips in the Avid Explorer.

or

Load directly onto timeline.

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3

Capture media.

Recapture media from tape or file into

Avid DS Nitris.

Conforming OMF Compositions

Conforming OMF Compositions

OMF (Open Media Framework) files facilitate the transfer of digital media from one system to another. They can contain both media and composition information. An OMF composition is basically an advanced form of an EDL.

It contains instructions for transitions, timewarps, keys, titling, and some other effects information. Avid DS Nitris preserves all the layering information from an OMF file, so that you can select events and layers that you want to recreate on the timeline.

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Support for OMF media is limited to the import and export of audio media only.

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Avid DS Nitris can import only OMF 2.0 files.

Avid DS Nitris supports many types of Media Composer and Symphony effects. For information on the level of support for effects and titles, refer to the latest version of the Help or the

Avid DS Nitris Conform Guide.

You can download this guide from the Avid DS Nitris Customer Support website or the

Avid Knowledge Center. However, the preferred method of conforming

sequences is through AFE files. For more information, see “Using AFE Files” on page 92.

Opening an OMF File

You can import OMF files created on other systems. By using the OMF file format to transfer sequences from an offline system to Avid DS Nitris, you can quickly import sequences with most of the offline editing and effects work intact.

To open an OMF file:

1. Do one of the following: t

In the view switcher, click the

OMF

button.

t

Select

View > Single-Instance Views > OMF

.

2. From the OMF view, click the

Load OMF

button and select a file from the Open dialog box.

The selected OMF file is displayed in the OMF view.

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OMF tools Record in-point

OMF tree

When you load an OMF file with more than one composition, you are prompted to select the composition to import.

For more information about the OMF view, click the

Help

button.

Conforming an OMF File

You can log your clips in the Avid Explorer to create master clips that can be reused in other sequences, recreate your sequence in Avid DS Nitris by loading the OMF file onto the timeline, or both. It’s a good idea to do both, so that when a clip is deleted from the timeline, you always have the master clip in a folder. You also have the option of importing any audio media in the OMF file.

Conforming an OMF File without Audio Media

To conform an OMF file without audio media:

1. Open a new sequence in your project.

2. Load an OMF file into the OMF view.

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Conforming OMF Compositions

3. In the OMF view, click the

Conform OMF

button.

The OMF Conform dialog box opens.

4. If you want to log clips, select the folder in which you want to create the clips. The default folder is displayed in the text box at the top of the dialog box. Click the browse (...) button to select a new folder.

5. Select one of the following options:

Option

Create Logs

Create Timeline

Clips

Create Both

To

Log the clips in the selected folder.

Recreate the sequence on the timeline based on the composition information in the OMF file.

Log the clips in the selected folder and recreates the sequence based on the composition information in the OMF file.

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6. To add material before the in-point and after the out-point of all tape sources, type the appropriate number of frames in the Heads and Tails text boxes.

7. To add the project name from the OMF file to the tape sources for the master clips, select the Force creation of external tape sources option.

8. If you need to reconfigure the incoming audio tracks, select a tape name from the Tape Name list and assign the audio tracks to the audio channels of your clip by clicking in the audio channel routing matrix.

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You can assign the audio tracks differently for each tape name.

9. Click the

Set

button after you have assigned the audio tracks for each tape name to save the settings.

10. Click the

Conform

button to begin conforming the OMF.

The clips, transitions, and supported effects are recreated on the timeline using the composition information and empty master clips are created in the selected folder. When you open the folder in a bin, the clip icons are red since no media has been imported yet.

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Effects that are not supported by Avid DS Nitris are marked by effect bars that have been deactivated. These effect bars indicate where the effect was originally placed.

Conforming OMF Compositions

If there are any unsupported effects, a message is displayed, asking if you would like to view the error log. If you click Yes, the list is generated and displayed in the Conform Error Log dialog box.

The Conform Error Log dialog box displays the in and out-points of the effect, the name of the original effect, as well as a brief description of the type of error that occurred.

11. To save this log as an .html file, click the

Save

button.

The Save As dialog box opens.

12. Navigate to an appropriate folder, type a name for the log and click Save.

The log is saved as an .html file and can be viewed in any HTML browser.

Conforming an OMF File with Audio Media

To conform an OMF file with audio media:

1. Open a new sequence in your project.

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OMF files that are exported at a frame rate must be conformed in the timeline.

OMF files that are exported as sample-accurate must be conformed in an audio container.

2. Load an OMF file which contains audio media into the OMF view.

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3. In the OMF view, click the

Conform OMF

button.

The OMF Conform dialog box opens.

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4. If you want to log clips, select the folder in which you want to create the clips. The default folder is displayed in the text box at the top of the dialog box. Click the browse (...) button to select a new folder.

5. Select one of the following options:

Option

Create Logs

Create Timeline

Clips

Create Both

To

Log the clips in the selected folder.

Recreate the sequence on the timeline based on the composition information in the OMF file.

Log the clips in the selected folder and recreates the sequence based on the composition information in the OMF file.

Conforming OMF Compositions

6. To add material before the in-point and after the out-point of all tape sources, type the appropriate number of frames in the Heads and Tails text boxes.

7. If you need to reconfigure the audio tracks, select a tape name from the

Tape Name list and assign the audio tracks to the audio channels of your clip by clicking in the audio channel routing matrix.

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You can assign the audio tracks differently for each source name.

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The audio media will be imported using the assignment specified in the audio channel routing matrix and not those originally set in the file.

8. Click

Set

after you have assigned the audio tracks for each source name to save the settings.

9. Select the Import Audio Data option.

10. Select one of the following options:

-

Import All Media

to import all the audio media contained in the

OMF file into the current project.

-

Only Import Used Media

to import only the audio media used in the actual sequence into the current project.

11. From the Sample Rate list, select a sampling rate at which to convert your audio media. The higher the sampling rate, the more accurate the conversion will be.

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Make sure the sample rate you select matches the sample rate of your current sequence. If the sample rates do not match, no audio media will be available for playback.

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To play back the audio media, you would have to change the sample rate of the sequence in the Sequence Preferences dialog box.

12. From the Bit Depth list, select a bit depth value. The higher the value, the more precise the audio conversion will be.

13. From the Capture To list, select a storage area on which your audio media will be stored.

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14. Click the

Conform

button to begin conforming the OMF.

Depending on the settings you chose, any of the following will occur:

The clips, transitions, and supported effects are recreated on the timeline using the composition information.

Master clips are created in the selected folder.

The audio media is imported to your disk array.

Since no video media was imported, the video clip icons that appear when you open the folder in a bin are red, indicating that no media has been captured yet.

Effects that are not supported by Avid DS Nitris are marked by effect bars that have been deactivated. These effect bars act as markers to indicate where the effect was originally placed.

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Although Avid DS Nitris may not be able to import certain effects, it will keep any keyframed information, which you can use as a reference to recreate the effect.

If there are any unsupported effects, a user message is displayed that asks you if you would like to view the generated list. If you click Yes, the list is generated and displayed in the Conform Error Log dialog box.

The Conform Error Log dialog box displays the in and out-points of the effect, the name of the original effect, as well as a brief description of the type of error that occurred.

15. To save this log as an .html file, click the

Save

button.

The Save As dialog box opens.

16. Navigate to an appropriate folder, type a name for the log and click the

Save

button.

The log is saved as an .html file and can be viewed in any browser.

Exporting an OMF File

If you need to do some audio finishing on Pro Tools, you can create, save, and export OMF files for the audio portion of your sequence. When you create and save an OMF file from within Avid DS Nitris, both the audio media and its composition information can be included.You can then transfer the file to another system.

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Note the following:

• Only the audio portion of your sequence can be exported to an OMF file.

Any video clips on the timeline are ignored when you create an OMF file.

• No audio effects are exported, but edit points are created to show where effects were originally placed.

• You need DigiTranslator™, a Pro Tools option, to convert the OMF files into a format that Pro Tools can read. If DigiTranslator is not supplied with your Pro Tools application, you need to purchase and install it. See the Digidesign web site www.digidesign.com.

• Avid DS Nitris exports only OMF 2.0 files.

• OMF files have a size limit of 2 GB. If you are unable to export an OMF file for a large sequence, you need to divide the sequence into smaller segments.

To create and save an OMF file with audio media:

1. From the OMF view, click the

Timeline to OMF

button to create an OMF file of the audio portion of the current sequence.

The Export Composition dialog box opens.

2. Select the

Embed Media

option to include the media in the OMF file you are creating.

3. Select the

Consolidate

option to include only the media that is being used on the timeline.

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If the Consolidate option is not selected, the entire audio clip will be included in the OMF file.

4. From the Bit Depth list, select

16

(16-bit audio) or

24

(24-bit audio). The higher the bit depth value, the more precise the audio conversion will be.

5. In the Handles Length box, do the following:

Add a number in the Heads text box if you want to add extra frames before the material used on the timeline. These additional frames will be included in the OMF file for source material coming from tape only.

Add a number in the Tails text box if you want to add extra frames of material after the end of the material used on the timeline. These additional frames will be included in the OMF file for source material coming from tape only.

6. Click

OK

.

The Save As dialog box opens.

7. Navigate to an appropriate folder, type a name in the File Name text box, and then click the

Save

button.

All the information obtained from the audio tracks on the timeline are saved as an OMF file in the location you specified. You can now transfer it to another system.

Conforming EDLs

Avid DS Nitris supports the import of edit decision lists (EDLs). An EDL is a detailed list of the edits contained in a sequence, including all the timecode and supported effects information required to recreate the sequence in an online session. Avid DS Nitris accommodates EDLs from many different systems. It is compatible with the standard EDLs, as well as CMX, GVG, and

OMF formats.

The EDL file is organized into a series of chronological instructions called

events

. You can use these events to create clips or to completely recreate the sequence on the timeline.

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Avid EDL Manager

Avid EDL Manager is an application that lets you convert between different

EDL formats, such as Sony, GVG, or CMX. You can also convert EDL files to

OMF 1.0 files. Since Avid DS Nitris only supports OMF 2.0 files, you will need to further convert the OMF 1.0 files, so that they can be read by

Avid DS Nitris.

You can use the Avid EDL Manager to read EDL files from RT-11 disks and then save the files in CMX or GVG format for import into Avid DS Nitris.

Avid DS Nitris cannot read RT-11 disks.

You can also use the Avid EDL Manager to create an EDL that displays additional types of information, such as comments or patches. You can specify the different audio and video tracks in the sequence, as well as specify the assembly modes that the online edit controller uses when creating your sequence. For more information, refer to the

Avid EDL Manager User’s

Guide

.

The Avid EDL Manager application and guide are available on the

Avid DS Nitris Drivers CD.

EDL Processor

The EDL Processor is an application that lets you modify and save EDL files.

You can use the application to modify the EDL content in many different way, from changing its title to converting timecodes. One use of the application is conversion of a sequence’s timecode from 30 fps to 24 fps.

The EDL Processor and Help file are available for download from the Utilties page of the Avid DS Support Center at http://www.softimage.com/avidds.

Opening an EDL File

The EDL view lets you import an EDL file produced on any external system, and capture material based on the edits in that EDL.

When you import an EDL into Avid DS Nitris, it appears in the EDL view, where you can see the list of events. After importing your EDL into

Avid DS Nitris, you can select the events that you want to recreate. To do this,

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you can either log the events as master clips in the Avid Explorer, or edit the list onto the timeline, or both. You can then capture media from either the clips in the Avid Explorer or on the timeline.

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You can only recapture logged clips created from an EDL that originated on tape. Avid DS Nitris does not support recapture from file for logged clips created from an EDL.

Clip names are created from the event number. If you have more than one EDL in a project, however, there will be at least two clips with the same name. To avoid the conflict, the name of the EDL is appended to the clip name.

For example:

001 (NewYork1)

001 (NewYork2)

After the clips are created, you can rename them at any time. For more information, see “Renaming Project Files” on page 658.

To open an EDL:

1. Do one of the following: t

In the view switcher, click the

EDL

button.

t

Select

View > Single-Instance Views > EDL

.

The EDL view is displayed.

2. To load a new EDL, click the

Load EDL

button.

The Open dialog box opens.

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Edit list

3. Select an EDL. If you know the system from which the EDL was generated, select the appropriate file type (DS, CMX, GVG).

4. In the Comment Placement box, indicate whether you want comments placed above or below the corresponding edit.

5. Click the

Open

button.

The selected EDL is displayed in the EDL view.

If you selected the wrong file type, you are prompted to convert the file to the appropriate type.

EDL name EDL tools Record in-point

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For more information about the EDL view, click the

Help

button.

Setting EDL Properties

You can specify options for the currently displayed EDL in the EDL

Properties dialog box, such as displaying timecodes as drop frame and determining comment placement.

To set EDL properties:

1. Right-click the main area of the EDL view and select

Properties

.

The EDL Properties dialog box opens.

2. Use the controls in the EDL Properties dialog box to set the EDL properties.

For information about the EDL Properties dialog box, click the

Help

button.

Conforming an EDL File

When conforming your EDL, you have the choice of logging the events in the

Avid Explorer, recreating the list of events on the timeline, or both. Once the events are logged, you can capture the media at any time from either the Avid

Explorer or the timeline. For more information, see “Batch Capturing” on page 66.

Before conforming your EDL, you should check if there are any layers to be composited. Offline editors often create multiple EDLs because the convention is to put separate layers into separate EDLs. Any audio or video events in the list are automatically loaded onto the appropriate tracks.

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During the conform process, you can set up the appropriate heads and tails values for each clip. This is important if you need additional material at the beginning and end of each clip to do minor changes during the final stage of the edit. You can also configure the audio channel patching for each tape.

If you recreate your sequence on the timeline, you may want to process a rough cut and proof it against the original EDL. You can do this by reloading the EDL onto a new video track, adding a fade or crop effect to the video track and processing it, and then playing the sequence to make sure that the cuts and transitions on the two tracks occur in sync.

If the proofing session is successful, you can then remove the video track you added and continue to add effects and finishing touches to the original sequence.

To conform an EDL file:

1. Open a new sequence in your project.

2. Import or open an edit list in the EDL view.

3. From the EDL view, click the

Conform EDL

button.

The EDL Conform dialog box opens.

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You can capture all events in the edit list, or hold down the Ctrl key and click the EDL events associated with the source material you want to capture.

4. If you want to log clips, select the folder in which you want to create the clips. The default folder is displayed in the text box at the top of the dialog box. Click the browse (...) button to select a new folder.

5. Select one of the following options:

Option

Create Logs

Create Timeline

Clips

Create Both

To

Create a log of events in the selected folder.

Recreate the events on the timeline.

Create both a log of events in the selected folder and a sequence based on the events in the EDL.

6. Select the

Overwrite Video Track

option to overwrite clips on the timeline at the same timecodes. If this option is not selected, the clips will be added to a new video track.

7. To add material before the in-point and after the out-point of all tape sources, type the appropriate number of frames in the Heads and Tails text boxes.

8. If you need to reconfigure the audio tracks, select a tape name from the

Tape Name list and assign the incoming audio tracks to the audio channels of your clip by clicking in the audio channel routing matrix.

Audio channel routing matrix

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You can assign the audio channels differently for each tape name or you can multi-select the tape names, and make the audio channel assignment the same for all of them.

9. Click the

Set

button after you’ve assigned the audio tracks for each tape name to save the settings.

10. Click the

Conform

button to begin conforming the EDL.

The events are recreated on the timeline as empty clips, and master clips are created in the selected folder for each event. When you open the folder in a bin, the clip icons are red since they have no media yet.

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Audio events in the edit list do not support stereo clips. When a stereo clip (two streams) is created on the timeline, it is split onto two mono tracks; each track holds one stream.

Creating Layers from an EDL

Receiving multiple EDLs for different levels in a composite occurs frequently.

For example, there may be an EDL for the background and another for the foreground. When this happens, both layers must be in sync on the timeline.

You can either place the layers on video tracks, which allows more than one layer to be active at a time, or you can place these two layers in a container clip. For more information, see “Creating a Composite Container Clip” in the

Avid DS Nitris Editing Guide

or the Help.

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To create a layer from an EDL:

1. Open a new or existing sequence in your project.

2. Import or open an edit list in the EDL view.

3. From the EDL view, click the

Conform EDL

button.

The EDL Conform dialog box opens.

4. Select one of the following:

-

Create Timeline Clips

to recreate the events on a video track.

-

Create Both

to create both a log of events in the selected bin and a sequence based on the events in the EDL.

5. Deselect the

Overwrite Video Track

option, so that each EDL is recreated on an individual video track.

6. Set the

Heads

and

Tails

and configure the audio inputs as required—see

“Conforming an EDL File” on page 162.

7. Click

Conform

to recreate the events on a video track on the timeline.

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Avid DS Nitris ignores the current setting of the Ripple mode when performing an EDL to timeline. By default, all EDL conforms are performed with the

Ripple mode off.

Modifying an EDL File

Avid DS Nitris lets you modify certain properties of the EDL after you’ve loaded it into the EDL view. You can change the name of the source tape, as well as ripple the source timecodes.

Changing the Source Tape Name

If your source tape name is too long, or the name of the tape has changed between the offline and the online, you can modify the name of your tape directly in Avid DS Nitris. Once you’ve loaded an EDL into the EDL view, you can modify the source name of any one of the sources.

To change the source name of a tape in an EDL:

1. Load an EDL into the EDL view.

2. Right-click the main area of the EDL view and select

Change Source

Name

.

The Change Source Name dialog box opens.

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Conforming EDLs

3. From the Old Source Name list, select the name of the tape you want to change.

4. Type the new name in the New Source Name text box and click

OK

.

The Source Name is changed in the EDL view.

Rippling the Source Timecodes

If there’s a time delay between your master tapes and the offline EDL list, or the time of an event has changed, you can push or ripple any one of the source timecodes forwards or backwards directly in Avid DS Nitris.

To ripple all source timecodes in an EDL:

1. Load an EDL into the EDL view.

2. Right-click the main area of the EDL view and select

Ripple Sources

.

The Ripple Sources dialog box opens.

3. In the Ripple By timecode box, type the amount by which you want the source timecodes to move.

n

To ripple the source timecode backwards, type the amount preceded by a minus (–) sign in the Ripple By timecode box.

4. Click

OK

.

The source timecodes of all your source tapes are modified by the amount you specified.

To ripple the source timecode of one event in an EDL:

1. Load an EDL into the EDL view.

2. Select the event in the Edit list.

3. Right-click and select

Ripple Sources

.

The Ripple Sources dialog box opens.

4. In the Ripple By timecode box, type the amount by which you want the source timecode to move.

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To ripple the source timecode backwards, type the amount preceded by a minus (–) sign in the Ripple By timecode box.

5. Click

OK

.

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The source timecode of that one event is modified by the amount you specified.

To ripple the timecodes of all events from one source:

1. Load an EDL into the EDL view.

2. Right-click the main area of the EDL view and select

Ripple Sources

.

The Ripple Sources dialog box opens.

3. Select the

Apply To All Edits From This Source

option to modify the source timecode of one of your source tapes.

4. Select the name of the tape from the list.

5. Type the amount by which you want the source timecodes to move in the

Ripple By timecode box and click

OK

.

All the timecodes for that one source tape are modified by the amount you specified.

Exporting an EDL File

If you want to perform certain tasks on another system, you can create an EDL of your current sequence, save it to file, and then transfer it.

Avid DS Nitris creates an EDL for each track of your current sequence and for some effects. Depending on the track, the EDL contains information about the timecode, transitions, and supported effects. Once you’ve created EDLs of the current sequence, you can save them and transfer the information to another system.

To create and save EDLs of the current sequence:

1. From the EDL view, click the

Timeline to EDL

button to create one or more EDLs of the current sequence.

2. If Avid DS Nitris created more than one EDL, select the EDL that you want to display from the EDL name list.

3. Click the

Save EDL

button to save your EDL to file.

The Save As dialog box opens.

4. Navigate to an appropriate folder, type a name in the File Name text box, and click the

Save

button.

The EDL is saved in the location you specified.

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Printing an EDL File

Proofing

When you need a hard copy of your EDL for review or want to keep a hard copy as a reference, you can print one out from within the EDL view. You can set the number of copies to print, as well as the orientation of the page.

To print an EDL file:

1. Load an EDL into the EDL view.

2. From the EDL view, click the

Print

button.

The Print EDL dialog box opens.

3. In the Number of Copies text box, type the number of copies you want to print.

4. Select a page orientation for the EDL.

5. Click the

Print

button.

The EDL is printed on your default printer.

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To change your default printer, modify the printer settings in Windows.

If you recreated your sequence on the timeline, you may want to process the rough cut, and proof it against the original EDL to make sure that the timing is correct.

To proof the EDL to timeline:

1. Reload the EDL onto a new video track. Make sure you deselect the

Overwrite Video Track

option.

2. Add a diagonal wipe or crop effect to the video track.

3. Process the effect.

4. Play the sequence to make sure that the cuts and transitions on the two tracks occur in sync.

If the proofing session is successful, you can remove the video track and continue to add effects and finishing touches to the original sequence.

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Conforming ALE Files

Avid DS Nitris supports ALE (Avid Log Exchange) files—a file format specifically designed to hold information about log files generated by other

Avid systems. ALE files contain only information about the source material, so you can’t import sequences, effects or other higher level information.

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Although the ALE file format was designed for log files generated by Avid editing systems, many other systems can output ALE files as well.

You can use ALE files to transfer information from MediaLog to

Avid DS Nitris. MediaLog is a tool that helps you select and log footage

before

your editing session. Although you can log footage with

Avid DS Nitris, using MediaLog can free up your Avid DS Nitris system for editing and effects. After logging shots, you can use Avid DS Nitris to digitize and edit the footage.

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MediaLog is shipped with your Avid DS Nitris system. For complete information about MediaLog, see the MediaLog Help or the

Avid MediaLog

User’s Guide

(available in Adobe Acrobat format on the MediaLog CD).

MediaLog is also available in the Download area of the Avid DS Nitris

Customer Support web site.

You can import bins created in MediaLog into Avid DS Nitris. To do this, either:

• Export the bin as an ALE file. You can then load the ALE file into

Avid DS Nitris and create logs.

• Export the project and bins as an AFE file.

For more information, refer to the

Avid MediaLog User’s Guide

or “Exporting

AFE Files from MediaLog” on page 107.

n

To import an ALE file into Avid DS Nitris, make sure the following columns are displayed in MediaLog:

• End

• Start

• Tape

• Tracks

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Conforming ALE Files

You can display other columns as well. Only columns that are displayed in

MediaLog will be displayed in Avid DS Nitris.

Importing an ALE File

ALE files can be imported and interpreted by Avid DS Nitris.

To import an ALE file

1. Select

View > Single-Instance Views > ALE Import

.

2. In the ALE Import view, click the

Load ALE File

button.

3. In the Open dialog box, select a file.

The selected ALE file appears in the ALE Import view.

Load ALE Create Logs ALE Info

For information about the ALE view, click the

Help

button.

You can view the global properties of an ALE file, which includes the location of the file and the values of various global properties, such as video/audio format, fps, and more in the ALE Import view.

To get information on an ALE file:

t

Click the

Info

button.

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Logging Clips from an ALE File

After you’ve imported an ALE file into Avid DS Nitris, you can select the clips you want to log. However, before you can log master clips, the clips must have associated values for the following properties:

• End

• Name

• Start

• Tape (or a global tape property)

• Tracks

If any of these properties are missing an associated value, the Create Logs button appears dimmed and you need to supply the missing value.

To log master clips from an ALE file:

1. Load an ALE file into the ALE Import view—see “Importing an ALE

File” on page 171.

2. Select the clip(s) you want to log in a bin by clicking them. To select more than one clip at a time, select a clip, hold down the Ctrl key and click the others.

n

If no clips are selected in the ALE Import view, Avid DS Nitris creates logs for every clip.

3. In the ALE Import view, click the

Create Logs

button.

The Create Logs dialog box opens.

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Conforming ALE Files

Routing matrix

4. Select the folder in which you want to create the logged clips. The default folder is displayed in the text box at the top of the dialog box. Click the browse (...) button to select a new folder.

5. To add material before the in-point and after the out-point of all tape sources, type the appropriate number of frames in the Heads and Tails text boxes.

6. If you need to reconfigure the audio tracks, select a tape name from the

Tape Name list and assign the audio tracks to the audio channels of your clip by clicking in the audio channel routing matrix.

n

You can assign the audio tracks differently for each source name.

7. Click the

Set

button after you have assigned the audio tracks for each tape name to save the settings.

8. Click the

Create Logs

button to begin creating logs from the ALE file.

In the Avid Explorer, master clips are created for each selected clip. Once the clips have been logged, you can capture the media at any time.

n

Only source material from tape can be recaptured from clips logged from an

ALE file.

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Chapter 4

Outputting Media

This chapter describes how to output your edited material to tape or file. It includes the following topics:

Workflow: Outputting Media

Preparing for Output

.

Outputting Material

Chapter 4

Outputting Media

Workflow: Outputting Media

After you have constructed your sequence and processed any non-real-time effects, you can output it to tape, file, EDL or OMF file (audio only). The following illustration shows the steps for outputting your media.

1

Select the area to output.

Select the entire sequence.

or Select a specific region.

2

Select the output destination, output tracks, and other output parameters.

If you’re outputting to tape, select the external device for recording.

176

3

Output media.

Output the sequence to tape.

or

Export it as a media or reference file.

or

Export it as an EDL or OMF file (audio only).

Preparing for Output

Preparing for Output

Before you output your sequence, you need to process some effects and select the area to output. If you are outputting to tape, you need to specify other output settings as well.

When outputting media, Avid DS Nitris uses the video and audio quality settings that you specified in your sequence preferences. However, if you change these settings after capturing and processing media, you must recapture and reprocess the media before outputting. For more information, see “Working with Media of Different Qualities” in the Help.

n

If you are working in a sequence created in a custom format, you cannot capture from tape or output to tape. Avid DS Nitris hardware does not support custom formats.

Processing Effects

Before you output your sequence, make sure you process non-real-time effects and software real-time effects. This processing ensures that you get fluid output. For more information, see “Outputting Real-time Effects” in the Help. n

During output to tape, a red indicator light flashes on the transport controls if any frames are skipped. The output stops and a message box appears, stating the possible cause of the problem.

If this problem continues to occur, try decreasing the throughput on the system by creating audio container clips for your audio material. For more information, see “Creating an Audio Container Clip” in the Help.

Selecting an Area to Output

You don’t have to output your entire sequence at once.You can select a specific region, or only the contents of a container clip.

You can also choose to output only video or audio tracks, or a combination of both.

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To select the output area:

1. Do one of the following: t

From the NLE Tools toolbar, click

Media IO > Output Tool

.

t

Select

View > Single-Instance Views > Output Tool

.

The Output Tool opens.

178

2. In the Source box, select one of the following options:

-

Entire Sequence

to output the entire timeline.

If you’re on the top timeline, the entire sequence is output. If you’re within a container clip, only the clips on the container timeline are output.

-

Sequence In/Out

to output a section of the sequence marked by an in-point and an out-point in the timeline.

The timecodes of the in-point and out-point are displayed in the In and Out text boxes.

Preparing for Output

3. If you want to record to tape using the timecodes specified in the timeline

(including in-point and out-points), click the

To Tape

button and select the

Use Timeline Timecodes for Edits

option.

For example, if the first clip in your sequence begins at 01:00:30:00, and you want to begin recording at 01:00:30:00 on a tape, select

Entire

Sequence

and

Use Timeline Timecodes for Edits

. If you want to perform an insert edit for a specific region of a sequence, mark the inpoint and out-point, select

Sequence In/Out

, and select

Use Timeline

Timecodes for Edits

.

Monitoring Audio Output

You can use the Audio Output Monitor to display level meters that give you a visual indication of the audio levels during playback and output.

The number of level meters in the Audio Output Monitor reflects the number of output channels specified by your Avid DS Nitris mixer configuration. A system configured for 7.1, for example, displays eight level meters while a system configured for stereo displays only two. For more iniformation, see

“Understanding the Mixer” in the Help.

You can adjust how the meters are displayed through the User Preferences dialog box. For more information, click the

Help

button in the User

Preferences dialog box.

To access the Audio Output Monitor:

t

Select

View > Single-Instance Views > Audio Output Monitor

.

Configuring the External Device for Output

If you are outputting to tape, make sure that you have configured the external device.

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It is especially important to check the Edit Mode selection. You can select one of the following:

Auto:

Select this option to record the sequence onto a prestriped tape (a tape with prerecorded control track and timecode) This option lets you add material to existing material on the tape. It also deactivates all channels during capture to prevent any interruption of signal between the deck and your system. The recording begins at the timecode that is set in the I field of the Output Tool. If you want to insert material at a particular timecode on the tape (known as an

insert edit

), make sure the in-point of the sequence matches the in-point that you set in the Output tool.

Assemble:

Select this option to record the material onto a new tape

(without control track or timecode) or completely record over all tracks of an existing tape. A blank tape must have enough stripe at the beginning to allow for preroll. The selected sequence is recorded from the in-point of the tape, which you must set in the Output Tool. If the Output Tool is set for Assemble mode, the Edit mode indicator flashes red to bring your attention to the selection.

Edit mode indicator n

Due to the nature of assemble mode editing, a small portion of the tape is erased beyond the end of your sequence, creating a series of garbage frames.

To work around this inherent limitation, you can set an in-point at the beginning of your sequence, an out-point ten frames after the end of your sequence, and then output from in to out. This records a series of black frames between the end of your sequence and the garbage frames.

To configure and select an external device:

1. Connect the external device to your Avid DS Nitris system.

2. Do one of the following: t

From the NLE Tools toolbar, click

Media IO > Deck Configuration

.

t

In an Avid Explorer panel, open the Views folder and click

Deck

Configuration

.

The Deck Configuration view opens.

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Preparing for Output n

You can also select the output device and set the Edit Mode in the Output Tool.

3. In the top section of the view, select the preset you want to use.

To configure and create a preset, see “Configuring the External Device” on page 20.

4. Check the

Edit Mode

and

Edit Field

settings.

5. If you made any changes, right-click the preset and select

Save

.

6. Right-click the preset and select

Activate

.

For more information, click the

Help

button.

Calibrating Video Output

For systems with an Avid Nitris DNA, the Output Tool lets you calibrate output parameters for analog HD, component, composite, or S-Video signals.

For Serial Digital, you can adjust only the H Phase and Subpixel H Phase.

To adjust video output parameters:

1. Connect a waveform monitor, vectorscope, or other equipment for calibrating output parameters, depending on your production environment.

2. In the Output Tool, click the

Video Output

button.

3. Select the output signal from the

Output

list.

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182

4. For Analog HD, select the color space: YUV (video) or RGB (graphics).

5. Using color bars or a test pattern and calibration equipment, adjust video parameters by dragging the slider or by clicking the minus (-) or plus (+) button.

6. Click the

Save Parameters

button to save your settings.

You can save one set of parameters for each type of video output.

7. Click the

Factory Settings

button to restore the default settings for all video outputs.

n

For more information about video parameters, click the

Help

button.

Preparing for Output

Specifying Downconvert Formats

On an Avid Nitris DNA workstation, the Output Tool lets you downconvert a film or high-definition (HD) sequence into one of several standard-definition

(SD) or high-definition formats, depending on the original format of your sequence. For example, if you are working with a 1080PsF 23.97 sequence, you can output the sequence as NTSC Letterbox, NTSC Center crop, or NTSC

Anamorphic. In some cases, you can also convert to a different HD format.

n

If you select a downconvert format, you can output HD playback and SD downconvert simultaneously through the Avid Nitris DNA. As a result, you can monitor SD output or create an SD master at the same time you are outputting an HD master. However, the sequence timecode is not recorded with the downconverted output.

To specify downconverted formats:

1. In the Output Tool, click the

Downconvert

button.

2. Select the required output formats.

For HD Output, Native represents the current video format.

The options that are available depend on the current video format. For a list of the available formats, see “Downconverted Output Formats and

Sync Sources” in the Help.

n

You can also specify the Downconvert format in the Sequence Preferences dialog box.

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Specifying the Sync Source

For systems with an Avid Nitris DNA, the Output Tool lets you select the sync source for reference timing: either tri-level sync or black burst sync (NTSC or

PAL).

HD formats whose frame rate aligns with 29.97 fps (NTSC) or 25 fps (PAL) can use either tri-level sync or black burst sync. If you are outputting one of these HD formats (such as 1080PsF 29.97 or 1080PsF 25), you can use either tri-level or black burst as the sync source.

For a list of sync options for each format, see “Downconverted Output

Formats and Sync Sources” in the Help.

To specify the sync source:

1. In the Output Tool, click the

Sync Source

button.

For HD sequences, the Expected Sync Source field displays the format of the sequence or its interlaced equivalent.

For SD sequences, the field displays NTSC or PAL Black Burst.

2. Select the sync source that is compatible with the sequence:

Tri-Level,

Black Burst,

or

Any

.

n

You can also set the sync source in the Capture Tool.

You can use the Sync light to check the status of the sync source. For

information, see “Checking the Sync Source” in the Help.

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Outputting Material

When you output a sequence from Avid DS Nitris, you’re taking all the information contained in a sequence file, such as timecode information, source media, and generated caches, and copying it to an external device or file.

Outputting to Tape

When you output to tape, the image size always matches the resolution set in your Sequence Preferences.

To output to tape:

1. Do one of the following: t

From the NLE Tools toolbar, click

Media IO > Output Tool

.

t

Select

View > Single-Instance Views > Output Tool

.

The Output Tool opens.

For information about options in the Output Tool, click the

Help

button.

2. Configure the external device and perform other tasks, such as selecting

the area to output—see “Preparing for Output” on page 177.

3. Click the

To Tape

button.

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Timeline/Deck button

4. Select the output device.

The currently active external device appears in the Device list. You can select a another device preset from the list.

5. Click the

Check

button.

If the link between the external device and your system is operating properly, nothing occurs. If there is a problem, a message box appears, stating the possible cause of the problem.

You can also verify that the external device is operating within normal parameters by checking the five items in the External Device Status area, located beneath the transport controls. A green or red light beside each item displays its status. Items that are grayed out are inactive.

6. Select the

Edit Mode

, either Auto (Insert) or Assemble.

This setting temporarily overrides the setting in the deck template but does not change it. For more information about Edit Mode, see

“Configuring the External Device for Output” on page 179.

7. (Optional) Set a custom preroll for the deck.

This setting also temporarily overrides the setting in the deck template but does not change it.

8. Make sure the Timeline/Deck button is set to

Deck

.

9. Click the track buttons (

V

,

A1

,

A2

, and so on) for the video and audio tracks you want to output.

10. (Optional) If you are recording LTC (longitudinal timecode) through the

LTC Out (XLR) connector on the Avid Nitris DNA, select the desired

LTC frame rate.

For 29.97 (NTSC) sequences, you can select 29.97 (non-drop-frame) or 29.97 DF (drop-frame).

For 23.97 HD sequences, you can select 23.97, 29.97

(non-drop-frame), or 29.97 DF (drop-frame). If you want to output

NTSC timecode, make sure to select an SD Downconvert format (see

“Specifying Downconvert Formats” on page 183) so that the

converted timecode is displayed in the LTC menu.

11. If you are experiencing any frame delays in audio when you output your sequence to tape, enter the number of frames in the

Audio Propagation

Delay

text box.

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Outputting Material

12. If you have not selected the

Use Timeline Timecodes for Edits

option

(see “Selecting an Area to Output” on page 177), specify the position on

the tape where you want the program to start recording. Use the transport controls to locate the position or type a timecode in the I (In) field.

n

If you’re insert editing your material, make sure that your tape is properly striped with timecode before attempting to output your material.

13. (Optional) Click the Preview button to view your sequence before outputting to tape.

14. Click the

Insert/Assemble

button. The label on the button depends on the

Edit mode you selected.

The selected media in your sequence is output to tape.

Outputting to File

There are several options that you need to consider when outputting to file.

These options include:

File type

: You can output your media as a sequence or as single frames.

Avid DS Nitris supports a wide range of video and audio file formats—see “Output File Formats” in the Help.

Frame size

: Output resolution is independent of the sequence frame size or working resolution. By default, output resolution is set to the sequence frame size, but you can select a different output frame size.

Compression

: When outputting to the .avi, .wmv, or .mov file formats, and some image formats, you can choose a compression codec

(compressor/decompressor) directly from within Avid DS Nitris. Every codec installed on your workstation is available during output.

n

You cannot export a file at a frame rate different from that of the current sequence. If you want to convert the frame rate of your file, you need to use an external media conversion tool or encoding software.

n

AVI files have a size limit of 2 gigabytes. If you need to export a large sequence as an AVI file, consider dividing the sequence or using a reference movie (see

“Exporting AVI or QuickTime Reference Movies” on page 198).Windows

Media files and QuickTime files do not have a size limit.

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Audio

: Avid DS Nitris can export both 16-bit and 24-bit audio. The exported bit rate is determined by the sequence preference. If you are exporting a 24-bit sequence through a codec that supports only 16-bit audio, Avid DS Nitris converts the audio to 16-bit during the export. If you have a problem playing audio in the output file, try changing the audio to 16-bit in the Sequence Preferences.

n

Audio is not exported when the selected export format is an image format.

Similarly, video is not exported when the selected export format is an audio format.

When you output to file, Avid DS Nitris uses all tracks in a sequence.

n

The Outsource effect lets you output an area of the timeline in the file format of your choice, while keeping a link to the exported files—see “Outsource

Effect”in the Help.

To output to file:

1. Process non-real-time effects and software real-time effects—see

“Processing Effects” on page 177.

2. Select the area you want to output—see “Selecting an Area to Output” on page 177.

3. Select

View > Single-Instance View > Output Tool

.

The Output Tool opens.

188

4. Click the

To File

button.

Outputting Material

For information about options in the Output Tool, click the

Help

button.

5. From the

File Type

list, select a file type.

For some image file types, a dialog box opens and provides format options. Options depend on the file type; for example, TIFF provides options for bit depth and compression. Choose your settings and click

OK

. The settings you selected are displayed in the Codec field. For a list of supported formats, see “Output File Formats” in the Help.

6. If you choose a file type that supports compression, a dialog box opens.

Choose a compression codec, modify the settings to meet the quality you require, and click OK.

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7. Select one of the following options to determine the resolution (frame size) of the output file:

-

Generic

to pick a standard resolution from the list.

-

Custom

to create a custom resolution. Create a custom resolution by entering pixel values for the width and height in the appropriate text boxes.

8. Select a

Field Mode

: Preserve, Invert, or Ignore.

If you are working with progressive or low-motion media in an interlaced sequence, select Ignore to maximize the output quality. Otherwise select

Preserve to keep the field dominance, or Invert to change the field dominance (from odd to even, or even to odd). The Preserve and Invert options preserve field motion and prevent any field artifacts. This option is automatically set to Ignore when you are working with a progressive sequence. For more information, see “About Field Dominance” in the

Help.

9. Select the

Output Levels

.

This option specifies the how Avid DS Nitris interprets the pixel values within a frame (Graphics or Video). Select Auto to export at the levels

used in the sequence. For more information, see “Preserving SuperWhite and SuperBlack Values” on page 191.

10. Select the

Preserve Alpha

option to retain alpha channel information in the output file.

This is useful if you plan to reuse the matte information in future compositing or graphics projects. Not all file formats support alpha channels, so check the list to make sure.

11. Select

Use Advanced Settings

to export a specific region of the frame.

For more information, see “Using Advanced Settings to Crop and Resize” on page 192.

12. Click the

Output

button.

13. From the Export to File dialog box, select a folder in which to save your material, enter a name for the file, and click Save.

The material is processed, if necessary, exported to file, and placed in the selected folder.

For information, about exporting a seuqence in still image format, see

“Outputting a Series of Image Files” on page 196.

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Outputting Material n

You can take a snapshot of the viewer and export it to file. For more information, see “Creating an Image File from a Snapshot” in the Help.

Preserving SuperWhite and SuperBlack Values

When outputting an image that has SuperWhite or SuperBlack information, you must make sure that the file format to which you are outputting is able to handle these “super” values. This will guarantee that the SuperBlack and

SuperWhite information is preserved if you choose to reimport the image to

Avid DS Nitris.

The following options in the Output Tool must be taken into account:

• File Type

• File Type (additional options). For some file types, you will be required to enter additional options. For example, .tif, .tga, .jpg, and others

• Output Level

For some image file types, a dialog box opens and provides format options.

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Set one of following to make sure that the file format supports the SuperWhite and SuperBlack values:

• Any file type can be used as long as the Output Level is set to Video.

• Any YUV file type can be used regardless of the Output Level setting.

YUV files include .gen, .omf, .yuv, and .yuv16

• Any file type with the Pixel Format set to Float, regardless of Output

Level setting.

For more information about SuperWhite and SuperBlack values, see “Media

Capture Settings” in the Help.

Using Advanced Settings to Crop and Resize

The Advanced Settings in the Output tool let you crop and scale the source media and position it anywhere in the output file.

These settings are based on a grid that is determined by the dimensions of the source frame and the output frame. For example, NTSC 720 x 486 video uses a grid with an X axis of 720 pixels (from pixel 0 to pixel 719) and a Y axis of

486 pixels (from pixel 0 to pixel 485).

485

400

300

200

100

0,0 200 400 600

719

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Outputting Material

A PAL grid has an X axis of 720 (pixels 0–719) and a Y axis of 576 (pixels

0–575). Both NTSC and PAL SD use non-square pixels, which you need to consider when outputting to file.

A 1080i HD grid has an X axis of 1920 (pixels 0–1919) and a Y axis of 1080

(pixels 0–1079). HD resolutions use square pixels.

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Note the following:

• The Destination Region must be equal to or smaller than the output file.

• If the Destination Region is smaller than the output file, black pixels are used for padding.

• The Source Region can be any size, including larger than the current sequence frame.

• If the Source Region is larger than the current sequence frame, black pixels are assumed outside of the frame.

n

You can resize an image without using Advanced Settings. If the source resolution and the output resolution (as set in the Output Resolution options) are different, Avid DS Nitris automatically resizes the source media to the dimensions of the output file.

To set a customized region for export:

1. Set the Output Resolution (Generic or Custom).

This setting determines the dimensions of the output frame.

2. Select the Use Advanced Settings check box.

3. Set the source region by specifying the left-corner offset (X and Y positions) and size (pixel dimensions).

These settings determine the region of the image to export.

4. Set the offset and size for the output region.

These settings determine where the region specified by the Source Region settings should be positioned and resized in the output frame.

Example

For example, if you want to output a QuickTime movie for a DVD, you can use this feature to resize SD source material (720 x 486 lines) to fit DVD dimensions (720 x 480 lines).

1. Set a Custom Output Resolution of 720 x 480.

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Outputting Material

479

400

2. Set the source offset to X:0, Y:2 and the source size to 720 x 480.

The resulting source region is shown in the following illustration. Two lines are cropped from the bottom, because you set the Y to 2 in the source region, and four lines are cropped from the top, because you set the source size to 480.

300

200

100

0,2

0,0 200 400 600 719 n

These settings are preferable to cropping three lines from the bottom, because they prevent the need for Avid DS Nitris to perform field interpolation to preserve the field order.

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479

400

3. Set the destination region to X=0, Y=0 and the destination size to

720 x 480.

After outputting the file, the destination region (720 x 480) completely fills the dimensions of the output file (720 x 480).

300

200

100

0,0 200 400 600 719

Outputting a Series of Image Files

When you export a sequence to a still image format, such as .bmp or .tiff, each frame is saved as a separate file.

For example, if you export your sequence to a file named “MyPicture.bmp”, the output is saved as independent still image files. The files are numbered sequentially: for example, MyPicture.001.bmp, MyPicture.002.bmp,

MyPicture.003.bmp, and so on.

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Outputting Material

To output a sequence to a specified series of image files:

t

Enter the following in the File Name text box:

prefix

.[

first

..

last

;

padding

].

extension

Property

prefix first last padding extension

Description

The shared part of the file name.

A number for the first file (frame) of the sequence. This number must be a positive integer and smaller than

last

.

(Optional) A number for the last frame of the sequence. If you do not include a number, Avid DS Nitris outputs all the frames you have selected. This number must be a positive integer and larger than

first

.

The number of digits you want in the output file names.

Avid DS Nitris uses zeroes as placeholders. For example, if you are exporting 1000 frames or more, your padding should be 4 because 1000 has a total of four digits.

(Optional) The file name extension.

For example, if you want to output a sequence to a series of image files starting with the name Alpha.0100.pic to Alpha.1000.pic, enter the following:

Alpha.[100..1000;4].pic

If you are not sure of the total number of frames, enter the following:

Alpha.[100..;4].pic

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Exporting AVI or QuickTime Reference Movies

An AVI or QuickTime reference movie is a movie that contains only composition information. These files do not contain media. Instead, they point to the source media on your storage device. As a result, they are very quick to output and are very small in size. When you play back the reference movie, the movie references the source media files on your storage device. Any application that can read AVI or QuickTime files can read a reference movie, as long as the application can access the source media. Reference movies are useful when you want to process them in third-party encoding applications.

Exporting a reference movie also lets you work around the 2-GB size limit of

AVI files.

Note the following:

Compressed media:

Reference movies do not support compressed media. You can, however, output at lower resolutions, such as half or quarter resolution, if they are available on your system (Avid DS Nitris

Editor only). You can output these files in either 4:3 or 16:9 format.

Windows Media:

You can use AVI reference movies with the Microsoft

Windows Media

®

Player and Windows Media Encoder. Windows Media 9 requires DirectX, which is approved for installation.

QuickTime:

You must have the QuickTime player installed on your workstation in order to play back QuickTime reference movies. The

Avid DS QuickTime codec is installed automatically.

Moving a Reference Movie to Another Workstation:

To move a reference movie to another workstation:

Make sure that the media is located on a storage device that is shared between the two workstations.

For QuickTime movies, copy the Avid DS codec siddsuds.qtx from the C:\Windows\System32 folder of the Avid DS Nitris workstation to the same folder of the other workstation.

For AVI movies, use the Avid DS AVI Reference Codec installer, which is available from the Avid DS Support Center or on the Drivers

CD-ROM.

If you need to move a file to a workstation that does not have access to the source media, then you need to export it as a standard AVI or QuickTime file.

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Outputting Material

Output Settings:

Because reference movies point to the source media, the output settings are the same as the current sequence settings.

To export a reference movie:

1. Process the entire sequence, including any real-time effects.

2. Select

View > Single-Instance View > Output Tool

.

The Output Tool opens.

3. Click the

To Ref Movie

button.

4. Select

QuickTime

or

AVI

from the Reference Movie Type list.

5. For QuickTime movies, select or deselect the

Include Scaling Matrix

option.

n

For information about the QuickTime scaling matrix, click the

Help

button.

6. Click the

Output

button.

7. From the Export to File dialog box, select a folder in which to save the file, type in a name for the file, and click

Save

.

The reference movie is created and placed in the selected folder. Since the reference movie points to the source media, the output settings will be the same as the current sequence settings.

n

A reference movie becomes invalid if the media to which it points is modified.

199

Chapter 4

Outputting Media

200

Index

A

AAF (Advanced Authoring Format) conforming

127

Advanced Settings, Output tool

192

AES/EBU sample rate

31

AFE (Avid File Exchange)

AVX plug-ins

102

conforming

92

conforming effects

99

conforming workflow

93

defined

92

exporting from Avid editing systems

104

exporting from MediaLog

107

importing

110

support for export

103

ALE (Avid Log Exchange) creating logs

172

importing

171

importing ALE files

171

loading

171

logging master clips

172

requirements for logging

172

alpha channel conforming QuickTime with alpha

101

importing

55

outputting alpha information

190

Assemble mode setting in Output Tool

180

audio capture quality

31

configuring input

31

conform level for effects

99

conforming frame rates

117

format, setting for capture

32

input configuration

20

input for capture

33

microphone input

50

monitoring input levels

37

monitoring output levels

179

OMF audio

118

physical patching

24

sharing

120

storage device

31

audio effects conforming

99

Audio Input Monitor

37

Audio Output Monitor

179

Auto (Edit Mode)

Output Tool

180

Auto-dither, capture from file

55

AVI movies exporting

187

importing

51

size limit

187

AVI reference movie, outputting

198

Avid DS Nitris Editor conforming with

100

Avid Explorer capturing clips

67

media properties

66

Avid File Exchange

See

AFE (Avid File Exchange)

Avid Log Exchange

See

ALE (Avid Log Exchange)

Index

Avid MediaFiles folder

121

Avid Nitris DNA adjusting audio level

37

genlock with

19

microphone inputs

50

sync source in Capture Tool

35

sync source in Output Tool

184

video input settings

34

Avid Unity sharing media with

119

AVR resolutions, not shared

120

AVX plug-ins

AFE support

102

B

batch capture list adding and removing entries

74

creating

74

batch capturing from Avid Explorer

67

from timeline

71

list

74

using scripts

76

without interaction

76

bins importing through AFE

110

importing through ALE

171

viewing imported columns

112

black burst sync specifying in Capture Tool

35

specifying in Output Tool

184

C

calibrating video input

34

video output

181

,

183

Capture Tool opening

26

capturing audio format

32

audio parameters

33

audio quality, specifying

31

batch

67

202 bit depth

29

capture mode

28

capture target

28

compression

29

from Avid Explorer

67

from file

51

from file, converting frame rate

55

from tape

39

from timeline

71

heads and tails

41

images

51

large images

54

live

48

logging clips

38

on-the-fly

44

oversized images

60

play bias

22

preparing for

19

recapturing

66

record bias

22

resolution

29

sample rate

31

scaling media

54

small images

54

source material, previewing

36

still images

51

streaming

67

time available, audio

31

time available, video

30

time delay

68

timecode breaks

43

using scripts

76

video quality, specifying

29

without interaction

76

workflow

18

channels, monitoring audio

37

clips capturing from Avid Explorer

67

capturing from timeline

71

linked

60

logging

38

logging from tape

39

properties

66

recapturing

66

re-establishing links

62

codecs

for output to file

187

for reference movies

198

color correction conforming

100

component signal calibrating for output

181

selecting for capture

34

composite signal calibrating for output

181

selecting for capture

34

compressed media, sharing

119

compression codecs

187

setting for capture

29

configuring audio input

31

external device

20

sample rate

31

video input

29

conform log

AFE

114

OMF

153

conforming

AAF files

127

AFE files

92

ALE files

170

EDLs

158

effects

99

graphics

102

matte key clips

101

motion effects

99

OMF files

149

title fonts

103

titles

99

workflow, AFE

93

workflow, OMF, EDL, ALE

148

consolidating OMF

157

conversion modes capturing from file

54

converting sample rate

55

D

Deck Configuration view configuring external device

20

presets, deleting

25

decks (VTRs) configuring

20

physical patching

24

presets, activating

25

presets, editing

25

presets, exporting and importing

25

deleting external device presets

25

tapes

85

digital cut

See

output

DigiTranslator

157

dithering, capture from file

55

DPX files linking to

63

DV media, sharing

119

E

Edit Decision Lists

See

EDL (Edit Decision List)

Edit Mode setting in Output Tool

180

EDL (Edit Decision List) audio patching

162

audio stereo clips

165

changing tape name

166

CMX format

158

configuring audio inputs

164

creating

168

creating layers

165

EDL Processor application

159

exporting

168

GVG format

158

importing

159

layers

162

loading

160

modifying

166

modifying timecodes

159

multiple EDL

162

printing

169

proofing

169

rippling timecodes

167

saving

168

Index

203

Index

setting heads and tails

162

setting properties

162

supported formats

158

EDL Manager

159

EDL Processor application described

159

effects conforming

99

support levels for AAF/AFE

116

support levels for OMF

149

Encapsulated PostScript files (EPS), importing

60

EPS files importing

60

Equinox-Mykerinos hardware adjusting audio input

37

events

EDL

158

exporting

AAF files

128

AFE files, from Avid editing systems

104

AFE files, from MediaLog

107

AFE files, support for export

103

EDL

168

OMF

156

series of files

196

to file

187

external device capture offset

22

checking status

23

,

186

configuring

20

presets, activating

25

presets, deleting

25

presets, editing

25

presets, exporting and importing

25

presets, removing

25

F

field mode output

190

file names, Windows and Macintosh

102

files capturing as clips

51

output, preserving SuperBlack and SuperWhite values

191

204 output, with crop and resize

192

outputting series

196

Photoshop, importing

57

filler conforming effects applied to

100

foreground level and effects conforming

100

frame rates conforming for audio

117

converting during capture

55

frames dropping

177

skipping

177

G

graphics capturing

51

conforming

102

graphics levels for output

190

GVG

EDLs

158

H

handles for recapture

72

setting for capture

41

HD conforming from HD sources

97

conforming from offline sources

95

heads adding preroll and post-roll for capture

41

for recapture

72

I

image files outputting series

196

images capturing

51

conforming

102

importing

AFE files

110

ALE files

171

alpha channel

55

AVI movies

51

bins

171

EDLs

159

files by reference

60

from file

51

images

54

images, oversized

60

linked clips

60

media conversion

54

OMF files

149

Photoshop layers

57

QuickTime movies

51

scaling media

54

still images

51

time delay

68

IMX media, sharing

119

Input Monitor adjusting input levels

37

insert edit

Output Tool

180

ITU-R 601 levels conforming

99

exporting

190

J

JFIF media, sharing

119

L

layers creating from EDL

165

importing Photoshop

57

linked clips creating

60

linking to sequence of files

63

re-establishing links

62

live capture, performing

48

locators adding during capture

46

logging

38

Avid MediaLog

170

from ALE files

170

material from tape

39

logs

AFE conform

114

importing ALE

170

OMF conform

153

LTC (longitudinal timecode), outputting

186

M

Macintosh and MXF media

102

manual reel

84

master clips creating from AFE

112

creating from ALE

172

logging without media

39

mattes conforming from imported graphics

101

output

190

media capturing from file

51

exporting to file

187

outputting

185

scaling

54

sharing

119

workflow

176

media conversion modes

54

MediaLog exporting AFE files from

107

logging clips

170

MediaManager checking sequence into

131

conforming AAF

129

conforming sequence

132

setting up

130

MediaNetwork sharing media with

119

microphone, capturing audio through

50

monitoring audio output

179

mono audio tracks capturing audio as

127

motion effects, conforming

99

MPEG2 media, sharing

119

multi-camera groups not supported for conform

100

resolutions, not shared

120

Index

205

Index

MXF (Material Exchange Format) files configuring storage for

122

described

121

sharing files created on Avid DS Nitris

125

sharing files created on other Avid editing systems

124

sharing media

119

sharing with Macintosh

102

N

DNA

See

Avid Nitris DNA

Nitris DNA

See

Avid Nitris DNA

numeric keypad, using during capture

42

O

OMF conform error log

152

conforming with audio

153

consolidating media files

157

creating

156

effects deactivated

152

errors

152

exporting file

156

importing

149

importing audio media

155

loading

149

opening

149

saving

156

support for effects

149

unsupported effects

156

OMFI compositions

See

OMF

OMFI media sharing

119

OMFI MediaFiles folder

121

on-the-fly log and capture

44

Open Media Framework

See

OMF

output assemble editing

180

AVI or QuickTime reference movies

198

206 calibrating video

181

checking external device status

186

codecs

187

compression

187

configuring external device

179

Edit Mode

180

effects processing

177

field mode

190

file resolution

187

mattes

190

media

176

,

185

preparing for

177

preserve alpha to file

190

preserving SuperWhite and SuperBlack values

191

resolution

190

selecting an area

177

selecting channels, tracks, and clips

186

sequences

175

series of files

196

setting duration

177

to file, crop and resize

192

to file, procedure

187

to tape, procedure

185

using compression

187

Output Tool opening

178

oversized images, importing

60

P

pattern-based linked clip

63

Photoshop importing

57

layers, conforming

99

play bias

22

post-roll recording

41

preroll insufficient material for capture

43

setting custom (Capture Tool)

40

setting custom (Output Tool)

186

preserving

SuperWhite and SuperBlack values

191

prestriped tape

180

previewing source material

36

Pro Tools exporting OMF to

156

processing output

177

progressive resolutions, not shared

120

proofing EDLs

169

purging tapes

85

Q

QuickTime movies, capturing

51

movies, conforming

101

movies,exporting

187

reference movie, outputting

198

R

recapturing batch capture list

74

from Avid Explorer

67

from timeline

71

record bias

22

reference movies moving to another workstation

198

outputting

198

resolution output

187

S

S/PDIF sample rate

31

sample rate configuring

31

sample rate conversion capturing from file

55

saving

EDL

168

OMF

156

Script Editor

76

opening

77

scripting languages

80

scripts creating

77

creating toolbars

79

editing

81

running

79

Script Editor

77

to capture

76

SCSI drives transferring files on

120

sequences outputting

175

sequential file formats conforming

101

linking to

63

Serial Digital signal calibrating for output

181

selecting for capture

34

sharing media

119

siddsuds.qtx codec

198

snapshot exporting

191

soft cuts conforming

100

SOFTIMAGE| XSI linking to sequential files

63

stills conforming

102

setting duration

51

storage for MXF media

122

for OMFI media

119

storage device audio

31

video

30

storage space remaining for audio

31

remaining for video

30

streaming capture

67

striped tape

180

SuperBlack conforming

99

exporting

190

preserving

191

SuperWhite

Index

207

Index

conforming

99

exporting

190

preserving

191

S-Video calibrating for output

181

selecting for capture

34

sync checking

36

Sync light

36

sync source checking

36

specifying in Capture Tool

35

specifying in Output Tool

184

T

tails adding for capture

41

for recapture

72

Tape Library adding new tapes

83

deleting tapes

85

purging tapes

85

recapturing tapes

85

renaming tapes

84

using

82

Tapeless Archive enabling

87

using

88

workflow

86

tapes adding new

83

capturing material from

39

deleting

85

managing

82

purging

85

recapturing

85

renaming

84

telecine transfer using Tapeless Archive

86

timecode breaks, during capture

43

timeline batch capture

71

capturing clips

71

208 titles conforming

99

fonts for conforming

103

support levels for AAF/AFE

116

transitions conforming short

100

transport controls while capturing

36

while recapturing from Avid Explorer

70

while recapturing from timeline

73

tri-level sync specifying in Capture Tool

35

specifying in Output Tool

184

U

uncompressed media, sharing

119

Unity MediaNetwork sharing media with

119

V

video capture quality

29

compression for capture

29

image scaling

54

input configuration

20

storage device

30

video input calibrating

34

specifying in Capture tool

34

video levels conforming

99

for output

190

video output, calibrating

181

,

183

views

Audio Input Monitor

37

Audio Output Monitor

179

Deck Configuration

20

Tape Library

82

volume setting input levels

37

W

Windows Media, encoding

198

workflows capturing material

18

conforming AFE

93

conforming OMF, EDL, and ALE

148

Index

209

Index

210

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