Avid MediaLog User'

Avid® MediaLog™
User’s Guide
Copyright and Disclaimer
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Avid MediaLog User’s Guide • May 2002
Contents
Using This Guide
Who Should Use This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Related Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
If You Have Documentation Comments . . . . . . . . . . . . . . . . . . . . . . . . 20
How to Order Documentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Chapter 1
Understanding MediaLog
What Is MediaLog? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
How Does MediaLog Work? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
What Are the Basic Logging Steps? . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Chapter 2
Getting Started
Setting Up the Hardware (Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Setting Up the Hardware (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Supported Decks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Turning On the Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Installing MediaLog (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Installing MediaLog (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Starting MediaLog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Setting Up Project Files and Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Identifying a User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Creating a New User. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
6
Selecting an Existing User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Selecting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Setting Film Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Selecting an Existing Project . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Nesting Projects in Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Opening a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Closing a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Backing Up Your Project Information . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Ending a Work Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Quitting the MediaLog Application . . . . . . . . . . . . . . . . . . . . . . . . 47
Turning Off Your Equipment (Windows) . . . . . . . . . . . . . . . . . . . 48
Turning Off Your Equipment (Macintosh) . . . . . . . . . . . . . . . . . . 49
Using Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Chapter 3
Working with the Project Window
Exploring the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Opening and Closing the Project Window . . . . . . . . . . . . . . . . . . . . . . 53
Using the Bins Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Displaying Folders of Bins in the Bins List . . . . . . . . . . . . . . . . . . 55
Creating a Folder in a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Creating a New Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Renaming a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Opening and Closing a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Opening Selected Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Opening Bins from Other Projects . . . . . . . . . . . . . . . . . . . . . . 58
Closing a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Deleting a Bin or Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Viewing Contents in the Trash . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Emptying the Trash in the Bins List . . . . . . . . . . . . . . . . . . . . . . . . 60
Managing Folders and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Saving Bins Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Saving Bins Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
7
Using the Settings Scroll List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Understanding Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Defining Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Reviewing Basic Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Film Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Bin Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Logging Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Displaying Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Changing the Settings Scroll List Display . . . . . . . . . . . . . . . . 69
Working with Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Selecting Another User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Modifying Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Restoring Default Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Using Site Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Using the Info and Usage Displays. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Changing Font and Point Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Customizing Your Workspace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Viewing Keyboard Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Using the Avid Calculator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Using the Serial Ports Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Using the Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Chapter 4
Logging Source Material
Understanding Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Configuring Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Automatic Deck Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Manual Deck Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Deleting Deck Configuration Elements. . . . . . . . . . . . . . . . . . . . . . 92
Setting Deck Preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Understanding Drop-Frame Timecode and Non-Drop-Frame
Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Preparing to Log Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
8
Accessing and Setting Up the Logging Tool . . . . . . . . . . . . . . . . . 96
Accessing the Logging Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Setting Up the Logging Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Guidelines for Naming Tapes. . . . . . . . . . . . . . . . . . . . . . . . . . 97
Inserting Source Tapes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Selecting Active Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Selecting the Target Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Selecting the Source Deck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Identifying the Source Tape . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Setting the Audio Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Logging. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Logging from a Source Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Marking and Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Adding a Memory Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Logging On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Pausing a Deck While Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Logging with the Deck Offline . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Logging Film Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Modifying Clip Information After Logging . . . . . . . . . . . . . . . . . . . . 111
Creating Avid Logs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Importing Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Importing Standard Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Compatible Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Importing Log Files into MediaLog Bins . . . . . . . . . . . . . . . . . . . 113
Transferring Bins from Another MediaLog System . . . . . . . . . . 117
Chapter 5
Organizing with Bins
Preparing to Work with Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Film Scene Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Setting the Bin Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Understanding Bin Display Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Brief View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
9
Bin Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Customizing Bin Views in Text View. . . . . . . . . . . . . . . . . . . 126
Saving a Custom Bin View. . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Bin Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Basic Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Selecting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Duplicating Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Moving Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Copying Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Deleting Clips and Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Assigning Colors to Bin Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Adding a Color Column to a Bin . . . . . . . . . . . . . . . . . . . . . . 132
Assigning a Source Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Assigning a Custom Source Color . . . . . . . . . . . . . . . . . . . . . 133
Limiting Color Choices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Sifting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Sifting Timecodes or Keycode Ranges . . . . . . . . . . . . . . . . . . 135
Sifting Within a Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Locking and Unlocking Items in a Bin . . . . . . . . . . . . . . . . . . . . . 140
Using Text View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Arranging Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Moving and Rearranging Columns . . . . . . . . . . . . . . . . . . . . 142
Aligning Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Showing and Hiding Columns . . . . . . . . . . . . . . . . . . . . . . . . 142
Deleting a Column . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Duplicating a Column . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Adding Customized Columns to a Bin . . . . . . . . . . . . . . . . . 146
Changing a Custom Column Heading. . . . . . . . . . . . . . . . . . 146
Managing Clip Information in Text View. . . . . . . . . . . . . . . . . . . 147
Moving Within Column Cells . . . . . . . . . . . . . . . . . . . . . . . . . 147
Modifying Clip Information . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Copying Information Between Columns . . . . . . . . . . . . . . . . 154
10
Copying Information from Another Cell in a
Custom Column . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Sorting Clips in Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Sorting Clips in Ascending Order . . . . . . . . . . . . . . . . . . . . . 155
Sorting Clips in Descending Order . . . . . . . . . . . . . . . . . . . . 155
Multilevel Sorting with Columns. . . . . . . . . . . . . . . . . . . . . . 156
Sorting Clips by Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Displaying Timecodes in a 24p or 25p Project. . . . . . . . . . . . . . . 157
Frame Counting for Timecodes . . . . . . . . . . . . . . . . . . . . . . . 158
Adding Timecode Columns to a Bin . . . . . . . . . . . . . . . . . . . 158
Adding Timecode Values to the Timecode Columns . . . . . 159
Bin Column Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Chapter 6
Creating MediaLog Output
Printing Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Exporting Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Transferring Bins to an Avid Editing System . . . . . . . . . . . . . . . . . . . 169
Transferring Projects and Bins Using AFE Files. . . . . . . . . . . . . . . . . 170
Appendix A
Avid Log Specifications
Supported Avid Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Understanding Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . 175
Describing an Avid Log File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Global Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Data Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Sample Avid Logs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Appendix B
Working with a Film Project
Creating a Film Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Film Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Setting the Format and Display of Ink Numbers . . . . . . . . . . . . 191
Transfer Settings for Film Projects . . . . . . . . . . . . . . . . . . . . . . . . 192
11
Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Logging Film Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Displaying Film Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Entering Pulldown Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Determining the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . 200
Modifying the Pulldown Phase Before Digitizing . . . . . . . . 202
Entering Frames-per-Second Rates for PAL Transfers . . . . . . . . 203
Entering Key Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Entering Additional Timecodes (Optional) . . . . . . . . . . . . . . . . . 205
Entering the Ink Number (Optional) . . . . . . . . . . . . . . . . . . . . . . . 206
Entering Additional Film Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Index
12
13
Tables
Table 3-1
Settings Scroll List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Table 3-2
Bin Settings Dialog Box Options . . . . . . . . . . . . . . . . . . 67
Table 3-3
Settings Display Groups . . . . . . . . . . . . . . . . . . . . . . . . . 69
Table 3-4
Changing Font and Point Sizes. . . . . . . . . . . . . . . . . . . . 74
Table 4-1
Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Table 4-2
Deck Preferences Options . . . . . . . . . . . . . . . . . . . . . . . . 93
Table 4-3
Import Settings Options . . . . . . . . . . . . . . . . . . . . . . . . 115
Table 5-1
Object Icon Descriptions . . . . . . . . . . . . . . . . . . . . . . . . 123
Table 5-2
Range Menu Items for Explicit Ranges . . . . . . . . . . . . 137
Table 5-3
Range Menu Items for Implicit Ranges . . . . . . . . . . . . 138
Table 5-4
Modifiable Bin Headings. . . . . . . . . . . . . . . . . . . . . . . . 149
Table 5-5
Modify Command Options. . . . . . . . . . . . . . . . . . . . . . 151
Table 5-6
Timecode Columns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Table 5-7
Timecode Frame Counts for Record . . . . . . . . . . . . . . 158
Table 5-8
Bin Column Selection. . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Table A-1
Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . 174
Table A-2
Avid Log Global Headings . . . . . . . . . . . . . . . . . . . . . . 177
Table A-3
Avid Log Column Headings. . . . . . . . . . . . . . . . . . . . . 178
Table A-4
Avid Log Data Headings. . . . . . . . . . . . . . . . . . . . . . . . 181
Table B-1
Project Types for Systems That Support 24p and
25p Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Table B-2
Film Setting Dialog Box Options . . . . . . . . . . . . . . . . . 191
14
Using This Guide
This guide provides information about the configuration and
operation of Avid® MediaLog™.
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.
Who Should Use This Guide
This guide is for video and film editors who wish to log clips before
bringing them to an Avid editing system for batch digitizing and
editing.
16
About This Guide
This guide is designed to keep pace with current advances in the Avid
system’s logging capabilities by consolidating in one comprehensive
resource all the information you will need to take advantage of the
many MediaLog options available to you.
This guide includes basic logging information and has the following
overall structure:
Using This Guide
•
Chapter 1, “Understanding MediaLog,” provides an overview of
MediaLog.
•
Chapter 2, “Getting Started,” describes how to set up the
hardware and run MediaLog sessions.
•
Chapter 3, “Working with the Project Window,” describes how to
structure and view important information in a project.
•
Chapter 4, “Logging Source Material,” describes how to use
MediaLog to log your clips in preparation for digitizing later
when using Avid editing system products.
•
Chapter 5, “Organizing with Bins,” describes how, after creating
clips, you can rename, subcatalog, sort, sift, select, duplicate, and
delete them. This chapter also describes how you can analyze the
clips in a Bin view.
•
Chapter 6, “Creating MediaLog Output,” provides information on
how you can print the bins to create a paper record of your log,
export the bin files for use in a different application, or transfer the
bins to an Avid editing system for digitizing and editing the
footage.
•
The appendixes provide reference information such as
specifications for creating an Avid log file and how to log film
information.
•
Finally, a detailed Index helps you quickly locate specific topics.
17
Symbols and Conventions
Unless noted otherwise, the material in this document applies to the
Windows 2000 and Macintosh operating systems. When the text
applies to a specific operating system, it is marked as follows:
•
(Windows) or (Windows only) means the information applies to
the Windows 2000 operating system.
•
(Macintosh) or (Macintosh only) means the information applies to
the Macintosh operating system.
The majority of screen shots in this document were captured on a
Windows 2000 system, but the information applies to both
Windows 2000 and Macintosh systems. Where differences exist, both
Windows 2000 and Macintosh screen shots are shown.
The Avid MediaLog documentation uses the following special
symbols and conventions:
1. Numbered lists, when the order of the items is important.
a.
•
Bulleted lists, when the order of the items is unimportant.
-
t
Alphabetical lists, when the order of secondary items is
important.
Indented dashed lists, when the order of secondary items is
unimportant.
One arrow indicates a single-step procedure. Multiple arrows in a
list indicate that you perform one of the actions listed.
The k symbol refers to the Apple or Command key. Press and hold
the Command key and another key to perform a keyboard shortcut.
In this document, Avid drive refers to the Macintosh system’s internal
hard drive. Apple Computer, Inc. names the internal hard drive
Macintosh HD. Depending on your system’s setup, the internal hard
drive might have a different name.
Symbols and Conventions
18
Courier Bold font identifies text that you type.
Look here in the margin
for tips.
In the margin, you will find tips that help you perform tasks more
easily and efficiently.
n
A note provides important related information, reminders, recommendations,
and strong suggestions.
c
A caution means that a specific action you take could cause harm to
your computer or cause you to lose data.
If You Need Help
If you are having trouble using MediaLog, you should:
1. Retry the action, carefully following the instructions given for that
task in this guide.
2. Check the documentation that came with your hardware for
maintenance or hardware-related issues.
3. Check the release notes supplied with your Avid editing system
for information on accessing the Avid Web site and the Avid
Knowledge Center.
4. For support services, call Avid Customer Support:
Using This Guide
-
Broadcast products — call 800-NEWS-DNG (639-7364).
-
Postproduction products — call 800-800-AVID (2843).
19
Related Information
This guide frequently refers to other Avid manuals for additional
information. The following table shows the references and the related
manuals.
Avid Editing System
References
Related Manual
Avid Symphony™
editing guide
Avid Symphony Editing Guide
input and output Avid Symphony Input and Output Guide
guide
Avid Media Composer®
and Avid
Film Composer®
editing guide
Avid Media Composer and Film Composer Editing
Guide
input and output Avid Media Composer and Film Composer Input and
guide
Output Guide
Avid Xpress®
user’s guide
Avid Xpress User’s Guide
Avid NewsCutter®
user’s guide
Avid NewsCutter User’s Guide
n
n
Avid Xpress and Avid NewsCutter systems do not have input and output
guides. All relevant information is included in the user’s guide for these
products.
In this guide, the term Avid system is a generic term that refers to any Avid
application, including MediaLog. The term Avid editing system refers to one
of the Avid video editing applications such as Avid Symphony, Avid
Media Composer, Avid Film Composer, Avid Xpress, or Avid NewsCutter.
Related Information
20
If You Have Documentation Comments
Avid Technology continuously seeks to improve its documentation.
We value your comments about this guide, the Help, the Online
Publications CD-ROM, and other Avid-supplied documentation.
Simply e-mail your documentation comments to Avid Technology at
TechPubs@avid.com
Please include the title of the document, its part number, revision, and
the specific section you are commenting on in all correspondence.
How to Order Documentation
To order additional copies of this documentation from within the
United States, call Avid Telesales at 800-949-AVID (2843). If you are
placing an order from outside the United States, contact your local
Avid representative.
Using This Guide
CHAPTER 1
Understanding MediaLog
MediaLog is a tool that helps you select and log footage before your
edit session. Although you can log footage with Avid editing system
products, using MediaLog can free up your Avid editing system for
editing rather than for logging footage. After logging shots (for
example, on a laptop), you can use your Avid editing system to
digitize and edit the footage. In addition, you can transfer film to
National Television Standards Committee (NTSC) or Phase
Alternating Line (PAL) video, use MediaLog to log the material, and
then transfer the logged shots (also known as clips) to an Avid editing
system for digitizing and editing.
This chapter answers the following questions:
•
What Is MediaLog?
•
How Does MediaLog Work?
•
What Are the Basic Logging Steps?
22
What Is MediaLog?
MediaLog is portable; you can install it on a laptop and on most
desktop computers that are running the Windows NT®, Macintosh®,
Windows® 98, Windows 2000, or Windows Me operating system. To
log shots from a source tape, your computer must be connected to a
deck that uses Sony® serial deck protocol. MediaLog allows you to
control the deck while viewing your source tapes and selecting the
shots for your log. You can also log without a deck and enter the
logging information by hand.
For each shot that you log, MediaLog saves the start and end
timecodes, duration, tracks selected, and tape name.
MediaLog also lets you add new categories of information to your log,
so you can record the scene, take, location, or any other comments that
can help you to identify the footage.
Once you have created a log, the MediaLog Sort command orders your
shots according to criteria you specify. The Sift command uses your
criteria to pick out specific footage, such as all the product shots or all
shots from a certain location.
Understanding MediaLog
23
How Does MediaLog Work?
The MediaLog system uses clips, bins, and projects to organize your
work.
MediaLog clips and bins are a lot like their film counterparts. Just as
film editors pull clips from their raw footage and store the clips in bins
for the editing session, MediaLog lets you select shots from your tapes
and store information about the shots in electronic bins.
A clip corresponds to a shot you select from a tape. Clips contain
information about your footage such as the start and end timecodes
and the number of video and audio tracks. Clips are stored in
electronic bins, which have built-in database capabilities to help you
easily find a specific shot.
Each time you log clips, you open a bin and use Logging Tool controls
to play your tapes, mark the shots, and add the clips to the open bin.
A bin is open while you log clips to it.
Sample bin
Deck and log controls are in the Logging tool.
How Does MediaLog Work?
24
Deck controls
Log controls
If you have a log sheet, you can log clips without using a deck. You
type the start and end timecodes for each clip, and then add them to
the bin.
MediaLog uses a project file to organize all the work you do on a
single job. You must always create a new project or open an existing
project before you can open a bin and log your shots.
As you work on a project, MediaLog remembers the name of each bin
you open and displays a list of bin names in the Project window. The
list is useful for helping you to quickly access bins.
Sample Project
window
Bin names
Understanding MediaLog
25
What Are the Basic Logging Steps?
To perform a logging session:
1. Start your computer and the MediaLog program.
2. Create a new project, or open an existing project.
3. Create a new bin, or open an existing bin.
4. Prepare to log:
a.
Select a video format.
b.
Enter Logging mode.
c.
Select a source name.
5. Select the tracks you want to log from the tape.
6. Log the clips.
7. Save and organize the bin.
8. Quit the MediaLog application, and (optionally) shut down the
computer.
What Are the Basic Logging Steps?
26
Understanding MediaLog
CHAPTER 2
Getting Started
This chapter describes how to set up the hardware and run MediaLog
sessions.
This chapter covers the following topics:
•
Setting Up the Hardware (Windows)
•
Setting Up the Hardware (Macintosh)
•
Supported Decks
•
Turning On the Hardware
•
Installing MediaLog (Windows)
•
Installing MediaLog (Macintosh)
•
Starting MediaLog
•
Setting Up Project Files and Folders
•
Backing Up Your Project Information
•
Ending a Work Session
•
Using Help
28
Setting Up the Hardware (Windows)
Make sure your computer meets the following requirements:
•
The computer must be running the Windows NT, Windows 98,
Windows 2000, or Windows Me operating system.
•
The computer includes at least 32 megabytes (MB) of random
access memory (RAM).
MediaLog can control a deck that uses Sony serial deck protocol and a
timecode reader. You can control a single deck by connecting an
RS-232 to RS-422 serial adapter kit to the serial port of your computer.
MediaLog can also control a deck through V-LAN® VLXi®
connections.
n
If you need to connect and control more than one video deck, see the setup
guide for your Avid editing system.
A direct serial video deck connection requires a serial adapter kit that
contains these items (see the following figure):
c
•
An RS-232 to RS-422 serial adapter
•
Two serial cables; male 9-pin connectors at both ends
The computer and the deck must be off when you are connecting the
serial cable.
To connect a single deck to your PC:
1. Turn off the computer and the deck.
2. Attach one end of the first 9-pin cable to the end of the serial
adapter labeled RS-232.
3. Attach the other end of the first 9-pin cable to the serial port of
your computer.
n
Getting Started
When you attach the cable to the serial port on the computer, note if it is
port 1 or port 2. You will have to select the port in the Avid software.
29
Serial adapter
RS-422 connection
RS-232 connection
To your
deck
To your
computer
4. Attach one end of the second 9-pin cable to the end of the serial
adapter labeled RS-422.
5. Attach the other end of the second 9-pin cable to the remote serial
port of the deck.
n
Set the deck to Remote mode before you attempt to control the deck using the
software.
For more information about connecting decks, see the setup guide for
your Avid editing system.
Setting Up the Hardware (Macintosh)
Make sure your computer meets the following requirements:
•
The computer must be running the Macintosh operating system
Version 9.1 (or later).
•
At least 12 MB of RAM must be available to run MediaLog (20 MB
or more is preferred when working with large bins).
MediaLog can control a deck that uses Sony serial deck protocol and a
timecode reader. You can connect a single deck to your system using
the serial board located in the G4 system or using a USB-to-serial
adapter connected directly to the USB hub, and then connecting a
direct serial cable with a round 8-pin DIN connector at one end and a
9-pin D connector at the other end.
Setting Up the Hardware (Macintosh)
30
n
c
If you need to connect and control more than one video deck, see the setup
guide for your Avid editing system.
The computer and the deck must be off when you are connecting the
serial cable.
To connect a single deck to your system:
1. Locate a serial cable.
2. Do one of the following:
t
Attach the round 8-pin DIN connector to a serial port
connector on the serial board.
t
Attach the USB-to-serial adapter to the USB hub.
(See the following figure.)
1
2
USB hub
1 2
Serial port
USB-to-serial adapter
3. Attach the 9-pin D connector to the remote serial connector on the
back of the deck.
n
You might have to place the video deck in Remote mode by turning a switch
before attempting to control the video deck using the software.
For more information about connecting decks, see the setup guide for
your Avid editing system.
Getting Started
31
Supported Decks
For a list of supported decks, search for “Supported Decks” in the
Avid Customer Support Knowledge Center on www.avid.com. See the
Avid editing application release notes for instructions on how to
access the Knowledge Center.
Turning On the Hardware
To be sure that the computer detects all the attached hardware and to
avoid damage to any component, turn on the hardware in the
following order:
1. If your computer has media drives, turn on each drive.
Wait 15 to 30 seconds for the drives to spin up before you turn on
the computer system; otherwise, the computer will not
communicate with the storage devices successfully.
2. If you will be logging clips using a deck, turn on the deck.
Set the REMOTE/LOCAL switch on the deck to REMOTE.
3. Turn on the computer.
c
Do not disconnect or turn off individual drives while the
computer is on.
You can now install the MediaLog software.
Supported Decks
32
Installing MediaLog (Windows)
MediaLog software is shipped on the MediaLog CD-ROM and the
Avid editing application CD-ROM.
n
For information on installing MediaLog from the Avid editing application
CD-ROM, see the release notes for your Avid editing system.
To install MediaLog software on Windows NT, Windows 98,
Windows 2000, or Windows Me systems:
1. Quit all Windows applications.
2. Insert the MediaLog CD-ROM into your computer’s CD-ROM
drive.
If the installer doesn't run automatically after you insert the
application CD-ROM, do the following:
a.
Double-click the My Computer icon.
b.
Double-click the CD-ROM icon.
c.
Double-click Launch.exe to run the installer.
The MediaLog Installer CD-ROM window opens.
3. Click Installers.
4. Click Install Avid MediaLog.
The MediaLog Welcome window opens.
5. Click Next.
The Country Selection for License Agreement window opens.
6. Select the country in which you purchased this product, and then
click Next.
7. In the License Agreement window, read the agreement, and then
click Yes to accept the terms of the agreement.
The Choose Destination Location window opens.
Getting Started
33
c
c
Do not install the MediaLog application on disks where you store
media.
If you install MediaLog on an Avid editing system, make sure the
MediaLog application is in a folder separate from the Avid editing
application. Each application has its own preferences.
8. Click Next to accept the default location or Browse to find a
different location.
The Application Data Location window opens.
9. Click Next to accept the default location or Browse to find a
different location.
The installation begins.
When the installation is complete, a message asks if you want to
restart the system.
10. Restart the computer now or later (before you start the MediaLog
application).
Installing MediaLog (Macintosh)
MediaLog software is shipped on the MediaLog CD-ROM and the
Avid editing application CD-ROM.
n
If you are installing MediaLog Release 11.1, refer to the readme file on the
CD-ROM for additional installation instructions.
To install MediaLog software on Macintosh systems:
1. Restart your Macintosh system.
2. Quit any applications that run automatically at startup.
3. Insert the MediaLog CD-ROM into your computer’s CD-ROM
drive.
4. Double-click the MediaLog Installer icon.
Installing MediaLog (Macintosh)
34
A splash screen introduces the Installer.
5. Click Continue.
The MediaLog Installer window opens.
Install pop-up menu
Install Location
pop-up menu
The Install pop-up menu contains the following choices:
-
Easy Install
-
Uninstall
6. Choose Easy Install.
7. Accept the default installation location from the Install Location
pop-up menu or choose another location.
If you want to change the installation location:
Getting Started
a.
Click the Install Location pop-up menu.
b.
Choose a different disk or “Select Folder.”
c.
If you choose “Select Folder,” navigate to the folder and click
Select.
35
The new installation location appears in the Install window.
c
c
Do not install the MediaLog application on disks where you store
media.
If you install MediaLog on an Avid editing system, make sure the
MediaLog application is in a folder separate from the Avid editing
application. Each application has its own preferences.
8. Click Install.
The Country Selection for License Agreement window opens.
9. Select the country in which you purchased this product, and then
click OK.
10. In the License Agreement window, read the agreement, and then
click Yes to accept the terms of the agreement.
When the installation is complete, a message asks if you want to
quit the installer.
11. Click Quit.
Starting MediaLog
After you install MediaLog, you are ready to start the application.
To start MediaLog:
1. Turn on the video deck.
2. Set the REMOTE/LOCAL switch on the deck to REMOTE.
3. Turn on the computer.
c
Do not run any other Avid editing application on the computer at
the same time as the MediaLog application. The two applications
will conflict with each other.
Starting MediaLog
36
4. Do one of the following:
t
(Windows) Click the Start button, point to Programs, point to
Avid, and then select MediaLog.
t
(Macintosh) Double-click the MediaLog folder to open it, and
then double-click the MediaLog application icon to start
MediaLog.
The Select User and Project dialog box appears.
User folders
MediaLog project folders are stored
in the Avid Projects folder.
Project folder
5. Select an existing user and project, or create new ones, as
described in “Setting Up Project Files and Folders” on page 37.
Getting Started
37
Setting Up Project Files and Folders
Each time you start the MediaLog application or close your current
project, the Select User and Project dialog box appears. The first thing
you do in the dialog box is select an existing user and project or create
new ones.
Users scroll list
Projects scroll list
To establish your identity as a user, open a new or existing project, and
close a project, use the following procedures:
•
Identifying a User
•
Selecting a Project
•
Opening a Project
•
Closing a Project
You can also create additional folders to store projects, or you can quit
the application from the Select User and Project dialog box.
Setting Up Project Files and Folders
38
Identifying a User
To identify a user for the project, you can either create and identify a
new user or select one from a list of existing users. This user name
represents the user profile, which includes the settings associated with
that user. New users begin with default user settings. When you
customize the user settings in MediaLog, these customized settings are
associated with the user name.
The Avid Users folder is the default location for user profile files. For
information about the Avid folders, see the editing guide or user’s
guide for your Avid editing system.
Creating a New User
To create a new user profile:
1. Click New User in the Select User and Project dialog box.
The New User dialog box appears.
2. Type a name for the new user in the text box.
n
If you plan to move bins and projects from one platform to another, do not use
the characters / \ : * ? “ < > | when naming projects, bins, and users.
3. Click OK.
The Select User and Project dialog box reappears with your user
name highlighted in the Users scroll list.
c
Do not share user settings between MediaLog and your Avid editing
system.
You are now ready to select a project. See “Selecting a Project” on
page 41.
Getting Started
39
Selecting an Existing User
To select from the list of existing users:
t
Click the user name to select it in the Users scroll list on the left
side of the Select User and Project dialog box.
The selected user profile appears when you open a project.
Directory pop-up menu
User names
Folder
Folders containing a collection of users appear in the Users scroll list
with an asterisk (Windows) or a dot (Macintosh) preceding them.
For information about the location of the user profile files, see the
editing guide or user’s guide for your Avid editing system.
To select a user name within a folder:
1. Double-click the folder to open it and display the user names.
2. Click the user name to select it.
To change the location
of user profiles outside
the Avid Users folder,
you must use the
Windows operating
system or Macintosh
desktop.
If the user profile you want is stored on your system outside the Avid
Users folder (in another folder or on a network, for example), you can
locate it using the Directory pop-up menu in the Select User and
Project dialog box.
Setting Up Project Files and Folders
40
To search for another user profile folder:
1. In the Select User and Project dialog box, click the Directory
pop-up menu to display a list of other locations on the system.
Directory pop-up menu
2. Choose a drive from the Volumes submenu, if necessary, and
locate the folder.
3. Double-click a selected folder to open it. Continue to open any
additional folders until the Users scroll list includes the
appropriate user name.
4. Click the user name to select it.
You are now ready to select a project. See “Selecting a Project” on
page 41.
Getting Started
41
Selecting a Project
You can either create and open a new project or open an existing
project.
Creating a New Project
To create a new project:
1. Click New Project in the Select User and Project dialog box.
The New Project dialog box appears.
2. Type a name for your new project in the text box, and click OK.
n
If you plan to move bins and projects from one platform to another, do not use
the characters / \ : * ? “ < > | when naming projects, bins, and users.
Setting Up Project Files and Folders
42
3. Choose a project type from the Format pop-up menu, based on
your source footage (NTSC or PAL) and your Avid editing system
model.
n
For information on creating a film project, see “Creating a Film Project” on
page 188.
n
For additional information on creating a project, see the editing guide or
user’s guide for your Avid editing system.
4. (Option) Click Matchback. The Matchback item appears only if
your Avid editing system includes the Matchback option.
For more information about matchback, see “Using the Matchback
Option” in the input and output guide or user’s guide for your
Avid editing system.
5. Click OK.
The system creates the new project files and folders, and then
returns you to the Select User and Project dialog box. The project
name is highlighted in the Projects scroll list. You are now ready to
open the project. See “Opening a Project” on page 45.
Setting Film Preferences
If you are logging 24p or 25p footage for a film project, set film
preferences in the Film Settings dialog box immediately after you
create the project. This will provide the system with important
information about the type of film and audio transfer you used for
your job. For more information, see Appendix B.
Getting Started
43
Selecting an Existing Project
Existing projects appear in the Projects scroll list in the Select User and
Project dialog box.
For information about the location for the project files, see the editing
guide or user’s guide for your Avid editing system.
Projects scroll list
Directory pop-up menu
To select an existing project, do one of the following:
t
Click an existing project name to highlight it.
t
Press the first letter of the project name on the keyboard to
highlight it. (If there are multiple projects that begin with the same
letter, the first project in the list that begins with that letter will be
highlighted.)
Setting Up Project Files and Folders
44
To open a project nested in a folder:
1. Double-click the folder name to open it and display the contents in
the Projects scroll list.
2. Click the project name to select it.
If the project you want is stored on your system outside the Avid
Projects folder (in another folder or on a network, for example), you
can locate it using the Directory pop-up menu in the Select User and
Project dialog box.
To locate a project in another folder:
1. In the Select User and Project dialog box, click the Directory
pop-up menu and choose a drive from the Volumes submenu.
The Select User and Project dialog box displays all the stored
folders.
2. Double-click a folder name to open it. Continue to open any
additional folders until the Projects scroll list includes the project
folder you want.
3. Click the project name to select it.
You are now ready to open the project. See “Opening a Project” on
page 45.
Nesting Projects in Folders
You can create folders in the Select User and Project dialog box for
storing related projects.
To create a folder:
1. Click New Folder in the Select User and Project dialog box.
The New Folder dialog box appears.
Getting Started
45
2. Type a name for the folder in the text box, and click OK.
The folder name appears in the Projects scroll list with an asterisk
(Windows) or a dot (Macintosh) preceding it.
3. Double-click the folder name to open the folder.
Any new projects you create are displayed and stored in this folder.
You can also nest projects using the desktop to move existing projects
into folders that appear in the Select User and Project dialog box. For
more information about moving existing projects, see “Transferring
Projects, User Profiles, and Site Settings” in the input and output guide
or user’s guide for your Avid editing system.
Opening a Project
After you select the appropriate user and project names in the scroll
lists of the Select User and Project dialog box, you can open the project
with the selected user settings.
To open the project, do one of the following:
n
For more information
about the Project
window, see Chapter 3.
t
Click OK in the Select User and Project dialog box.
t
Double-click the highlighted project name in the Projects scroll list.
t
Double-click the highlighted user name in the Users scroll list.
If you press and hold the Alt key (Windows) or the Option key (Macintosh)
while opening a project, the project opens with all bins closed.
The Project window opens with the selected user settings loaded.
The title bar of the Project window contains the project name and user
name you selected in the Select User and Project dialog box.
Setting Up Project Files and Folders
46
Project name
User name
Closing a Project
To close the current project and return to the Select User and Project
dialog box, do one of the following:
t
Click the Close button (Windows) or the close box (Macintosh) in
the Project window.
t
With the Project window active, choose Close from the File menu.
The Project window and all open bins close, and the Select User and
Project dialog box appears.
Getting Started
47
Backing Up Your Project Information
Although MediaLog automatically saves your bins, projects, and
settings, you should back up these items frequently to avoid losing
any of your work in case your drive fails. Because the storage
requirements are minimal, you can back up these files to a variety of
storage devices, such as:
•
Floppy disk or equivalent drive
•
Removable storage device
•
Network storage device (such as a file server)
For information on backing up a project and restoring information
from a backup, see the editing guide or user’s guide for your Avid
editing system.
Ending a Work Session
To end the work session, first you must quit the application, and then
turn off your equipment in the order described in these sections:
•
Quitting the MediaLog Application
•
Turning Off Your Equipment (Windows)
•
Turning Off Your Equipment (Macintosh)
Quitting the MediaLog Application
There are two ways to quit the MediaLog application, depending
upon whether you have a project open or you are between projects:
t
If you are working on an open project and want to quit MediaLog
quickly, choose Exit (Windows) or Quit (Macintosh) from the File
menu.
Backing Up Your Project Information
48
The project closes and the application quits.
t
If you are between projects, from the Select User and Project dialog
box:
a.
Click the Quit button.
A message box appears, asking if you want to leave the
application.
b.
Click Leave to quit the application. Click Cancel to return to
the Select User and Project dialog box, and select another
project.
Turning Off Your Equipment (Windows)
When you finish using your system and want to turn it off completely,
follow these steps to avoid damaging your system or media storage
drives. Quit the Avid application before turning off your equipment.
To turn off your equipment:
1. Choose Shut Down from the Start menu.
The Shut Down Windows dialog box appears.
2. Choose Shut down from the pop-up menu, and click OK.
3. When a message states that you can safely turn off your computer,
press the computer’s Power button.
4. Turn off your speakers and monitors.
5. Turn off each external drive in the chassis, and then turn off the
chassis itself.
6. Turn off all other hardware.
c
Getting Started
Never remove media drives from your Avid system when it is
turned on. Shut down the computer and then remove the drives.
49
Turning Off Your Equipment (Macintosh)
When you finish using your system and want to turn it off completely,
follow these steps to avoid damaging your system or media storage
drives. Quit the Avid application before turning off your equipment.
To turn off your equipment:
1. Choose Shut Down from the Special menu. This turns off your
Macintosh system. The screens on the Bin and Edit monitors
become dimmed.
2. Turn off your speakers and monitors.
3. Turn off each external drive in the chassis, and then turn off the
chassis itself.
4. Turn off all other hardware.
c
Never remove media drives from your Avid system when it is
turned on. Shut down the computer and then remove the drives.
Using Help
You can get help and background information for tasks, windows,
dialog boxes, and screen objects through your Avid Help system. The
Help system is HTML based and operates in the Microsoft® Internet
Explorer Web browser. Avid recommends using Internet Explorer
Version 5 or later.
To open Help from within the MediaLog application:
t
Choose MediaLog Help from the Help menu.
Help opens in Microsoft Internet Explorer.
To learn how to use Help:
t
Click the Using Help button in the Help system.
Using Help
50
Getting Started
CHAPTER 3
Working with the Project
Window
The Project window provides controls for structuring and viewing
important information about your current project.
This chapter covers the following topics:
•
Exploring the Project Window
•
Opening and Closing the Project Window
•
Using the Bins Display
•
Using the Settings Scroll List
•
Using the Info and Usage Displays
•
Changing Font and Point Size
•
Customizing Your Workspace
•
Viewing Keyboard Settings
•
Using the Avid Calculator
•
Using the Serial Ports Tool
•
Using the Console
52
n
(Windows only) This chapter refers to the installation default directory path
for the various Avid folders. If you selected a different directory path during
the installation, you must substitute that path when using this chapter.
Exploring the Project Window
The Project window provides controls (Bins, Info, and Usage) for
structuring and viewing information about your current project. The
Project window also provides access to the Settings scroll list for
altering various User, Project, and Site settings.
You can use the Project window to:
•
Create and open bins.
•
View and modify settings.
•
View information about the format of the project and system
memory usage.
•
View information about the work session usage.
•
Add folders to organize project components.
Working with the Project Window
53
Opening and Closing the Project Window
The Project window opens automatically when you select a project in
the Select User and Project dialog box.
To close the Project window and return to the Select User and
Project dialog box, do one of the following:
t
Click the Close button (Windows) or the close box (Macintosh) in
the Project window.
t
With the Project window active, choose Close from the File menu.
The Project window remains open the entire time you are working in a
project; however, it might be hidden from view by several open bins or
tools.
Opening and Closing the Project Window
54
To locate and redisplay the Project window, do one of the following:
t
Choose Project from the Tools menu.
t
Click in an unobstructed area of the Project window to bring it
forward.
Using the Bins Display
Bins contain the master clips that are created when you log source
material. From the Project window, you can view a list of bins
associated with the project, and open, close, and create bins. You can
also open bins created for another project.
n
MediaLog will not open a bin that contains an effect.
To view a list of bins associated with the project:
t
Click the Bins tab in the Project window.
Bins tab
Fast Menu button
Bin icon
Bins list
From the Bins list you can examine the number, names, sizes, and
location of the bins.
Working with the Project Window
55
Displaying Folders of Bins in the Bins List
You can add folders to the Bins list in the Project window to help
organize your project. You can click bins and drag them into folders, or
click folders and drag them into other folders. See “Managing Folders
and Bins” on page 61.
Fast Menu button
New folders
Trash icon
To display the folder’s contents in the Bins list of the Project
window:
t
Click the triangular opener next to a folder icon.
To close the display, click the triangular opener again.
To view a list of only the folder contents and not the folders:
t
Choose Flat View from the Fast menu.
The Trash icon and its contents disappear until Flat View is
deselected.
n
The Trash icon doesn’t appear until you select and delete a bin.
Using the Bins Display
56
Creating a Folder in a Project
To create a folder in a project:
1. Click the Bins tab in the Project window.
2. Choose New Folder from the Fast menu.
A new untitled folder appears.
3. Click the untitled folder name in the Bins list and rename it.
Creating a New Bin
To create a new bin from the Project window, do one of the
following:
t
Choose New Bin from the File menu.
t
Click the New Bin button in the Project window.
A new (empty) bin opens and is given the name of the project as
displayed in the title bar of the Project window. The new bin appears
in the Bins list of the Project window with the default name
highlighted. A corresponding file is placed in the project folder in the
Avid Projects folder, and a backup copy is placed in the Attic folder.
You can keep the default name of the bin or rename the bin
immediately. For more information, see “Renaming a Bin” on page 57.
Working with the Project Window
57
Renaming a Bin
Each new bin you create takes the name of the project that appears in
the title bar of the Project window, and is numbered incrementally.
To change the name of a bin:
1. Click the bin name in the Bins list of the Project window.
2. Type a new name.
Project name
Default bin name
Opening and Closing a Bin
To open a bin:
1. Click the Bins tab in the Project window.
2. Double-click the Bin icon next to the bin name.
The bin opens in a separate window. The Bin icon in the Project
window becomes dimmed, indicating the bin is open.
Using the Bins Display
58
Opening Selected Bins
To open several bins at once from the Project window:
1. Click a Bin icon in the Bins list.
2. Ctrl+click (Windows) or Shift+click (Macintosh) each additional
bin you want to open.
3. Choose Open Selected Bins from the File menu.
Opening Bins from Other Projects
To open a bin from another project:
1. Choose Open Bin from the File menu.
The Open dialog box appears.
2. Find and select the bin you want.
(Windows only) Bins have the file name extension .avb.
c
Never open a bin that is stored on a floppy disk or equivalent
device; otherwise, the system cannot save your work. Always copy
the bin to a project folder on the system drive before you open it. For
more information, see the input and output guide or user’s guide for
your Avid editing system.
3. Click Open.
The bin appears in the Bins list of the Project window in a folder called
Other Bins. The name Other Bins appears in italic. You can rename this
folder. This option is useful when you want to open a bin not currently
displayed in the Project window.
n
The Other Bins folder disappears from the Bins list when you delete all the
bins in the Other Bins folder. Deleting bins from the Other Bins folder does
not remove the bins from the drive; only the pointers to the bins are removed.
Working with the Project Window
59
Closing a Bin
To close a bin, do one of the following:
t
Click the Close button (Windows) or the close box (Macintosh).
t
Choose Close Bin from the File menu.
Deleting a Bin or Folder
You can delete bins and folders along with their contents from the Bins
list in the Project window. Deleted bins and folders are moved to a
Trash folder in the Bins list until you empty the Trash. If you need a
deleted bin or folder, you can retrieve it from the Trash. For more
information, see “Viewing Contents in the Trash” on page 59.
c
Only bins and folders appear in the Trash. If you select an item in a
bin and press Delete, the item is permanently deleted and does not
appear in the Trash.
To delete a bin or folder from the Project window:
1. Select the bin or folder you want to delete in the Bins list.
2. Press the Delete key.
A Trash icon appears in the Bins list in the Project window. The
Trash contains the deleted item (bin or folder). The deleted item
(bin or folder) is stored in the Trash until you empty it.
Viewing Contents in the Trash
If you need to view the contents in the Trash or decide you do not
want to delete those items in the Trash, you must first move the bins or
folders from the Trash.
Using the Bins Display
60
To view items in the Trash:
1. Click the triangular opener next to the Trash icon in the Bins list to
list the contents of the Trash.
2. Click the bins or folders you want to keep (or view) and drag them
from the Trash to the Bins list in the Project window.
3. Double-click the bin or folder to view it.
Emptying the Trash in the Bins List
You can empty the contents of the Trash that is located in the Bins list.
c
n
Emptying the Trash permanently removes the bins or folders from
the drive.
If you change the name of the Trash icon, you cannot empty the Trash.
To empty the Trash in the Bins list:
1. Choose Empty Trash from the Fast menu.
A message box appears.
2. Click Empty Trash to delete the bins or folders from the Trash and
from your system drive.
Working with the Project Window
61
Managing Folders and Bins
You can use the Project window to create hierarchies of folders and
bins that reflect the specific workflow of the current project. This
structure provides both simplicity and backup security.
Creating a hierarchy allows you to have one set of bins available in the
Project window during the digitizing and organizing phase, and
another set of bins available during editing to reduce clutter. For more
information, see the editing guide or user’s guide for your Avid
editing system,
Saving Bins Automatically
MediaLog automatically saves changes to your work on a regular
basis during each session. You can modify the frequency of the
automatic backups using the Bin settings in the Settings scroll list in
the Project window.
When you are working with bins, an asterisk (Windows) or a diamond
(Macintosh) appears before the bin name in the bin’s title bar. The
asterisk (Windows) or diamond (Macintosh) indicates that the changes
to the bin have not been saved. Once you save the bin, the asterisk
(Windows) or diamond (Macintosh) is removed.
When auto-save occurs:
•
Any open bins are updated with changes made since the last
auto-save.
•
Copies of these bins are placed in the following folders as backup:
drive:\Program Files\Avid\MediaLog\Attic folder
The system automatically places copies of all bins into the Attic folder
at regular intervals for backup. The procedure for recovering bin files
from the Attic folder is described in the editing guide or user’s guide
for your Avid editing system.
Using the Bins Display
62
To adjust the frequency of automatic saves:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Bin in the Settings scroll list.
The Bin Settings dialog box appears.
3. Type a number in the minutes text box for the Auto-save interval
option.
4. Click OK.
You can manually save bins for added security — for example,
immediately after an important edit. When your work is lost, or when
you want to recover an earlier version of a bin, you can retrieve files
from the Attic folder.
Saving Bins Manually
You can manually save a specific bin, selected bins, or all bins.
To save a specific bin:
1. Click the bin to activate it.
2. Choose Save Bin from the File menu.
n
The Save Bin command appears dimmed if there have been no changes since
the last time the active bin was saved.
To save all the bins:
1. Click the Project window to activate it but do not select any bins in
the Bins list.
2. Choose Save All from the File menu.
The system saves all the bins for the project.
Working with the Project Window
63
Using the Settings Scroll List
From the Settings scroll list in the Project window, you can view, select,
open, and alter various User, Project, and Site settings.
To view the Settings scroll list:
t
Click the Settings tab in the Project window.
Settings tab
Settings type
Settings scroll list
Using the Settings Scroll List
64
Understanding Settings
The three types of settings appear in the Settings scroll list as User,
Project, and Site.
n
For information about the location of the settings files, see the editing guide or
user’s guide for your Avid editing system.
The function of these settings is as follows:
•
User settings are specific to a particular editor. User settings
reflect individual preferences for adjusting the user interface in the
MediaLog application. Individual User settings are stored in each
user folder.
•
Project settings are directly related to individual projects. When
you change a Project setting, it affects all editors working on the
project. Specific Project settings are stored in each project folder.
•
Site settings establish default parameters for all new users and
projects on a particular system. They can apply to particular
configurations of equipment installed at the site (for example,
specification and node settings for an external switcher). They can
also include other User or Project settings that you copy into the
Site Settings window. Site settings are stored in a separate Settings
folder.
Table 3-1 briefly describes each item in the Settings scroll list. The table
also lists where you can find additional information on a particular
item, and indicates whether the item has an associated dialog box (or
window) that you can access from the Settings scroll list.
n
For information about navigating in the settings dialog boxes, see the editing
guide or user’s guide for your Avid editing system.
Working with the Project Window
65
Table 3-1
Settings Scroll List
For More
Information
Setting Name
Description
Audio Project
Sets the rate for audio input.
See the input and
output guide or user’s
guide for your Avid
editing system.
Bin
Sets the auto-save interval;
double-click preferences for bins and
other bin-related parameters.
See “Bin Settings” on
page 67.
Deck Configuration
Configures channels and decks into
the system.
See “Configuring
Decks” on page 82.
Deck Preferences
Sets preferences that affect all decks
configured into the system.
See “Setting Deck
Preferences” on
page 92.
Film
Sets parameters for edit play rate, ink See “Film Settings” on
number format, and transfer rate.
page 190.
Import
Sets parameters for file import.
Keyboard
Maps commands from the Command See “Viewing
palette to the keyboard.
Keyboard Settings” on
page 75.
Logging
Allows you to enable the Pause Deck
While Logging feature.
See “Pausing a Deck
While Logging” on
page 107.
Serial (COM) Ports
Configures the serial ports on your
system for deck control.
See “Using the Serial
Ports Tool” on page 78.
Workspace
Enables you to associate settings and
windows with a workspace.
See “Customizing
Your Workspace” on
page 75.
See “Importing Logs”
on page 112.
Using the Settings Scroll List
66
Defining Settings
You can use the Settings scroll list to establish a hierarchy of settings
that address the specific needs of each production phase.
For example, you can establish:
c
•
User settings for the assistant editor — Facilitate logging,
digitizing, and organizing projects
•
Project settings — Reflect the specific needs of the project
•
Bin View settings — Display useful columns of information for
each bin
Never use a User settings file that was opened in an Avid editing
application such as Avid Symphony, Avid Media Composer, Avid
Film Composer, Avid Xpress, or Avid NewsCutter.
By establishing these settings once, and selecting the appropriate
setting or bin view in context, you can save time and effort that would
be spent searching for information or adjusting bin headings
on-the-fly. You can also save these settings along with your template
for use on similar projects.
Reviewing Basic Settings
The following are basic system settings to review at the start of your
project:
•
Film Settings
•
Bin Settings
•
Logging Settings
To view the settings:
t
Double-click each setting in the Settings scroll list of the Project
window.
Working with the Project Window
67
Film Settings
Film settings determine essential parameters for accurately capturing,
tracking, and editing source material for 24p and 25p projects. See
“Film Settings” on page 190 for a description of film settings.
Bin Settings
The Bin Settings dialog box controls the MediaLog’s automatic save
features, including the number of backups saved in the Attic folder.
Table 3-2 describes the Automatic Save and Backup options, and the
results of double-clicking an object in a bin.
Table 3-2
Bin Settings Dialog Box Options
Option
Description
Auto-save interval
Specifies the length of time between attempts to auto-save project
files. The default is 15 minutes.
To avoid interrupting a logging operation, the Avid system waits
until the system is inactive before auto-saving. Use the “Force
auto-save at” option to specify an interval at which the system
will interrupt an operation to auto-save.
Inactivity period
Specifies the length of time the Avid system waits while the
system is inactive before automatically saving the project files.
The default is 0 seconds.
Force auto-save at
Specifies the maximum length of time between auto-saves. When
the system reaches this time, it will auto-save the project files
even if it must interrupt an operation to do so. The default is 15
minutes.
Using the Settings Scroll List
68
Table 3-2
Bin Settings Dialog Box Options (Continued)
Option
Description
Maximum files in attic
Specifies the total number of files stored in the Attic folder. When
a bin is saved, the Avid system copies the previous version of the
bin to a special folder called the Attic. The default is 30 files.
Keep more files if there are many users working on the system.
This ensures that all the bins are backed up.
When there are multiple users working on one system, store Bin
settings as Site or Project settings. This will ensure that another
user does not override your settings and delete your backups.
Max versions of any one bin
Specifies the total number of single-bin copies stored in the Attic
folder. This setting prevents filling the Attic with too many
copies of one bin, at the risk of losing the others. The default is 5
copies.
Logging Settings
These settings define whether the deck will pause during a logging
operation. See “Pausing a Deck While Logging” on page 107.
Working with the Project Window
69
Displaying Project Settings
You can display the Settings scroll list of the Project window in
different groups, depending on what you need to view. Table 3-3
describes the different settings display groups.
Table 3-3
Settings Display Groups
Option
Description
Active Settings
Displays currently active settings in your Avid system.
All Settings
Displays all settings available in the Avid system.
Base Settings
Displays Project, User, and Site settings only; no views are displayed.
Bin Views
Displays all the Bin View settings you created.
Export Settings
Displays all the Export settings.
Import Settings
Displays all the Import settings.
Workspaces
Displays all the Workspace settings you created.
Workspace Linked
Displays only the linked workspaces.
Changing the Settings Scroll List Display
To change the Settings scroll list display of the Project window:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Click the Fast Menu button and choose a settings display group
from the Settings menu.
The Settings menu displays the selected settings group and the
Settings scroll list displays only the settings in that group.
Using the Settings Scroll List
70
Working with Settings
You can view and modify most of your current settings by
double-clicking them in the Settings scroll list of the Project window
and by selecting new options. You can duplicate, rename, copy, and
move settings among files or systems.
Selecting Another User
Because User settings are not project or site specific, you can display
another set of User settings in the Project window.
To select another user:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Choose another name from the User pop-up menu.
User pop-up menu
The previous user’s settings are saved, and the new user’s settings are
loaded into the Avid system and the Project window.
Working with the Project Window
71
Modifying Settings
You can alter the default options for various settings to reflect the
specific needs of a project or to customize the system based on
personal preferences. For details, see the editing guide or user’s guide
for your Avid editing system.
Restoring Default Settings
To restore settings to their default values:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Click a setting to select it. Ctrl+click (Windows) or Shift+click
(Macintosh) each additional setting you want to select.
3. Choose Restore to Default from the Special menu.
A message box appears, asking whether you want to save the
settings.
4. Click the Copy & Restore button to copy the current settings
before restoring the default settings, or click the Restore button to
discard the current settings.
The system restores the default values for the selected settings.
Using Site Settings
When the system opens a new project, it searches the Site_Settings file
(located in drive:\Program Files\Avid\MediaLog\Settings folder) and
loads Site settings and any settings placed in the file. The system then
loads any Project and User settings not included in the Site_Settings
file.
Adding settings to the Site_Settings files is useful if you need to
establish global settings for all new users and projects, such as deck
settings, a specific start timecode for all clips, or various customized
features of the interface.
Using the Settings Scroll List
72
To load settings into the Site_Settings file:
1. Open a project with the settings you want to establish as Site
settings. If a project does not already exist with the settings you
want, create a project and make adjustments to the default settings
as needed.
2. Choose Site Settings from the Special menu.
The Site_Settings window opens.
3. Click a Project or User setting in the Settings scroll list of the
Project window, or Ctrl+click (Windows) or Shift+click
(Macintosh) multiple settings and drag them into the Site_Settings
window.
Copies appear in the Site_Settings window.
4. Close the Site_Settings window.
All new users and projects opened from the Select User and Project
dialog box use these settings as the default settings.
Working with the Project Window
73
Using the Info and Usage Displays
The following types of information are also available on the Project
window:
•
The Info display allows you to view basic project information,
such as the video format (NTSC, for example). The displayed
information lists the options you selected in the New Project
dialog box when you created the project. You can also view system
memory information from the Info display.
•
The Usage display shows information on system usage. You can
use this information to support business functions such as
resource management. See the editing guide or user’s guide for
your Avid editing system for more information.
To open the Info or Usage display:
t
Click the Info or Usage tab in the Project window.
The items listed in this view are for information only and cannot be
changed.
Changing Font and Point Size
You can change the default font and point sizes of the Project and Bin
windows. You can vary the fonts and point sizes across these
windows. For example, you can set the Project window to Helvetica,
13 pt, set one Bin window to Times Roman, 11 pt, and set another Bin
window to Arial, 12 pt.
Table 3-4 describes the windows you can change, and where these
changes are saved.
Using the Info and Usage Displays
74
Table 3-4
Changing Font and Point Sizes
Window
Location of Changes
Project
Changes the font and point size of the text in the Bins and
Settings tabs; saved as a Project setting.
Bin
Changes the font and point size of the text in the Bin
window; saved as a Bin setting (not the Bin View setting).
To change the font displayed in the Project or Bin window:
1. Click the Project or Bin window to make it active.
2. Choose Set Font from the Edit menu.
The Set Font dialog box appears.
3. Choose a font from the Font pop-up menu.
n
Any font installed on the Avid system appears in the list. For information on
adding fonts to your system, see your Windows or Macintosh documentation.
4. Type another point size for the font in the Size text box.
5. Click OK.
The new font and point size appear in the active window.
When you close the window, the last font and point size applied is
saved with the window.
Working with the Project Window
75
Customizing Your Workspace
A workspace is the arrangement and size of tool windows displayed
on your Avid system. If you are accustomed to working with a
particular group of windows arranged and sized in a particular setup,
you can assign them to a workspace setting that you can then recall
with a Workspace button. For example, during logging you might
want to display the Logging tool and bins in specific locations.
While in a workspace, you can move tool windows or open and close
tool windows. The next time you select that workspace, the tool
windows appear with either:
•
The arrangement from the last time you left the workspace
•
The arrangement you set for the workspace, regardless of any
changes you made
For information on setting up workspaces, see the editing guide or
user’s guide for your Avid editing system.
Viewing Keyboard Settings
Common editing commands are mapped to the MediaLog keyboard.
Use the Keyboard settings to view the commands mapped to your
keyboard. You cannot change the mappings in MediaLog.
To view keyboard settings:
t
n
Double-click Keyboard in the Settings scroll list of the Project
window.
The Keyboard palette varies, depending on the type of keyboard attached to
your Avid system. If an Avid-supported European keyboard is attached to
your Avid system, then the Keyboard palette will match that keyboard.
Customizing Your Workspace
76
The Keyboard settings window opens and displays command buttons
that are mapped to the keyboard. To view the name of a command
button, let the mouse pointer rest on the button for a second or two.
Using the Avid Calculator
The Avid Calculator helps you calculate video and film durations, and
convert timecode and film key numbers to different formats.
For example, you can:
•
Convert drop-frame to non-drop-frame timecode values.
•
Convert timecode durations between 30-fps and 25-fps projects.
•
Convert a duration in video to the corresponding length in footage
and frames for measuring 35mm film.
To use the Avid Calculator:
1. Choose Calculator from the Tools menu.
The Avid Calculator opens.
Working with the Project Window
77
Format pop-up menu
2. Choose a format from the Format pop-up menu.
3. Make calculations in one of the following ways:
t
Click numbers and functions in the Avid Calculator.
t
Enter numbers and functions using the numeric keypad.
t
Enter numbers and functions using the top row of numbers on
the keyboard.
You do not need to enter leading zeros, colons, or semicolons for
timecode.
4. To convert your totals at any time to another format, choose a
different frame code or key number format from the Format
pop-up menu.
Using the Avid Calculator
78
Using the Serial Ports Tool
The Serial (COM) Ports tool (Windows) or Serial Ports tool
(Macintosh) allows you to view the current configuration of the serial
interface at any time during editing. You can also use it to reconfigure
the ports without quitting MediaLog or shutting down the computer.
To access the Serial (COM) Ports or Serial Ports tool:
1. Double-click Serial (COM) Ports (Windows) or Serial Ports
(Macintosh) in the Settings scroll list of the Project window.
The Serial (COM) Ports (Windows) or Serial Ports (Macintosh) tool
opens.
n
If you have not yet configured a deck, the window might be empty.
2. View or change the port for one or more decks.
You configure the deck and port in the Deck Configuration dialog
box (see “Configuring Decks” on page 82). You can change the
port in the Serial (COM) Ports (Windows) or Serial Ports
(Macintosh) tool, but whenever MediaLog starts it will use the
port selected in the Deck Configuration dialog box.
Working with the Project Window
79
Using the Console
The Console window provides a number of features, including:
c
•
Current system information, including your system ID number
•
A log of error messages
Do not use the programming features of the Console without
guidance from Avid professionals. Contact your local Avid Reseller
(in North America, you can contact Avid Customer Support).
To display current system information:
1. Choose Console from the Tools menu to open the Console
window.
2. Scroll to the top of the Console window to view your system
information and ID. This feature is especially useful for finding
the system ID before you contact your Avid Reseller or Avid
Customer Support.
Using the Console
80
Working with the Project Window
CHAPTER 4
Logging Source Material
You use MediaLog to log your clips in preparation for digitizing later
when using Avid editing applications.
This chapter covers the following topics:
•
Understanding Logging
•
Configuring Decks
•
Setting Deck Preferences
•
Understanding Drop-Frame Timecode and Non-Drop-Frame
Timecode
•
Preparing to Log Material
•
Logging
•
Logging Film Information
•
Modifying Clip Information After Logging
•
Creating Avid Logs
•
Importing Logs
82
Understanding Logging
MediaLog requires that you name the clips that you log, the tapes they
came from, and their start and end timecodes. Many editors prefer to
log all their clips (shots) first and then batch digitize their material
later in the Avid editing application.
The three basic methods for producing a bin or log that can be used
later for batch digitizing are:
•
Logging directly to a bin
•
Importing standard log files to a bin
•
Creating Avid logs
The MediaLog tools automate the process of recording each clip’s start
and end timecodes, track selection, and other important data. You do
not need to enter information manually. However, if a source deck is
unavailable, or if you have already logged the data on paper, you can
manually record clip data in a bin.
The logging tools provided in MediaLog are also available in the Avid
editing system products. Bins that you create with MediaLog are
completely compatible with your Avid editing system product — you
can copy MediaLog bins to the Avid editing system to begin working
with the logged footage.
Configuring Decks
The MediaLog application provides a feature that will automatically
configure your attached deck. Each time you quit the MediaLog
application, the deck configuration settings are saved. If you reconnect
the deck to a different port, or attach a new deck, you must run the
automatic deck configuration feature again.
Logging Source Material
83
If MediaLog does not automatically sense your attached deck, you
must manually configure the deck.
n
MediaLog will not override the configurations that were manually specified.
Automatic Deck Configuration
Use the automatic configuration feature before manually trying to
configure any attached deck. If the automatic feature does not sense
your attached deck, see “Manual Deck Configuration” on page 83.
To automatically sense the attached deck:
t
Choose Autoconfigure All Ports from the Special menu.
MediaLog searches the system ports and configures the attached
decks.
Manual Deck Configuration
MediaLog offers an alternative method of configuring your deck if it
cannot be automatically configured. You can manually configure
single or multiple decks even if the decks are not currently attached to
the system. Stored deck configurations can also be deleted.
The Deck Configuration and Deck Preferences settings appear as
separate items in the Settings scroll list of the Project window.
Configuring Decks
84
Deck settings
Deck Configuration settings allow you to establish deck control
parameters for a single deck or for multiple decks. As with all settings,
you can create multiple versions, allowing you to select among them
for frequent changes in hardware configurations.
Deck Configuration settings and global deck control preferences
appear as separate items in the Settings scroll list of the Project
window.
For information on setting Deck Preferences, see “Setting Deck
Preferences” on page 92.
c
You must manually configure the appropriate hardware connections
before Deck Configuration settings can take effect. For more
information, see the setup guide for your Avid editing system.
To configure a deck or multiple decks:
1. Double-click Deck Configuration in the Settings scroll list of the
Project window.
The Deck Configuration dialog box appears.
Logging Source Material
85
2. If you are configuring your system for the first time, click the Add
Channel button to add a new channel box on the left side of the
Deck Configuration dialog box and to automatically open a
Channel dialog box.
n
Channel refers to the signal path for deck control, whether directly through a
serial port or through a V-LAN VLXi system connected to a serial port.
Direct serial port connection allows one deck for each channel, while a V-LAN
VLXi system provides multiple decks.
Configuring Decks
86
3. Choose one of the following from the Channel Type pop-up menu,
depending upon your system configuration.
For more information
on V-LAN equipment,
contact your Avid sales
representative.
t
Direct if you are controlling a deck through an RS-422
connection to the serial port.
t
VLAN VLX if you are controlling a deck through a
V-LAN/VLXi connection.
4. Choose the port to which you are connecting the deck from the
Port pop-up menu
n
If you are not sure which port to choose, check the 9-pin serial port connectors
on the back of the system. If the ports are not labeled, see the hardware
documentation supplied with your system.
5. Click OK to close the Channel dialog box.
A message box appears, asking if you want to automatically
configure the channel now.
6. Click Yes if you want to automatically configure the channel.
A new channel appears in the display area of the Deck
Configuration dialog box, along with the autoconfigured deck.
Logging Source Material
87
Decks appear on the right side.
Channel boxes
appear on the
left side.
n
You can reopen the Channel dialog box to change the options at any time by
double-clicking the channel box in the Deck Configuration dialog box.
7. If you did not autoconfigure the deck, click the channel box to
select it.
8. Click the Add Deck button to open the Deck Settings dialog box.
n
With a deck already connected to the system, you can click the Auto-configure
button to bypass the Deck Settings dialog box and automatically configure a
deck with the default settings.
Configuring Decks
88
9. Select settings based on your deck. For information on Deck
settings, see “Deck Settings Options” on page 89.
10. Click OK to close the Deck Settings dialog box and return to the
Deck Configuration dialog box.
n
You can reopen the Deck Settings dialog box to change the options at any time
by double-clicking the deck box in the Deck Configuration dialog box.
11. Repeat steps 2 to 10 for each additional channel or deck you want
to configure.
12. (Option) Select the “Verify configuration against actual decks”
option (at the bottom of the Deck Configuration dialog box) if you
want the system to check the deck configuration against the decks
physically connected to the system.
The system checks the deck configuration after you click Apply in
the Deck Configuration dialog box and when you start MediaLog.
A message box warns you if the configuration does not match the
deck.
Logging Source Material
89
13. Type a name in the Configuration name text box to name the deck
configuration. The new deck configuration appears in the Settings
scroll list of the Project window.
14. Click Apply to complete the configurations and close the Deck
Configuration dialog box.
15. If necessary, double-click Deck Preferences in the Settings scroll
list of the Project window to adjust global deck control options.
For more information, see “Setting Deck Preferences” on page 92.
Deck Settings Options
To access the Deck Settings dialog box, do one of the following:
t
Click the Add Deck button in the Deck Configuration dialog box.
t
Choose Adjust Deck from the Deck Selection pop-up menu in the
deck controller section of the Digitize tool.
t
Double-click the deck name in the Deck Settings dialog box.
Configuring Decks
90
Table 4-1 describes the Deck Settings options.
Table 4-1
Option
Suboption
Deck Settings Options
Description
Name
Type your custom name for the tape deck. The default name
matches the deck type.
Description
Enter notes about the deck.
Logging Source Material
91
Table 4-1
Option
Suboption
Deck Settings Options (Continued)
Description
Notes
Displays configuration information, supplied by Avid, about
the deck you have selected. Not all decks include this
information.
Device
Choose your manufacturer and model from the menus. These
decks have been qualified to work with your Avid system.
Address
For V-LAN VLXi use only (see your V-LAN VLXi
documentation). If you are using direct serial port deck control,
this option is unavailable.
Preroll
Specifies how many seconds the tape rolls before a digitize or
digital cut starts. The default is based on the type of deck.
n
FAST CUE
The Preroll option has no effect in MediaLog.
Speeds up long searches; if your decks can read timecode in
Fast Forward or Rewind mode. Otherwise, this option is not
useful.
Switch to ff/rew
(seconds)
When this option is selected, the system switches to fast
forward or rewind if the target timecode is beyond the
specified number of seconds from your current location on the
tape.
By default, the deck switches to fast forward or rewind to reach
a target timecode that is more than 60 seconds away.
If your deck shuttles very quickly, you can increase this number
so the system uses fast cue only for long searches.
Switch to Search
(seconds)
When this option is selected, the system switches out of fast
forward or rewind when it is within the specified number of
seconds of the target timecode. By default, the system switches
to Search mode when it is 25 seconds from the target timecode.
Configuring Decks
92
Deleting Deck Configuration Elements
You can delete deck configuration elements to remove or replace them.
To delete deck configuration elements in the Avid system:
1. Double-click Deck Configuration in the Settings scroll list of the
Project window.
The Deck Configuration dialog box appears.
2. Click a channel box, a deck box, or the entire configuration to
select it.
3. Click the Delete button.
4. Click Apply to complete the changes and close the dialog box.
Setting Deck Preferences
Deck preferences are global settings for basic deck control. These
settings apply to all decks connected to your system, regardless of
your deck configuration. You can open the Deck Preferences dialog
box from the Settings scroll list of the Project window.
Logging Source Material
93
Table 4-2 describes the Deck Preferences options.
Table 4-2
Option
Deck Preferences Options
Description
When the deck contains no You select the timecode format (Drop Frame or Non-drop Frame) for
tape, Log As
logging clips when no tape is in the deck. When a tape is in the deck, the
system automatically uses the existing timecode format on the tape. See
“Understanding Drop-Frame Timecode and Non-Drop-Frame Timecode”
on page 94).
Stop key pauses deck
This option defines the function of the Stop key (space bar) on the
keyboard. Select this option to map the space bar to the Pause button on the
deck. Deselect this option to map the space bar to the Stop button.
If the videotape heads are down in “Stop key pauses deck” mode, pressing
the space bar brings up the heads and pauses the deck.
The Stop button in the Digitize tool and Deck Controller tool always stops
the decks. (Choose New Deck Controller from the Tools menu to access the
Deck Controller tool.)
Shuttle holds speed
The Shuttle button continues shuttling at a constant speed instead of
stopping when you release it.
Stop any paused decks
when quitting
Any paused decks are stopped when you quit the Avid application.
Selecting this option saves wear on the deck heads.
Setting Deck Preferences
94
Understanding Drop-Frame Timecode and
Non-Drop-Frame Timecode
Timecode is an electronic indexing method that denotes hours,
minutes, seconds, and frames that have elapsed on a videotape. For
example, a timecode of 01:03:30:10 denotes a frame that is marked at
1 hour, 3 minutes, 30 seconds, and 10 frames.
NTSC video (the video format used mainly in the United States) uses
one of two formats: drop-frame timecode and non-drop-frame timecode.
Drop-frame (DF) timecode is designed to match the NTSC scan rate of
29.97 frames per second (fps). Two frames of timecode are dropped
every minute except for the tenth minute. No video frames are
actually dropped. Drop-frame timecode is indicated by semicolons
between the digits; for example, 01;00;00;00.
Non-drop-frame (NDF) timecode tracks NTSC video at a rate of 30 fps
and is indicated by colons between the digits; for example, 01:00:00:00.
Non-drop-frame timecode can be easier to work with, but does not
provide accurate timing for NTSC broadcast.
For example, a typical one-hour show uses 52 minutes of video. If your
program ends at 01:52:00:00 (non-drop-frame), and it is broadcast at
29.97 fps, it will last 94 frames too long (approximately 3 seconds). The
final credits could be cut off.
The following illustration compares the two types of timecode at the
1-minute mark. No frames are actually dropped.
Logging Source Material
95
Non-drop-frame
timecode
01:00:59:28
01:00:59:29
01:01:00:00
01:01:00:01
01:01:00:02
01;00;59;28
01;00;59;29
01;01;00;02
01;01;00;03
01;01;00;04
Drop-frame
timecode
PAL video (the video format used in many countries other than the
United States) uses a scan rate of 25 fps. Timecode is indicated by
colons. There is no need for drop-frame timecode in PAL video.
You set the default timecode format for logging clips in the Deck
Preferences dialog box (see “Setting Deck Preferences” on page 92).
You can select Drop Frame or Non-drop Frame.
You can change the starting timecode of a clip or, for NTSC projects,
the type of timecode. See the editing guide or user’s guide for your
Avid editing system.
Preparing to Log Material
MediaLog provides two special tools for logging source material:
•
The Logging tool, which contains:
-
Source deck controls
-
Marking and logging controls
-
Active track controls
-
Timecode information
-
Deck, bin, and tape name information
Preparing to Log Material
96
•
-
Comment section
-
Message area
The Audio Project settings, which enables you to set the audio rate
Accessing and Setting Up the Logging Tool
Once you have opened or created a bin, use the Logging tool to enter
the name of the tape you are logging and to access deck and logging
controls.
Use the Logging tool to plan a naming scheme; to work with source
tapes; and to select tracks, bins, and sources.
Accessing the Logging Tool
To access the Logging tool, do one of the following:
t
Click in a Bin window to activate it, and then choose Go To
Logging Mode from either the Bin menu or the Fast menu.
t
Choose Logging from the Tools menu.
Setting Up the Logging Tool
To select the appropriate source deck, source tape, and active track
settings for your logged material:
1. Open or create your project and the bin in which you want to store
your master clips. For information about opening projects and
bins, see Chapter 2.
2. Choose Go To Logging Mode from the Bin menu.
The Logging tool opens.
Logging Source Material
97
Mark IN button
Enable timecode
button
Channel Selection
area
Triangular opener
Deck controller
Guidelines for Naming Tapes
Consider the following naming guidelines when you provide a name
for your tape:
n
•
Devise a naming scheme. Although tapes of similar names are
easy to sort and view together in a bin, distinguishing among
them might be difficult when you try to quickly locate a specific
tape. Name the tapes based on the amount and complexity of your
source material.
•
Use unique names. The system cannot distinguish between two
tapes with the same name and between two bins or clips with the
same name. For example, if two tapes are named 001, you might
encounter problems correctly associating their clips with the
correct physical tapes.
•
Use alphanumeric characters (A–Z, 0–9), with no spaces before the
name. Characters can be uppercase and lowercase. The maximum
length of a name is 31 characters.
Although the maximum length of a name is 31 characters, most online houses
accept tape names of no more than 6 characters.
Preparing to Log Material
98
•
Select a case convention and maintain it throughout a project. A
single tape can be listed as several different tapes if you alter the
case of the letters. For example, if you type a single name as
SUNSET, Sunset, and sunset on three different occasions, all three
names appear. This can cause problems when keeping track of
clips during the logging process.
•
Be cautious when changing a tape’s name. After you provide a
name for a tape source, any change to the tape’s name
automatically changes that tape name everywhere it occurs. If you
decide later to change the name of one of the tapes from 001 to 999,
every reference to tape 001 changes to a reference to tape 999.
Inserting Source Tapes
To insert a source tape in a deck to prepare for logging source
material with MediaLog:
1. Set the REMOTE/LOCAL switch on the deck to REMOTE.
2. Insert a tape into the deck.
3. Choose Go To Logging Mode from the Bin menu.
The Deck Controller tool appears as part of the Logging tool.
Source tape timecode
Shuttle button
Fast Forward button
Rewind button
Valid timecode indicator
Single-Frame Backward button
Single-Frame Forward button
Stop button
Eject button
Pause button
Deck Name
pop-up menu
Logging Source Material
Play button
Source tape display button
99
Selecting Active Tracks
The Logging tool captures information about the active tracks.
MediaLog automatically activates the tracks that were active in the
previous session.
To change these settings:
t
Click tracks in the Channel Selection area of the Logging tool to
activate or deactivate them.
Selecting the Target Bin
You select a target bin in which you want to organize your logged
material.
To select a target bin:
t
Click the Bin pop-up menu in the Logging tool and make a
selection. Only opened bins appear in the Bin pop-up menu.
To open a bin, do one of the following:
For more information
on working with bins,
see the editing guide or
user’s guide for your
Avid editing system.
t
For a bin created in the current project, double-click the bin in the
Project window.
t
For a bin created in a different project, choose Open Bin from the
File menu, and then locate and open the bin in the Open dialog
box (Windows) or Select a Bin dialog box (Macintosh).
t
Create a new bin by clicking the New Bin button in the Project
window.
Selecting the Source Deck
In some cases, your source material might not reside on a video deck.
You can also select other source devices, such as a digital audiotape
(DAT). Be sure the source material has readable timecode.
Preparing to Log Material
100
To select the deck where the source material is found:
1. Click the Deck Name pop-up menu to display the available online
decks.
2. Choose the name of your source deck from the pop-up menu.
Identifying the Source Tape
To select a source tape:
1. Insert a tape into the deck.
The Select Tape dialog box appears.
n
For information about
deck preferences, see
“Setting Deck Preferences” on page 92.
Logging Source Material
If a tape is already inserted into the deck, click the Source Tape Display button
in the Digitize tool.
2. In an NTSC project, play the tape for a few seconds so the system
can detect the timecode format of the tape (drop-frame or
non-drop-frame). Otherwise, the system maintains the timecode
format set in the Deck Preferences dialog box, regardless of the
format on the tape, and you might receive a message indicating a
wrong tape.
101
n
For information on tape
naming conventions,
see “Guidelines for
Naming Tapes” on
page 97.
Drop-frame timecode appears in the Timecode indicator with semicolons
between hours, minutes, seconds, and frames. Non-drop-frame timecode
appears with colons. For more information, see “Understanding Drop-Frame
Timecode and Non-Drop-Frame Timecode” on page 94.
3. Provide the system with a tape name in one of the following ways:
t
Select the name of the tape from the list in the Select Tape
dialog box and click OK.
t
Click the New button in the Select Tape dialog box if the tape
is not in the list. A new tape name line appears in the dialog
box. Type the new name and click OK.
Setting the Audio Sample Rate
Before you begin logging, you must select an audio sample rate.
To set the audio sample rate:
1. Double-click Audio Project in the Settings scroll list of the Project
window.
The Audio Project Settings dialog box appears.
2. Choose either 44.1 kHz or 48 kHz from the Sample Rate pop-up
menu.
3. Close the dialog box.
Preparing to Log Material
102
If you select Batch Digitize in your Avid editing system, and then
select the “Use the audio compression rate logged for each clip”
option, you must digitize at the same rate as the audio rate at which
you logged the clips.
Logging
The following methods are available for logging:
•
Logging from a Source Tape
•
Logging On-the-Fly
•
Logging with the Deck Offline
Logging from a Source Tape
One method of logging is to use MediaLog tools to control a source
deck, to select shots from your source tapes, and to record clip data
directly to a bin.
Make sure you have set up all the required information for logging, as
described in “Configuring Decks” on page 82 and “Preparing to Log
Material” on page 95. After you establish your settings and specify
your bin, deck, and tape, the Logging tool is the only tool you need to
log from a tape to a bin.
The Logging tool provides flexibility in the way you mark your clips
for logging, as the following illustration shows.
Logging Source Material
103
Mark IN
button
Channel Selection
area
Logging Messages
bar
Clip name and
Comment heading
Go To IN button
Bin name
Clear IN button
Go To OUT button
Clear OUT button
Timecode entry
text boxes
Source tape
display button
Mark IN button
Clear Memory button
Mark Memory button
Duration Mark button
Mark OUT button
Go To Memory button
Marking and Logging
The basic logging procedure involves marking IN and OUT points.
You mark IN and OUT points using the Mark buttons or by typing IN
and OUT timecodes.
The button in the top left corner of the Logging tool changes according
to the stage of logging you are in. When the button appears as a pencil,
MediaLog is ready to log the clip.
To log clips directly from a source tape to a bin:
1. Insert your tape into the deck.
The Logging Messages bar displays the message “Mark IN,”
indicating the system is waiting for you to mark an IN point. The
Mark IN button is displayed in the top left corner of the Logging
tool.
Logging
104
2. Set either an IN point or an OUT point for the clip you want to log,
using one of the following methods:
Mark IN
t
Use the deck controls in the Logging tool to cue your source
tape to the start or end point, and click the Mark IN or the
Mark OUT button.
t
Click the Mark IN button in the upper left corner of the
Logging tool or press the F4 key.
t
If the footage starts at a known IN point or ends at a known
OUT point, type the timecode in the text box next to the Mark
IN or the Mark OUT button, press the Go To IN or the Go To
OUT button to scan the tape forward to the mark, or press
Enter (Windows) or Return (Macintosh) to enter the mark.
Mark OUT
Mark IN
Go To IN
Go To OUT
Mark OUT
and Log
After you set the mark, the Mark IN button changes to the Mark
OUT and Log button or the Mark IN and Log button.
Mark IN
and Log
n
c
The Mark OUT and Log and Mark IN and Log buttons only appear when the
Pause Deck While Logging feature is not in effect. If you want to pause the
deck while you enter a clip name and comments, see “Pausing a Deck While
Logging” on page 107.
For NTSC film-to-tape transfer or footage downconverted from
1080p/24, you must log the correct pulldown phase. See “Setting the
Pulldown Phase” on page 193 and“Entering Pulldown Information”
on page 198.
3. To finish logging the clip, do one of the following:
Logging Source Material
t
Set the remaining IN or OUT point on-the-fly using the Mark
IN or Mark OUT buttons or by pressing the F4 key.
t
Click the Mark OUT and Log or Mark IN and Log button.
105
t
Type a timecode for the clip’s IN point, OUT point, or
duration in the timecode text boxes next to the corresponding
icon and press Enter (Windows) or Return (Macintosh) .
The system automatically calculates the appropriate timecode for
the remaining IN point, OUT point, or duration, and enters the
clip into the bin. The clip name, which is automatically numbered
by the system, is highlighted and ready to be changed.
c
You must enter two of the three timecode marks (IN point, OUT
point, or duration) to complete the log entry.
4. Name the clip by typing a new name before clicking any of the
buttons in the Digitize tool.
n
Consider changing the clip name immediately, because it is easy to forget the
contents of each clip if you are logging many clips. You can, if necessary,
accept the clip name and proceed with the logging process and change the clip
names in the bin at a later time.
5. Repeat these steps until you have logged all your clips.
n
While viewing the footage, you can continuously update your marks
on-the-fly by clicking the Mark IN or the Mark OUT button repeatedly before
entering the second mark. See “Logging On-the-Fly” on page 106.
Adding a Memory Mark
You can add a memory mark to a particular location on a tape.
Clear Memory button
Mark Memory button
Go To Memory button
Logging
106
To mark the location:
t
Click the Mark Memory button.
To move through the tape to the marked location:
t
Click the Go To Memory button.
To clear the memory mark:
t
Click the Clear Memory button.
You can add one mark per tape. The memory mark is not stored on the
tape. When you remove the tape from the deck and insert another tape
into the decks, the mark is cleared.
Logging On-the-Fly
You can log clips while the tape is playing. This is called logging
on-the-fly. Logging on-the-fly requires the preparation described in
the following sections:
•
“Selecting the Source Deck” on page 99
•
“Identifying the Source Tape” on page 100
•
“Setting the Audio Sample Rate” on page 101
You can log on-the-fly whether or not you already know where you
want to mark the IN and OUT points in your clips.
To log on-the-fly:
1. Insert your tape into the deck.
2. Open the bin where you want to store the clips, or create a new
bin.
3. Choose Go To Capture Mode from the Bin menu.
4. Select the audio and video tracks you want to log and their tape
name.
Logging Source Material
107
5. Play the tape.
6. Mark an IN point by pressing the E key or I key.
The timecode appears and the Logging Messages bar displays the
following message: “Mark OUT and Log.”
7. Mark the OUT point by pressing the R key or O key.
8. Log the clip by pressing the F4 key.
The clip is logged into the bin.
The clip name, which the system selects and numbers, is
highlighted in the bin and is ready to be changed. The default clip
name is the bin name plus a number.
9. (Option) Type a new name for the logged clip in the bin, and press
Enter (Windows) or Return (Macintosh).
10. Repeat these steps until you have logged all your clips.
Pausing a Deck While Logging
If the deck is playing while you log clips, you can direct MediaLog to
automatically pause the deck after you select an IN point and an OUT
point. While the deck is paused, you can enter the name and comment
for the clip you want to log.
To pause the deck while logging:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click the Logging setting and select the Pause Deck While
Logging option in the Logging Settings dialog box.
3. Start the deck playing.
4. When you reach the point where you want to start the clip, click
the Mark IN button (or press the F4 key). The Mark IN button
changes to the Mark OUT button, and the deck continues to play.
Logging
108
5. When you reach the point where you want to end the clip, click
the Mark OUT button (or press the F4 key again). The Mark OUT
button changes to the Log Clip button, and the deck pauses.
6. (Option) Enter a clip name and comment.
7. Click the Log Clip button (or press the F4 key again).
The system logs the clip in a bin, and the deck starts playing again.
Logging with the Deck Offline
You can also log material without controlling a source tape deck. If the
deck is not connected or not working, or if the tape is not available,
you can still log material as long as you know the timecodes.
To log without a deck or tape:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Deck Preferences.
The Deck Preferences dialog box appears.
Logging Source Material
109
3. For NTSC projects, choose either Non-drop Frame or Drop Frame
from the pop-up menu. This selects the timecode format for
logging.
4. Click OK to close the Deck Preferences dialog box.
5. Make sure a bin is selected.
6. Choose Go To Logging Mode from the Bin menu.
The Logging tool opens.
7. Click the Source Tape Display button.
A message box appears, asking if you want to associate a tape
with the deck.
8. Click Yes to open the Select Tape dialog box.
List of tapes
Logging
110
9. Do one of the following:
t
Double-click the name of the tape.
t
Click the New button, type the name of the tape you want to
log, and then click OK.
t
Select the name from the list, and then click OK.
10. In the Channel Selection area in the Logging tool, click the tracks
you want to log. For example, click V, A1, and A2.
11. Choose the destination bin from the Bin pop-up menu.
12. Type the start timecode in the timecode entry text box for mark IN,
and press Enter (Windows) or Return (Macintosh).
13. Type the end timecode in the timecode entry text box for mark
OUT, and press Enter (Windows) or Return (Macintosh).
14. Click the Log Clip button.
15. (Option) Rename the clip that appears in the destination bin.
Logging Film Information
Once you have entered or imported the basic log information into a
bin, you might want to add film-related log information before
digitizing. See Appendix B for information.
Logging Source Material
111
Modifying Clip Information After Logging
You can change or modify the information logged into the bin. This is
especially useful if you find that some of the data is incorrect, or if you
need to update the information based on technical needs such as
varying timecode formats or film specifications.
There are two ways to modify clip information prior to digitizing:
•
You can modify the information directly by clicking in a column
and by entering the new information one field at a time.
•
You can use the Modify command to change selected groups of
clips all at once.
For information on modifying the pulldown phase, see “Setting the
Pulldown Phase” on page 193.
c
Modifying tape names and timecodes will affect any key numbers
entered for the selected clips.
Creating Avid Logs
You can use a text editor to log your source footage manually. An Avid
log lists video clips you want to capture for editing. You can create the
logs in Avid format, entering data about your source tapes and clips
according to Avid specifications.
You can also modify an incompatible log to make it conform to Avid
specifications. To prepare an Avid log on any type of computer, use
any text editor. After you create logs, you can import them directly
into MediaLog bins.
“Supported Avid Log Formats” on page 174 in Appendix A describes
the format specifications for an Avid log. “Sample Avid Logs” on
page 184 in Appendix A includes a sample Avid log.
Modifying Clip Information After Logging
112
Make a separate log for each videotape, or log clips from several
different videotapes into one log. After you manually create an Avid
log, you can import it into MediaLog as described in “Importing Log
Files into MediaLog Bins” on page 113.
Importing Logs
Many logging programs and film-to-tape transfer systems create logs
you can import into your MediaLog project. You can open some logs
directly in MediaLog bins; others must be converted to Avid format
first.
Importing Standard Log Files
If you are transferring film to video for logging in MediaLog, ask the
transfer house to log the source footage during the film-to-tape
transfer. You can import some standard film-to-tape logs directly into
MediaLog bins. Many other film-to-tape logs can be converted to Avid
format using Avid Log Exchange and then imported into MediaLog. A
number of video logging systems also produce files you can import
into a MediaLog bin.
Compatible Logs
Use the Import command, in the File menu, to import these files to a
MediaLog bin:
Logging Source Material
•
Avid Log Exchange (ALE)
•
Log Right (file names that have the .ale file name extension)
•
Excalibur (file names that have the .ale file name extension)
•
Shot Lister
113
n
•
Avid logs you create yourself, using a text editor (see “Creating
Avid Logs” on page 111)
•
Logs converted into Avid format using Avid Log Exchange (file
names that have the .ale file name extension)
Avid recommends that you convert any files not created on an Avid system
into Avid format using Avid Log Exchange.
Use the Avid Log Exchange utility to convert these logs to Avid format
before importing into a MediaLog bin:
•
Log Producer™
•
AatonBase (file names that have the .flx file name extension)
•
FLEx® (file names that have the .flx file name extension)
•
Evertz
For additional information about compatible log formats, see
“Supported Avid Log Formats” on page 174.
For more information about converting a log to the Avid format, see
the information on Avid Log Exchange in the input and output guide
or user’s guide for your Avid editing system.
Importing Log Files into MediaLog Bins
To import log files into a MediaLog bin:
1. Open a bin and click to select it.
2. Choose Import from the File menu.
The Select files to Import dialog box appears. For Windows,
choose Shot Log Files (*.ale) from the Files of type pop-up menu.
For Macintosh, Shot is already selected as the file type.
Importing Logs
114
3. Navigate to the drive and then to the folder that contains the log
file you want to import.
If the log is on a floppy disk, insert the floppy disk into the floppy
drive.
4. (Option) If you want to adjust import parameters for the shot log,
click the Options button.
The Import Settings dialog box appears.
5. Select one of the options from Table 4-3 and click OK.
Logging Source Material
115
Table 4-3
Import Settings Options
Option
Description
Maintain events as logged.
Select this option to maintain all events as
originally logged.
Combine events based on scene and automatically Select this option to combine all the events for a
create subclips.
scene into a single master clip, and then link the
master clip to subclips that represent the original
events for that scene. To use this option, you must
have scene numbers logged into a scene column in
the bin.
Combine events based on camera roll and
automatically create subclips.
Select this option to combine all the events from a
camera roll into a single master clip, and then link
the master clip to subclips that represent the
original events for that camera roll. To use this
option, you must have camera roll numbers
logged into a camera roll column in the bin for a
film project.
Merge events with known sources and
automatically create subclips.
Select this option to create subclips for events that
are merged or relinked to their source clips upon
import. Use this option if you have already
entered master clips in a bin for each camera roll
or master scene, and have subsequently logged all
the events related to those clips for import.
n
Merge events with known master clips.
You must select the clips that you want to merge
before selecting this option.
Select this option to merge information in the shot
log onto selected master clips based on the
matching tape name. Use this option if you have
already logged (or digitized) master clips in a bin
for each take.
n
You must select the clips that you want to merge
before selecting this option.
Importing Logs
116
6. Select files or deselect files from the source file list by doing one of
the following:
t
To add a single file, Ctrl+click the file to import from the
source file list (Windows) or select a file name in the source file
list and click Add, or double-click the file name (Macintosh).
t
(Macintosh only) To add all files in the source file list, click
Add All.
t
(Windows only) To add a group of files, click the first file in a
group, and then Shift+click the last file in a group.
t
To deselect a single file from the file browser section
(Windows) or import section, Ctrl+click a highlighted file
name (Windows) or select a file name and click Remove
(Macintosh).
7. Click Open (Windows) or Done (Macintosh) to import the selected
logs to the bin, or click Cancel to cancel the operation.
The bin fills with master clips derived from the information in the
imported shot log. Any additional information logged with each
clip is also imported.
8. To save the new master clips that came from importing the log,
save the bin.
Logging Source Material
117
Transferring Bins from Another MediaLog System
MediaLog bins are interchangeable with those of other releases. In
general, later releases of the MediaLog application accept bins from
earlier releases.
To transfer a bin from one MediaLog system to another MediaLog
system:
1. Save MediaLog project bins from the first MediaLog system on a
floppy disk.
2. Go to your second MediaLog system, and quit or minimize the
MediaLog application.
3. Double-click the Avid Projects folder in the Select User and Project
dialog box. Double-click the project folder where you want to
store MediaLog bins.
4. Insert the transfer floppy disk into the floppy drive on the second
MediaLog system.
5. Navigate to the floppy drive.
6. Position the floppy drive window and your MediaLog project
folder window so you can see both.
7. Select (click) the MediaLog bins in the floppy drive window, and
drag them to your MediaLog project folder.
8. When you start your MediaLog program, open the imported bins
in the same way you open standard MediaLog bins.
Importing Logs
118
Logging Source Material
CHAPTER 5
Organizing with Bins
The Avid system provides powerful database tools for organizing and
managing your digitized material. You can view bins in two different
display views. You can rename, print, sort, sift, duplicate, and delete
clips.
This chapter covers the following topics:
•
Preparing to Work with Bins
•
Understanding Bin Display Views
•
Basic Bin Procedures
•
Using Text View
120
Preparing to Work with Bins
There are several procedures you might want to perform before
organizing your project because they affect the display of information
in bins or the way the clips play back during screening:
n
•
When working with film projects, organize digitized clips
according to scene. This practice keeps crowded bins to a
minimum. See “Film Scene Workflow” on page 120.
•
If you want to customize the types of objects displayed in a bin,
see “Setting the Bin Display” on page 121.
•
If you need to group or multigroup material, see the editing guide
or user’s guide for your Avid editing system.
MediaLog cannot open bins whose sequences contain either effects or
individual effect clips.
Film Scene Workflow
During the organizing phase, common practice on film productions is
to organize the digitized clips according to scene. This helps to
simplify the work environment for the editor, and keeps crowded bins
to a minimum.
Use the various procedures described in this chapter to organize scene
bins according to the following basic workflow:
1. Create one bin for each scene using the procedures described in
“Creating a New Bin” on page 56.
2. Gather clips according to scene using one of the following optional
procedures:
t
Organizing with Bins
Copy clips for each scene from the digitize bins into the
appropriate scene bin, using procedures described in
“Copying Clips” on page 130.
121
t
Duplicate the clips and then move the duplicates into the
appropriate scene bin, using procedures described in
“Duplicating Clips” on page 129.
3. Proceed to sort, sift, and organize the clips within each scene bin,
according to the editor’s preferences.
It is good practice to copy or duplicate clips as you reorganize them in
bins. As a result, the original source clips will remain in the
appropriate dailies bin if you ever need to redigitize according to
source tape.
Setting the Bin Display
By default, your bins display all existing media objects except source
clips. To reduce crowding in the bin and to display only those objects
that you need to organize your project, you can display selected media
objects.
You can use the Set Bin Display option to display clips referenced by a
sequence, even if the clips were not previously in the bin. Place a
sequence in a new bin and follow this procedure.
To set the bin display:
1. Click a bin.
2. Choose Set Bin Display from the Bin menu.
The Set Bin Display dialog box appears.
Preparing to Work with Bins
122
Table 5-1 describes the object icons listed in the Set Bin Display
dialog box.
3. Select the object types that you want to see: usually master clips
and subclips.
4. The option “Show clips created by user” is selected by default.
Deselect this option only if you want to hide all objects except
those created by the system.
5. Select the option “Show reference clips” to automatically display
objects that are referenced by sequences in the bin, whether those
clips were previously in the bin or not.
6. Click OK.
The bin displays objects according to your specifications.
Organizing with Bins
123
Table 5-1 shows the available options.
Table 5-1
Object Icon
Object Icon Descriptions
Object Description
Master Clips
Clips that reference audio and video media files formed from digitized
footage or imported files
Sub Clips
Clips that reference selected portions of master clips
Sequences
Clips that represent edited programs, partial or complete, that you created
from other clips
Sources
Clips that reference the original videotape source footage for master clips
Effects
Clips that reference unrendered effects that you created.
Motion Effects
Files in the bin that reference effect media files generated when you create
motion effects
Rendered Effects
Clips that reference effect media files generated when you render an effect
Groups
(For MultiCamera editing) Clips containing two or more grouped clips,
strung together sequentially according to common timecodes
n
Effect objects will not display in MediaLog. MediaLog cannot open bins
whose sequences contain either effects or individual effect clips.
Preparing to Work with Bins
124
Understanding Bin Display Views
There are two display views for viewing and working with clips in a
bin: Brief view and Text view. This section briefly describes each view.
n
You can resize each display view by clicking and dragging the lower right
corner of the Bin window. The size of the display view is saved as a user
setting for that bin. The bin view retains its set size every time you open that
view of that bin, even in separate editing sessions. Each bin view can have a
different size.
Brief View
In Brief view, the system displays five standard columns of information
about the clips. You cannot customize the column headings in Brief
view. This view helps you manage your screen real estate.
To enter Brief view:
t
n
Organizing with Bins
Click the Brief tab in the bin.
A different set of column headings appears for film projects.
125
Text View
For information on Text
view features, see
“Using Text View” on
page 141.
In Text view, clips are displayed in a database text format, using
columns and rows, with icons representing the various objects. You
can save various arrangements of columns, text, and objects as
customized views. See “Customizing Bin Views in Text View” on
page 126.
To enter Text view:
t
Click the Text tab in the bin.
Text tab
Column
headings
Object icon
Bin Fast Menu
button
Bin View pop-up menu
Bin Views
To the right of the Fast Menu button is the Bin View pop-up menu
(Text view only) for selecting different bin views. Bins have three
default views that are automatically installed:
For more information
on film and statistical
column headings, see
“Bin Column Headings” on page 160.
•
Custom view: Allows you to create and save customized views.
The only required column heading is the Name heading, which is
displayed by default. You can customize the view by adding,
hiding, or rearranging column headings.
Understanding Bin Display Views
126
•
Film view: Has film-related column headings, including key
number, ink number, pullin, and so on. If you are working on a
non-film-related project and select the Film view, a dialog box
informs you that only the non-film-related columns will be
displayed.
•
Statistics view: Uses the standard statistical column headings
derived from information established during capture, such as start
and end timecodes, duration, resolution, and so on.
If you import a log file from your telecine transfer, most of this
information will be placed in the bin when you import the log. If you
do not have a film log, then you can enter this information manually
by highlighting the field in the bin and typing the information.
Customizing Bin Views in Text View
You can create and save customized bin views that you can easily
access from the Bin View pop-up menu. You can customize the bin
view by resizing the Bin window and adding, hiding, or rearranging
bin columns. The only required column heading is Name, which is
displayed by default.
There are several ways to customize views of the bin:
Organizing with Bins
•
Alter the arrangement of existing columns in the standard
Statistics view or Film view to suit your needs, without adding or
hiding columns. These arrangements will be recalled each time
you choose Statistics view or Film view.
•
Add or hide columns of information to create customized
Statistics or Film views. They will be saved as additional view
settings in numerical order: for example, Statistics.1, Statistics.2,
and so on, unless you choose another name.
•
Add, hide, copy, or rearrange standard or customized columns in
any combination to create your own custom views. You can name
and save these views to suit your needs.
127
When you create a new bin view, the system saves the settings for this
view so that you can later access and alter, copy, or delete these
settings. New bin view settings appear in the Settings scroll list of the
Project window.
Saving a Custom Bin View
Any time you add, hide, or delete a column, the bin view name
changes to an italicized name with the file name extension .n to
indicate that it no longer matches the original view. If you select a new
bin view setting while the current setting is untitled or italicized, the
system discards the current setting.
n
If you do not save the view after adding or deleting headings, it is discarded.
To save a bin view:
1. Open a bin and click the Text tab.
For procedures on adding, hiding, and deleting bin columns, see
“Arranging Bin Columns” on page 141.
2. Add or hide columns according to preference. The bin view name
becomes italicized.
3. Choose Save As from the Bin View pop-up menu.
The View Name dialog box appears.
4. Type a name for the custom view, and click OK.
Understanding Bin Display Views
128
Bin Fast Menu
All Bin menu commands are also available in the Bin Fast menu
located in the lower left corner of every bin. The Bin Fast menu is
especially convenient when you are working with several open bins
and need to access Bin menu commands quickly.
To open the Bin Fast menu:
t
Click the Fast Menu button in either bin display view.
Basic Bin Procedures
There are some basic procedures that you can use in either bin display
view for manipulating clips in the bin. They include selecting,
deleting, duplicating, moving, copying, and sifting clips.
You can also change the font and point size of the text in a bin. See
“Changing Font and Point Size” on page 73.
When you are working with bins, an asterisk (Windows) or a diamond
(Macintosh) appears before the bin name in the bin’s title bar. The
asterisk (Windows) or diamond (Macintosh) indicates that the changes
to the bin have not been saved. Once you save the bin, the asterisk
(Windows) or diamond (Macintosh) is removed.
n
Organizing with Bins
To view a complete list of the bins in your project, see “Using the Bins
Display” on page 54.
129
Selecting Clips
To select a clip in a bin:
t
Click the clip icon.
To select multiple clips in a bin, do one of the following:
t
(Windows) Ctrl+click additional items.
t
(Windows) Shift+click the first and last items.
t
(Macintosh) Shift+click additional items.
t
Lasso several clips.
To reverse your selection:
t
Choose Reverse Selection from the Bin menu.
The items that you previously selected are deselected, and those items
that were previously deselected are selected.
Duplicating Clips
When you duplicate a clip, the system creates a separate clip linked to
the same media files. You can move, rename, and manipulate this clip
without affecting the original clip.
To duplicate clips:
1. Select the clip that you want to duplicate, or select multiple clips.
2. Choose Duplicate from the Edit menu.
A copy of the clip appears in the bin, with the original clip name
followed by the file name extension .Copy.n, where n is the
number of duplicates created from the original clip.
Basic Bin Procedures
130
Moving Clips
You can move clips to other bins in order to group and organize
various types of material based on project needs.
To move clips from one bin into another:
1. Create or open another bin. Give the bin a name that represents its
purpose or contents.
2. Position or resize the bins so you can see both of them at the same
time.
3. Select the clip that you want to move, or select multiple clips.
4. Click the clips and drag them to the new bin.
n
If the destination bin’s display has been set to show reference clips, the
referenced object types do not appear until you save the bin. For more
information on setting the bin display, see “Setting the Bin Display” on
page 121.
Copying Clips
When you copy clips, you are essentially cloning the same clip in
another bin. Any change you make to the copy will affect the original
as well. The system does not add the .Copy.n file name extension to the
clip as it does when duplicating. You cannot copy clips to the same
bin, and you cannot return a clip copy to the same bin where the
original resides.
When you copy clips from one bin to another, the custom columns that
you created in the first bin are also copied to the second bin. The
custom columns appear in the order in which you created them.
Organizing with Bins
131
To copy clips from one bin to another bin:
1. Position or resize the bins so that you can see both of them at the
same time.
2. In the original bin, click the clip that you want to copy, or select
multiple clips.
3. While pressing the Alt key (Windows) or Option key (Macintosh),
drag the clips to the destination bin, and release the mouse button.
The copies appear in the destination bin and the originals remain in
the source bin. If the destination bin’s display has been set to show
reference clips, the referenced object types do not appear until you
have saved the bin.
Deleting Clips and Subclips
To delete clips and subclips from a bin:
1. Select the clips and subclips you want to delete.
2. Choose Delete from the Edit menu, or press the Delete key.
The Delete dialog box appears, showing information about the
selected items (for example, one master clip).
To protect you from accidentally deleting important information,
the master clips, by default, are not marked for deletion.
3. To mark a master clip for deletion, select the check box next to the
item. To exempt the master clip from deletion, select the check box
again.
4. Click OK
Basic Bin Procedures
132
Assigning Colors to Bin Objects
You can assign colors to clips and subclips to help you manage and
organize the bin objects. Colors assigned to bin objects are referred to
as source colors.
Adding a Color Column to a Bin
To add a Color column to a bin:
1. With a bin in Text view, choose Headings from the Bin menu.
The Bin Column Selection dialog box appears.
2. Ctrl+click (Windows) or click (Macintosh) Color from the scroll list
to select it.
3. Click OK.
The Color column appears in the bin.
n
By default, a new column appears as the last column in the bin. To move the
Color column, click the Color column heading and drag it to the left.
Assigning a Source Color
To assign a color to a clip or subclip in a bin:
1. With a bin in Text view, select the bin objects that you want to
assign a color to.
2. Choose Set Clip Color from the Edit menu, and choose a color
from the submenu.
The color appears in the Color column and on the clip icon.
n
Organizing with Bins
You can also assign a color by clicking in the Color column and choosing a
color from the pop-up menu.
133
Assigning a Custom Source Color
To assign a custom color to a clip or subclip in a bin:
1. With a bin in Text view, select the bin objects that you want to
assign a color to.
2. Choose Set Clip Color from the Edit menu, and choose Pick from
the submenu.
The Windows Color dialog box or the Macintosh Color Picker
appears.
3. Select a color from the Windows Color dialog box or the
Macintosh Color Picker, and click OK.
The custom color appears in the Color column and on the clip
icon.
n
After you assign a custom color, the color appears as Other in the Set Clip
Color submenu.
Limiting Color Choices
When assigning colors to bin objects, you can limit the color choices to
only the colors currently used in the bin.
To limit the colors available when assigning colors to bin objects:
1. With a bin in Text view, select the bin objects that you want to
assign a color to.
2. Alt+click (Windows) or Option+click (Macintosh) in the Color
column in the bin.
A menu of all the colors you are using in the bin appears. Any
custom colors you assigned are labeled Other.
3. Choose one of the colors.
The color appears in the Color column and on the clip icon.
Basic Bin Procedures
134
Sifting Clips
When you sift clips, the bin displays only those clips that meet a
specific set of criteria. For example, you can do a custom sift to display
only those clips containing the word “close-up” in the heading
column. The Custom Sift dialog box provides six levels of criteria.
To sift clips:
1. Choose Custom Sift from the Bin menu.
The Custom Sift dialog box appears.
Criterion pop-up menu
Organizing with Bins
Text to Find text box
Column or Range to
Search pop-up menu
135
2. Click the Criterion pop-up menu and choose one of the sifting
options.
3. Click the first Text to Find text box, and type the text that you want
to use as a sift criterion. When sifting by color, type the exact name
of the color (using uppercase and lowercase letters) in the text box.
4. Click the Column or Range to Search pop-up menu, and choose a
column heading to which you want to apply the criterion.
5. Type additional sift criteria, and make additional column
selections as necessary.
6. Click OK.
Only the clips that meet your criteria remain in the bin, with the
word “sifted” added to the bin name.
After you have sifted the clips in a bin, you can display the bin in a
sifted or an unsifted state.
To view the entire bin:
t
Choose Show Unsifted from the Bin menu.
To view the sifted bin:
t
Choose Show Sifted from the Bin menu.
The word “sifted” appears in parentheses after the bin name when
you view the bin in its sifted state.
Sifting Timecodes or Keycode Ranges
You can sift on a timecode (or keycode) number within a specific
range. For example, you can sift for all the clips that start before and
end after a particular timecode.
Basic Bin Procedures
136
Before custom sift
Type 01:08:32:00 in the Text to Find text box in the Custom Sift
dialog box, and choose Start to End Range from the Column or Range
to Search pop-up menu.
After custom sift
The clips that
encompass the
timecode number
01:08:32:00
Some column pairs explicitly define a range; for example, Start and
End or Mark IN and Mark OUT. Other columns define the beginning
of a range, and the end of the range is determined by the Duration
column. For example, Auxiliary TC1 implies a range that begins at the
value in the Auxiliary TC1 column, and ends at that value plus the
value in the Duration column.
Organizing with Bins
137
If you display any column in the bin that is associated with ranges,
either explicit or implicit, the corresponding range menu item appears
in the Column or Range to Search pop-up menu of the Custom Sift
dialog box. For example, if you choose to display the Start column and
the Auxiliary TC1 column in the bin, the Start to End Range and
Auxiliary TC1 Range menu choices will appear in the Column or
Range to Search pop-up menu.
When specifying a timecode or keycode number, you do not need to
enter colons or semicolons, and the leading zero may be omitted. For
example, you can enter 3172000 as a timecode number.
Keycodes contain letters, numbers, and a dash before the feet and
frames; for example, KJ23 -0345+13. When sifting on a keycode
number, you only have to enter the numbers after the dash (the actual
counter portion). Any information before the dash is ignored. If you
do enter characters before the dash, they must match the
corresponding characters in the bin column exactly.
Table 5-2 lists all columns associated with explicit ranges and their
corresponding menu choices:
Table 5-2
Range Menu Items for Explicit Ranges
Bin Column (Explicit Ranges)
Column or Range to Search
Pop-up Menu Item
Start, End
Start to End Range
Mark In, Mark Out
Mark In to Out Range
KN Start, KN End
KN Start to End Range
KN Mark In, KN Mark Out
KN Mark In to Out Range
Basic Bin Procedures
138
Table 5-3 lists all columns associated with implicit ranges and their
corresponding menu choices.
Table 5-3
Range Menu Items for Implicit Ranges
Bin Column (Implicit Ranges)
Organizing with Bins
Column or Range to Search
Pop-up Menu Item
Duration
Determines the end of an implicit
range
Film TC
Film TC Range
Sound TC
Sound TC Range
Auxiliary TC1
Auxiliary TC1 Range
Auxiliary TC2
Auxiliary TC2 Range
Auxiliary TC3
Auxiliary TC3 Range
Auxiliary TC4
Auxiliary TC4 Range
Auxiliary TC5
Auxiliary TC5 Range
Ink Number
Ink Number Range
Auxiliary Ink
Auxiliary Ink Range
139
Sifting Within a Range
To sift for a timecode or keycode number within a specific range:
1. Choose Custom Sift from the Bin menu.
The Custom Sift dialog box appears.
Criterion pop-up menu
Column or Range to Search pop-up menu
2. Type the timecode (or keycode) number for which you want to sift
in a range.
3. Choose a range from the Column or Range to Search pop-up
menu; for example, Start to End Range or Mark In to Out Range.
The criterion “contain” is displayed in the Criterion pop-up menu.
If you try to change this criterion, a blank will be displayed in the
Column or Range to Search pop-up menu.
Basic Bin Procedures
140
4. Click OK.
The bin will display those clips that encompass the timecode (or
keycode) number that you entered.
Locking and Unlocking Items in a Bin
You can lock items in a bin to prevent deletion. When you lock clips in
a bin, you lock their associated media files on your desktop as well.
To lock items:
1. Click a clip or subclip to select it. Ctrl+click (Windows) or
Shift+click (Macintosh) additional clips, if necessary.
For more information
on displaying columns,
see “Showing and Hiding Columns” on
page 142.
2. Perform one of the following tasks:
t
(Windows) Press and hold the right mouse button and choose
Lock Bin Selection from the Shortcut menu.
t
(Macintosh) Press and hold Ctrl+Shift, click the mouse button,
and choose Lock Bin Selection from the Shortcut menu.
A Lock icon appears for each locked clip in the Lock column of the
bin in Text view.
Lock icon
Organizing with Bins
141
To unlock previously locked items:
1. Select the items in the bin.
2. Perform one of the following tasks:
t
(Windows) Press and hold the right mouse button and choose
Unlock Bin Selection from the Shortcut menu.
t
(Macintosh) Press and hold Ctrl+Shift, click the mouse button,
and choose Unlock Bin Selection from the Shortcut menu.
Using Text View
Text view provides the most complete view of clip information. It uses
database columns you can rearrange and customize to suit your needs.
For information about saving a custom bin view, see “Saving a Custom
Bin View” on page 127.
To enter Text view:
t
Click the Text tab in the bin.
Arranging Bin Columns
This section provides procedures for moving, aligning, showing and
hiding, deleting, duplicating, adding, and changing columns in a bin.
Using Text View
142
Moving and Rearranging Columns
To move a text column in a bin:
1. Click the heading of the column you want to move.
The entire column is selected.
2. Click the column and drag it to the position you want, and release
the mouse button.
The column appears in the new position, and columns to the right
are moved to make room.
Aligning Bin Columns
When you align bin columns, the system maintains the same order of
columns from left to right, but spaces them according to the length of
contents. This is especially useful for removing spaces left after
moving or rearranging columns.
To align bin columns:
t
Choose Align to Grid from the Bin menu.
Showing and Hiding Columns
You can select individual or multiple headings to be displayed or
hidden in the bin. For a complete description of each column heading,
see Table 5-8.
To choose column headings:
1. With a bin in Text view, choose Headings from the Bin menu.
The Bin Column Selection dialog box appears.
Organizing with Bins
143
2. Select the headings you want to add to the bin:
t
Click the name of a heading to select it.
t
Click a selected heading to deselect it.
t
Click All/None to select or deselect all the headings.
3. Click OK.
Only the headings selected in the Bin Column Selection dialog box
appear in the bin or bin view.
Using Text View
144
Deleting a Column
Deleting a statistical column is the same as hiding the column; you can
restore the column at any time using the Bin Column Selection dialog
box, as described in “Showing and Hiding Columns” on page 142.
When you delete a custom column, however, you must re-create the
column.
To delete a column:
1. Click the column heading in a bin.
2. Choose Delete from the Edit menu or press the Delete key.
The column disappears from the view, and surrounding columns
fill the empty space.
Duplicating a Column
You can duplicate existing columns containing timecode information
into other compatible columns that you target in a dialog box.
To duplicate a timecode column:
1. Select the column you want to duplicate by clicking its heading.
2. Choose Duplicate from the Edit menu.
Organizing with Bins
145
The Select dialog box appears.
In the example, “Copy ‘Start’ column to:” appears at the top of the
dialog box because the user selected the Start column for
duplication.
3. Select a column name from the list.
The column must contain the same type of data for the copy to
occur. For example, you can copy start timecodes to the Auxiliary
TC column, but you cannot copy timecodes to the Pullin column.
4. Click OK.
The column of information appears in the column you designated.
When you duplicate a timecode column (Start, TC 24, TC 25, TC 25P,
or TC 30), the values for master clips and subclips are converted to the
appropriate timecode. For more information, see “Displaying
Timecodes in a 24p or 25p Project” on page 157.
Using Text View
146
Adding Customized Columns to a Bin
In addition to the standard statistical or film column headings, you
can add your own column headings to describe information about
clips. For example, you might want to add a column heading to
describe what kind of shot (close-up, wide shot, master shot, extreme
close-up, and so on) is used in a clip.
To add a new custom column:
1. Click an empty area to the right of the current headings in the
headings box.
2. Move any existing column to the right or left in order to create an
empty area.
3. Type the column heading you want, and press Enter (Windows) or
Return (Macintosh). Column headings must contain fewer than 14
characters, including spaces.
This places the pointer in the data box, beside the first clip in the
bin.
4. Choose Align to Grid from the Bin menu after you have entered
the new column heading.
5. Type the information, and press Enter (Windows) or Return
(Macintosh) to move to the next line.
Changing a Custom Column Heading
You can change the heading name of custom columns only. You cannot
change any of the standard column headings.
To change the name of a custom column:
1. Press and hold the Alt key (Windows) or Option key (Macintosh),
and click the heading to highlight it.
2. Type the new text for the heading, and press Enter (Windows) or
Return (Macintosh).
Organizing with Bins
147
Managing Clip Information in Text View
For additional bin
shortcuts, see the quick
reference guide for your
Avid editing system.
There are several ways to manage clip information in bin columns.
These methods include copying information between cells, moving
information between whole columns, sorting clip information, and
modifying clip data, as described in this section.
Moving Within Column Cells
Use the keyboard shortcuts to move from cell to cell in bin columns:
•
Tab: Moves the pointer to the parallel cell in the next column. You
can continue to press the Tab key to scroll through the cells to the
right until the cell in the last column is highlighted. The next time
you press the Tab key, the cell in the first column is highlighted.
•
Shift+Tab: Moves the pointer left to the cell in the previous
column. You can continue to press the Shift+Tab keys to scroll
through cells to the left until the cell in the first column is
highlighted. The next time you press Shift+Tab, the cell in the last
column is highlighted.
•
(Windows) Enter key on the main keyboard: Enters any new
information typed into the cell and moves the pointer down to the
cell in the next row. You can continue to press Enter to scroll down
the column until the last cell in the column is highlighted. The next
time you press the Enter key, the first cell in the column is
highlighted.
•
(Windows) Shift+Enter keys on the main keyboard: Move the
pointer up to the cell in the previous row. You can continue to
press the Shift+Enter keys until the cell in the top row is
highlighted. The next time you press the Shift+Enter keys, the cell
in the last row is highlighted.
•
(Macintosh) Return: Enters any new information typed into the
cell and moves the pointer down to the cell in the next row. You
can continue to press Return to scroll down the column until the
last cell in the column is highlighted. The next time you press the
Return key, the first cell in the column is highlighted.
Using Text View
148
•
(Macintosh) Shift+Return: Move the pointer up to the cell in the
previous row. You can continue to press the Shift+Return keys
until the cell in the top row is highlighted. The next time you press
the Shift+Return keys, the cell in the last row is highlighted.
Modifying Clip Information
You can change or modify the information in certain columns for your
master clips, subclips, tapes, and other objects stored in the bin. This is
especially useful if some of the data is incorrect, or if you need to
conform information for organizational purposes.
The following conditions apply to modifying clip information:
•
When you modify a clip’s information, related objects are
automatically updated to reflect the new data. For example, if you
change the name of a clip, the updated name appears in the
sequences that use the clip.
•
Some data cannot be modified after digitizing because changes
would prevent you from playing back and editing the material
successfully.
•
Sequence data cannot be changed, even though it appears in your
bin. The only way to modify sequence data is to edit the sequence
itself. You can, however, change the name and start time for the
master timecode track. For more information, see the editing
guide or user’s guide for your Avid editing system.
There are two ways to modify data:
Organizing with Bins
•
You can modify some data directly for master clips, subclips, and
other objects stored in a bin.
•
You can use the Modify command to change specific information
for master clips only.
149
Modifying Data Directly
When you modify information in a bin directly, you click a cell and
type the new information. For example, you can type a new name for a
clip, or correct the start and end timecodes.
You can directly modify any data in the bin while logging and prior to
digitizing. After the footage is digitized, however, you can directly
modify information only in selected headings, with restrictions, as
shown in Table 5-4.
n
For more information on these headings, see “Bin Column Headings” on
page 160.
Table 5-4
Modifiable Bin Headings
Heading
Restrictions
(Clip) Name
No restrictions.
Mark IN
Altering the mark IN also alters the IN to OUT duration. This replaces
any previous mark.
Mark OUT
Altering the mark OUT also alters the IN to OUT duration. This
replaces any previous mark.
Color
No restrictions.
Color Framing
Must be according to tape specifications.
Auxiliary timecodes, 1–5
No restrictions.
KN (Key Number) Start
Only for 24p projects, 25p projects, and matchback projects. Altering
the starting key number also alters the KN End to maintain the
duration. This can cause discrepancies with any auxiliary timecode
information you entered manually.
KN (Key Number) End
Only for 24p projects, 25p projects, and matchback projects. Altering
the KN End also alters the KN Start to maintain the duration.
Using Text View
150
Table 5-4
Modifiable Bin Headings (Continued)
Heading
Restrictions
Pullin
Only for 24p projects and matchback projects. Pullin data imported
from a telecine-generated list can be altered directly only before
digitizing or after unlinking. See “Setting the Pulldown Phase” on
page 193 (NTSC only).
Pullout
Automatically calculated. This field cannot be modified.
c
Modifying tape names and timecodes will affect any key numbers
entered for the selected clips.
To modify the clip data directly in a bin:
1. Click the Text tab in the bin to enter Text view.
2. Click the cell you want to modify. Select only one item at a time. In
this example, the timecode data is highlighted.
3. Click the cell again to enter text.
If the pointer does not change to an I-beam, you might be
attempting to modify a column that cannot be directly modified.
4. Type the new information, and press Enter (Windows) or Return
(Macintosh).
Organizing with Bins
151
Modifying Data Using the Modify Command
The Modify command gives you specialized control over groups of
clip information. For example, you can use the Modify command to
change the name of source tapes, or to increment or decrement the
start and end timecodes by a specified length of time for one or several
clips at once.
For a complete
description of the
Modify dialog box
options, see the input
and output guide or
user’s guide for your
Avid editing system.
You can apply changes with the Modify command to master clips
only; subclips cannot be altered in this way. In addition, you can only
perform modifications that alter the end timecodes or the tracks before
digitizing, as described in Table 5-5.
Table 5-5
Modify Command Options
Type of Modification
Options
Description
Set Timecode Drop/
Nondrop
Drop, Nondrop
Changes the timecode format between
drop-frame and non-drop-frame. Setting must
match the timecode format of the tape.
Set Timecode By Field
Start or End
Changes either the start or end timecode. Only
start timecode can be altered after digitizing.
Hour, Minutes, Seconds,
Frames
Allows you to enter custom timecode.
Start or End
Changes either the start or end timecode.
Incrementing the start timecode automatically
modifies the end timecode by the same amount.
Only start timecode can be incremented after
digitizing.
Timecode text box
Allows you to enter custom incremental
timecode.
Increment Timecode
Using Text View
152
Table 5-5
Modify Command Options (Continued)
Type of Modification
Options
Description
Decrement Timecode
Start or End
Changes either the start or end timecode.
Decrementing the start timecode automatically
modifies the end timecode by the same amount.
Only start timecode can be decremented after
digitizing.
Timecode text box
Allows you to enter new decremental timecode.
Set Key Number
Generic (Prefix)
Key Number text box
Allows you to enter a custom generic key
number. Only for 24p, 25p, and matchback
projects. See “Entering Key Numbers” on
page 204.
Set Pullin
A, B, C, or D
Selects the pulldown phase to match to the
timecode entry (24p and matchback projects
only). For more information, see “Entering
Pulldown Information” on page 198.
Set Tracks
V, A1, A2, A3, A4, A5,
A6, A7, and A8 track
selector buttons
Changes the clip’s configuration of tracks (film
projects only). The clip must be unlinked. For
information on unlinking clips, see the editing
guide or user’s guide for your Avid editing
system.
Set Source
None
Opens the Select Tape dialog box. Selects
another source tape name for the clips that
should match the original source tape name.
To modify selected data using the Modify command:
1. Open the bin and click the Text tab.
2. Click the icon to the left of the clip or other object you want to
modify. Ctrl+click (Windows) or Shift+click (Macintosh) each
additional object you want to modify.
3. Choose Modify from the Special menu.
The Modify dialog box appears.
Organizing with Bins
153
Modify Options
pop-up menu
4. Choose an option, such as Set Timecode By Field, from the Modify
Options pop-up menu.
5. Select an option or type information into the text boxes (timecode
values, for example) when they appear.
6. Click OK.
The modification takes effect.
Using Text View
154
Copying Information Between Columns
The following procedure describes how to copy all the information in
one column to another column. The procedure uses an example of
copying timecode information in one column to a new column.
To copy column information to another column:
1. Select the timecode column you want to copy.
2. Choose Duplicate from the Edit menu.
The Select dialog box appears, prompting you to target a timecode
column for the data.
3. Select the target column for the data, and click OK.
Copying Information from Another Cell in a Custom Column
To copy information from another cell in a custom column:
1. Press and hold the Alt key (Windows) or Option key (Macintosh)
while you click in the destination cell to reveal a pop-up menu of
all items entered in that column.
2. Select the text from the menu.
The text appears in the cell.
Sorting Clips in Text View
Sorting clips arranges them in either numerical order, alphabetical
order, or by color, based on the data in the column you select as the
sorting criteria. You can sort clips in several different ways, including
an ascending sort, a descending sort, or a multilevel sort.
Organizing with Bins
155
Sorting Clips in Ascending Order
To sort clips in ascending order:
1. With a bin in Text view, click the heading of the column you want
to use as the criterion.
The column is highlighted.
2. Choose Sort from the Bin menu.
The objects in the bin are sorted in ascending order.
n
If the Sort command appears dimmed in the menu, you have not selected a
column.
To reapply the last sort:
t
Choose Sort Again from the Bin menu with no column selected.
This step is especially useful after you have added new clips to a
sorted bin.
Sorting Clips in Descending Order
To sort clips in descending order:
1. With a bin in Text view, click the heading of the column you want
to use as the criterion.
The column is highlighted.
2. Press and hold the Alt key (Windows) or Option key (Macintosh)
while you choose Sort Reversed from the Bin menu.
The objects in the bin are sorted in descending order.
Using Text View
156
Multilevel Sorting with Columns
You can select multiple columns in a bin and perform a multilevel sort
using the information in the columns.
To perform a multilevel sort using the information in the bins:
1. With a bin in Text view, arrange the columns in the bin to establish
the primary column.
The column that appears farthest to the left in Text view becomes
the primary criterion for the sorting operation.
2. Select the columns you want to sort.
The columns are highlighted.
3. Choose Sort from the Bin menu.
The objects in the bin are sorted.
Sorting Clips by Color
You can sort the clips by color if you assigned colors to the clips. See
“Assigning Colors to Bin Objects” on page 132.
To sort clips by color:
1. Click the Color column heading in the bin.
2. Choose Sort from the Bin menu.
The objects in the bin are sorted by color.
n
Organizing with Bins
Colors are sorted by hue, saturation, and value.
157
Displaying Timecodes in a 24p or 25p Project
When you are working with 24p and 25p projects, you can add
timecode columns to bins to enter and display starting timecodes in
several timecode formats for master clips and subclips.
After you add a timecode column (TC 24, TC 25, TC 25P, or TC 30) to a
bin, you can use the Duplicate command to convert the values for
master clips and subclips to the appropriate timecode for that column.
For example, when working with a 24p NTSC project, if you duplicate
the Start column values to one of the timecode columns and the Start
column contains a master clip with the timecode 01:00:00:15, the
timecode is converted to the timecode of that column.
Table 5-6 shows the converted timecode for each timecode column. All
of the values are equivalent.
Table 5-6
n
Timecode Columns
Bin Column
Timecode
TC 24
01:00:00:15
TC 25
01:00:00:15
TC 25P
01:00:00:16
TC 30
01:00:00:19
The TC1 track in the Timeline represents the timecode of the project in which
you are working. For example, when you are working in a 24p NTSC project,
the TC1 track displays the same timecode as the TC 30 track.
Using Text View
158
Frame Counting for Timecodes
Table 5-7 shows the frame count for each of the timecodes. The
timecodes are listed as 24 for 24 fps, 25 for 25 fps, 25P for 25 (PAL with
pulldown), and 30 for 30 fps (the count skips 6 frames to fit 30 frames
into 24 fps).
Table 5-7
Timecode Frame Counts for Record
Timecode
Frames
24
00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 00
25
00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
25P
00 01 02 03 04 05 06 07 08 09 10 11 13 14 15 16 17 18 19 20 21 22 23 24 00
30
00 01 03 04 05 06 08 09 10 11 13 14 15 16 18 19 20 21 23 24 25 26 28 29 00
Adding Timecode Columns to a Bin
To add timecode columns to a bin:
1. Choose Headings from the Bin menu.
The Bin Column Selection dialog box appears.
2. Ctrl+click (Windows) or click (Macintosh) the timecode columns
you want to display.
3. Click OK.
The timecode columns appear in the bin.
Organizing with Bins
159
Adding Timecode Values to the Timecode Columns
To add timecode values to the timecode columns:
1. Open a bin.
2. Add the Start column and the timecode column with the format
you want to use.
3. Select the Start column.
4. Choose Duplicate from the Edit menu.
The Select dialog box appears.
5. Select the timecode heading from the list.
Using Text View
160
6. Click OK.
The values for master clips and subclips in the Start column are
converted to the appropriate timecode format and entered into the
column you selected.
Bin Column Headings
You can select individual or multiple headings to be displayed or
hidden in a bin. Table 5-8 describes the Bin Column Selection
headings. For a procedure on how to select column headings, see
“Showing and Hiding Columns” on page 142.
Table 5-8
Bin Column Selection
Heading
Description
Name
This heading does not appear as a column selection, but it always appears in
the bin. The column contains the name of the clip (you can rename a clip after it
has been digitized).
Audio
The audio resolution (sample rate).
Audio Format
The audio format of master clips (AIFF-C, SDII, or WAVE).
Auxiliary Ink
Auxiliary ink format settings allow you to display two types of ink numbers at
the same time. This lets you track additional types of film information for
different film gauges. Used for 24p projects, 25p projects, and matchback
projects only.
Auxiliary TC1
through TC5
You can enter an auxiliary timecode, such as Aaton® or Arri®, or another
timecode for editing film or audio timecode for film. (Not restricted to film
projects.)
CFPS
The captured frames per second.
Camera
The camera used to film this clip. This feature is used in multicamera shoots.
Organizing with Bins
161
Table 5-8
Bin Column Selection (Continued)
Heading
Description
Camroll
The camera roll containing this clip. Used for 24p projects, 25p projects, and
matchback projects only.
Color
The color of the bin objects for organizing the objects.
Color Framing
The color framing for the tape. For NTSC, the choice is Even or Odd. For PAL,
the choices are A Standard, A Non-Standard, B Standard, or B Non-Standard.
n
After you add the column to the bin, click in the column and choose a color
framing option from the pop-up menu.
Creation Date
The date and time the clip was logged or digitized.
Disk
The last known drive on which the media for that master clip existed.
Duration
The length of the clip.
End
The timecode of the clip’s tail frame.
FPS
The play rate: the number of frames to be displayed each second. The default is
30 for NTSC and 25 for PAL for video.
Film TC
The timecode used on film. Used for 24p and 25p projects only.
Frame
Displays the same frame that is displayed when you select Frame view for the
bin. The frame will only appear in the bin after the media is digitized in the
Avid editing application.
IN-OUT
The length of the marked segment, if any.
Ink Number
The ink number for the clip. Used for 24p projects, 25p projects, and matchback
projects only.
KN Duration
The length of the clip, expressed in feet and frames. Used for 24p projects, 25p
projects, and matchback projects only.
KN End
The ending key number for the clip. Used for 24p projects, 25p projects, and
matchback projects only.
Using Text View
162
Table 5-8
Bin Column Selection (Continued)
Heading
Description
KN IN-OUT
The Mark IN and Mark OUT key number for the clip. Used for 24p projects,
25p projects, and matchback projects only.
KN Mark IN
The key number for the IN point, if you set one for the clip. Used for 24p
projects, 25p projects, and matchback projects only.
KN Mark OUT
The key number for the OUT point, if you set one for the clip. Used for 24p
projects, 25p projects, and matchback projects only.
KN Start
The starting key number for the clip. Used for 24p projects, 25p projects, and
matchback projects only.
Labroll
The labroll containing the clip.
Lock
Specifies whether the clip is locked against deletion.
Mark IN
The timecode for the IN point, if you set one for the clip.
Mark OUT
The timecode for the OUT point, if you set one for the clip.
Modified Date
The date and time a sequence was last edited or changed.
Offline
The track names for any media files that are offline.
Perf
The film edge perforations format used for 3-perf projects. Used for
24p projects, 25p projects, and matchback projects only.
Project
The project under which the media was originally digitized.
Pullin
The telecine pulldown of the first frame of the clip (pulldown phase). Pullin
can have the values A, B, C, or D. Used for 24p projects and matchback projects
only (NTSC only).
Pullout
The telecine pulldown of the last frame of the clip (pulldown phase). Pullout
can have the values A, B, C, or D. Used for 24p projects and matchback projects
only (NTSC only).
Reel #
The source reel number. Used for 24p and 25p projects only.
Organizing with Bins
163
Table 5-8
Bin Column Selection (Continued)
Heading
Description
Scene
The scene number of the clip.
Shoot date
The date the footage was shot.
Slip
The number and direction of perfs for subclips (audio clips only). Used for
24p and 25p projects only.
Sound TC
The timecode for audio.
Soundroll
The sound roll this clip came from. Used for 24p projects, 25p projects, and
matchback projects only.
Start
The timecode of the clip’s head frame.
TC 24
The 24-fps timecode. Used for 24p and 25p projects only.
TC 25
The 25-fps timecode, no pulldown. Used for 24p and 25p projects only.
TC 25P
The 25-fps timecode with PAL pulldown. Used for 24p and 25p projects only.
TC 30
The 30-fps timecode with 2:3 pulldown. Used for 24p and 25p projects only.
Take
The take number of the scene.
Tape
The source tape name.
Tracks
All tracks used by this media object.
VITC
The vertical interval timecode.
Video
The resolution under which the media for that clip was digitized.
Using Text View
164
Organizing with Bins
CHAPTER 6
Creating MediaLog Output
Once you have finished logging your tapes, you can print the bins to
create a paper record of your log, export the bin files for use in a
different application, or transfer the bins to an Avid editing system for
digitizing and editing the footage.
This chapter covers the following topics:
•
Printing Bins
•
Exporting Bins
•
Transferring Bins to an Avid Editing System
•
Transferring Projects and Bins Using AFE Files
166
Printing Bins
Before you print MediaLog bins, make sure a printer driver has been
installed and your computer recognizes the driver. If the driver is
installed properly, simply restarting your computer will cause the
system to recognize the driver.
n
Directions for installing the printer driver and selecting the
printer should be included in the documentation for your printer and for your
computer system.
The Avid application allows you to print entire bins or individual
frames in hardcopy form.
To print entire bins in Brief or Text view:
1. Make sure your printer is correctly set up. See the Windows Help
or your system administrator.
2. Click the Brief tab (Brief view) or Text tab (Text view) of the bin to
select the view you want to print.
3. Choose Page Setup from the File menu.
The Page Setup dialog box appears, reflecting the specific options
for your printer.
4. Select the Page Setup options.
5. Click OK (Windows) or click Print (Macintosh).
6. Choose Print Bin from the File menu.
The Print dialog box appears, reflecting the specific options for
your printer.
7. Select the Print options.
8. Click OK (Windows) or click Print (Macintosh).
The system prints the active bin.
Creating MediaLog Output
167
Exporting Bins
You can save the bin information in a text file for use with other
applications. The information is saved in an ASCII file (TAB
Delimited) and is organized in the following way:
•
Line 1 is a list of the headings in the current Bin view. This line is
optional.
•
Each remaining line is data for an individual clip, with tabs
delimiting each category of information. These lines are separated
by carriage returns.
The file can be opened in any word processing or text editing package,
or it can be imported into a database file created by applications like
Microsoft Excel and Claris® FileMaker®.
The information can also be saved as a shot log in Avid format (ALE)
for importing to an Avid editing system bin. This is generally
unnecessary, because MediaLog bins can also be opened directly in
Avid editing applications.
Clips can also be saved in an AFE file. For more information, see
“Transferring Projects and Bins Using AFE Files” on page 170
To export a MediaLog bin:
1. Open the bin that contains the clips you want to export.
2. Select the clips.
3. Choose Export from the File menu.
A dialog box appears.
Exporting Bins
168
4. Select the format you want to use for the exported bin.
The Export As dialog box appears.
Windows
Macintosh
5. Navigate to the disk and folder where you want to save the
exported file.
6. Click Save to accept the default file name, or type a new file name
and then click Save.
Creating MediaLog Output
169
Transferring Bins to an Avid Editing System
Bins you have created on a MediaLog system can be transferred to an
Avid editing system and then opened directly from within an Avid
editing project.
The clips logged in the transferred bins are ready for batch digitizing;
no additional preparation is required.
It is best to transfer only bins, without projects, to the Avid editing
system. Then if you want, you can digitize the bins using a different
video resolution.
You can transfer bins in the same way you transfer any files: on a
floppy disk, removable disk, or over a network.
To transfer MediaLog bins to an Avid editing system:
1. On your computer desktop, locate and double-click the Avid
Projects folder in the Select User and Project dialog box (see
“Setting Up Project Files and Folders” on page 37).
2. Double-click the project from which you want to transfer bins.
3. Select the bins you want to transfer.
4. Copy the MediaLog bins to a formatted floppy disk, removable
disk, or network drive.
5. At the Avid editing system, quit the Avid editing application, if it
is open.
6. Double-click the Avid Projects folder. Then double-click the
project folder where you want to store MediaLog bins.
7. If using a floppy disk for transfer, insert the floppy disk into the
Avid editing system floppy drive.
8. Double-click drive icon.
Transferring Bins to an Avid Editing System
170
9. Select the MediaLog bins, and copy them into the appropriate
project folder.
10. Start the Avid editing system and open the project.
The MediaLog bins appear in the list of bins.
Transferring Projects and Bins Using AFE Files
AFE (Avid File Exchange) files are an efficient way to transfer project
information between Avid applications. For example, you can use AFE
files to transfer projects and bins from an offline Media Composer to
an Avid|DS finishing system.
n
Make sure the Avid applications you are working with support AFE files.
AFE files are based on AAF (Advanced Authoring Format)
technology. AFE files, however, are especially designed for sharing
project information among Avid applications. AFE files let you
transfer one or more bins, their contents, and information about the
contents, including master clips, subclips, titles, and sequences.
To create an AFE file:
1. Close the Avid editing application, if it is open.
2. Open MediaLog.
The Select Project and User dialog box appears.
3. Choose a user or create a new user by clicking the New User
button.
c
Do not share user settings between MediaLog and an Avid editing
system.
4. Select the project that you want to transfer and click OK.
The project opens.
Creating MediaLog Output
171
5. Do one of the following:
•
To create a file that includes all bins in a project, select the
project window and choose Save Project Copy As from the
File menu. The Save Project Copy As dialog box appears.
Choose a location, name the file, and click Save.
•
To create a file that includes the contents of a single bin, open
the bin, select the bin, and choose Save Bin Copy As from the
File menu. The Save bin name As dialog box appears. Choose
Avid File Exchange (*.afe) from the “Save as type” list. Choose
a location, name the file, and click Save.
•
To create a file that includes a single sequence, select the
sequence and choose Export from the File menu. Click the
AFE button. The Export As dialog box is appears. Choose a
location, name the file, and click Save.
6. Transfer the AFE file to a location that you can access from the
other Avid application.
You can use removable media, a network connection, or an Avid
Unity shared storage system.
Transferring Projects and Bins Using AFE Files
172
Creating MediaLog Output
APPENDIX A
Avid Log Specifications
This section explains the Avid log file format. The Avid application can
import logs that meet Avid log specifications. These logs must follow
the formatting requirements.
This appendix covers the following topics:
•
Supported Avid Log Formats
•
Understanding Avid Log Specifications
•
Describing an Avid Log File
•
Sample Avid Logs
174
Supported Avid Log Formats
Table A-1 lists the log formats that can be imported into the Avid
application. You can use a text editor to adapt other log formats so
they meet Avid log specifications.
Table A-1
Avid Log Specifications
Compatible Log Formats
Log
Requirements
File Name Extension
AatonBase
Conversion required
.atn or .atl
Avid Logs
Create with text editor
and import directly
.ale
CMX EDL
Conversion required
.cmx
Evertz
Import directly
(conversion optional)
.ftl
Excalibur
Conversion required
.ale or .flx
FLEx
Conversion required
.flx
Keyscope
Import directly
.ksl
Log Producer
Conversion required
.llp
Log Right
Import directly
.ale
OSC/R
Conversion required
.asc
175
Understanding Avid Log Specifications
This section contains tables that show how to enter headings and data
to create an Avid log. The tables use the following conventions:
•
<A supported value> is surrounded by angle brackets.
<Alternative supported values> appear underneath, also in angle
brackets. You must enter exactly one of these values. For example,
<29.97> is one of the supported values for the FPS heading; to
specify that value, type 29.97.
•
<A variable data value> is also surrounded by angle brackets. For
example, <time code> is the data entry for the Start heading; type
the correct timecode, in the format 08:19:10:00 (or
08;19;10;00, for drop-frame timecode).
•
[Tab] and [Enter] (Windows) and [Return] (Macintosh) keys are
surrounded by standard brackets.
•
The fifth column contains the word “Required” if the heading
must be included in the log.
•
The final column contains notes about the heading or values.
The following is a sample heading from the format table:
FPS
[Tab]
<25>
<29.97>
[Enter] or
[Return]
Required
Capture rate is 25 fps for PAL and
29.97 fps for NTSC video.
Note that FPS is a required heading.
To make a log entry for the FPS heading:
1. Type FPS.
2. Press the Tab key.
Understanding Avid Log Specifications
176
3. Type one of the supported values (25 or 29.97).
4. Press Enter (Windows) or Return (Macintosh).
Describing an Avid Log File
An Avid log is composed of three or four sections, in this order:
•
Global headings
•
Column headings
•
Custom column headings (optional)
•
Data headings
The tables in this section adhere to this order. When you create an Avid
log, you must follow the order precisely.
You can select not to display a defined heading (including a required
heading), except for Name. Name must always be displayed.
The maximum number of combined global, standard, and custom
headings in a log file is 64.
Global Headings
The global headings must come first in an Avid log file, and you must
enter one value for each heading.
Table A-2 shows the format for the global headings and the supported
values for each heading.
Avid Log Specifications
177
Table A-2
Avid Log Global Headings
GLOBAL HEADINGS: Global headings are case sensitive and must be spelled exactly as shown.
Include all required headings. Other headings are optional but might be necessary for your project.
The maximum number of combined global, standard, and custom headings in a log file is 64.
Heading
FIELD_DELIM
[Tab]
<TABS>
VIDEO_FORMAT
[Tab]
<NTSC>
<PAL>
AUDIO_FORMAT
[Tab]
[Enter] or
[Return]
Required
This marks the start of the
global headings.
[Enter] or
[Return]
Required
Enter TABS to show that the file
is TAB Delimited.
[Enter] or
[Return]
Required
<22 kHz>
<24 kHz>
<44 kHz>
TAPE
[Tab]
<48 kHz>
[Enter] or
[Return]
<Tape
Name>
[Enter] or
[Return]
Audio sampling rate for
digitizing. You can override this
for individual clips.
Required
Name of the videotape reel you
are logging. If you omit this
heading, the file name becomes
the global tape name. You can
override this for individual
clips.
Describing an Avid Log File
178
Table A-2
FPS
[Tab]
Avid Log Global Headings (Continued)
<25>
<29.97>
[Enter] or
[Return]
[Enter]
or
[Return]
Required
Capture rate is 25 fps for PAL
and 29.97 fps for NTSC video.
Press Enter (Windows) or
Return (Macintosh) a second
time after entering the FPS
value. This marks the end of the
global headings.
Column Headings
The standard column headings appear after the global headings in the
Avid log file. You do not enter the data for a column heading along
with the heading. You will enter the data later, in a separate data
section.
You must include the five required standard column headings; they
are listed first in Table A-3.
You can create your own custom column headings. Enter them after
the standard headings (see the last heading in this table). To create a
custom heading, substitute the custom heading name for
<Your_heading>. You can create several custom headings, as long as
the total of global, standard, and custom headings does not exceed 64.
Table A-3
Avid Log Column Headings
COLUMN HEADINGS: Column headings are case sensitive and must be spelled exactly as shown.
The first five headings are required. Other headings are optional but might be necessary for your
project. The maximum number of combined global, standard, and custom headings in a log file is 64.
Column
Avid Log Specifications
[Enter]
or
[Return]
Required
Indicates the start of the column headings.
179
Table A-3
Avid Log Column Headings (Continued)
Name
[Tab]
Required
Heading for clip name.
Tracks
[Tab]
Required
Heading for tracks you select for digitizing.
Start
[Tab]
Required
Heading for video timecode of sync point — the
timecode IN for clip. From address track of video.
End
[Tab]
Required
Heading for timecode OUT for clip. From address
track of video.
AUDIO_FORMAT
[Tab]
Heading for audio sampling rate for digitizing the
individual clip. If omitted, the global entry for
AUDIO_FORMAT applies.
Auxiliary TC1
[Tab]
Heading for auxiliary timecode.
Auxiliary TC2
[Tab]
Heading for auxiliary timecode.
Auxiliary TC3
[Tab]
Heading for auxiliary timecode.
Auxiliary TC4
[Tab]
Heading for auxiliary timecode.
Auxiliary TC5
[Tab]
Heading for auxiliary timecode.
CFPS
[Tab]
Heading for video capture rate for digitizing the
individual clip. If omitted, the global entry applies.
Color Framing
[Tab]
Creation Date
[Tab]
Heading for date of clip creation.
Disk
[Tab]
Heading for target disk ID.
Duration
[Tab]
Heading for timecode Start to timecode End; the
length of the video clip.
FPS
[Tab]
Heading for video frames per second rate for
digitizing the individual clip (NTSC = 29.97, PAL =
25). If omitted, the global entry applies.
Describing an Avid Log File
180
Table A-3
Avid Log Column Headings (Continued)
IN-OUT
[Tab]
Heading for duration between clip’s mark IN and
mark OUT (if present).
Mark IN
[Tab]
Heading for timecode of clip’s mark IN (if present).
Mark OUT
[Tab]
Heading for timecode of clip’s mark OUT (if present).
Offline
[Tab]
Heading for tracks currently without digitized media
files online.
Tape
[Tab]
Heading for source tape ID for the individual clip. If
omitted, the global entry applies.
Video
[Tab]
Heading for video resolution.
Labroll
[Tab]
Heading for lab roll ID for clip. Lab rolls are a
combination of several camera rolls.
Camroll
[Tab]
Heading for camera roll ID for clip.
Sound TC
[Tab]
Heading for Nagra time code, Aaton code, Arri code,
and so on, at the sync point. Syncs with the Start
timecode. Required if tracking the sync sound.
Capture rate can be 25 or 30 fps.
Soundroll
[Tab]
Heading for sound roll ID for clip.
Scene
[Tab]
Heading for scene ID for clip.
Take
[Tab]
Heading for take ID for clip.
TC 24
[Tab]
Heading for 24-fps timecode
TC 25P
[Tab]
Heading for 25-fps timecode with pulldown
TC 25
[Tab]
Heading for 25-fps timecode
TC 30
[Tab]
Heading for 30-fps timecode
DESCRIPT
[Tab]
Heading for description of clip.
Avid Log Specifications
181
Table A-3
Avid Log Column Headings (Continued)
COMMENTS
[Tab]
Heading for comments about clip.
<Your_heading>
[Tab]
Press the Tab key between each heading. Do not press
the Tab key after the last heading. Add any category
of information you want. Add as many headings as
you want, but do not use more than a total of 64 global
and column headings in the file.
[Enter]
or
[Return]
[Enter]
or
[Return]
Press Enter (Windows) or Return (Macintosh) twice
(do not press Tab) after the last heading.
Data Headings
Some data, such as
Creation Date, is
gathered by the system.
Table A-4 does not
include entries for such
data.
The data headings come after the Custom column headings. Table A-4
shows the format for entering data. Enter a line of data in this format
for every clip. Be sure to start the data section for each clip with the
word Data [Enter] (Windows) or Data [Return] (Macintosh).
You must enter data so that it aligns with its column heading. For
example, the data that goes with the ninth column heading must be
the ninth data entry.
Be sure to enter data for all the required values. To leave a data
position unfilled, press the Tab key instead of typing data. Press Enter
(Windows) or Return (Macintosh) at the end of each line.
Table A-4
Avid Log Data Headings
DATA HEADINGS: The word Data marks the start of the data for each clip.
Data
[Enter] Required
or
[Return]
Enter the word Data to mark the start of the logged clip
entries.
Describing an Avid Log File
182
Table A-4
Avid Log Data Headings (Continued)
DATA FOR EACH CLIP: Enter a line of data for each clip. Enter the data so that it aligns with its column
heading. (The data that goes with the ninth column heading must be the ninth data entry.) Be sure to
enter data for all the required values. To leave a data position unfilled, press the Tab key instead of
typing data. Press Enter (Windows) or Return (Macintosh) at the end of each line. Your Avid system
supports up to four audio tracks in imported and exported logs.
<clip name>
[Tab]
Required
Under Name heading. Enter a clip identifier (32
characters maximum).
[Tab]
Required
Under Tracks heading. Enter the tracks you want
digitized for the clip. Enter V for MOS takes. Enter A1,
A2, or A1A2 for wild sound.
<V>
<VA1>
<VA2>
<VA1A2>
<A1A2>
<A1>
<A2>
<22 kHz>
<24 kHz>
<44 kHz>
<48 kHz>
Avid Log Specifications
[Tab]
Under AUDIO_FORMAT heading. Enter the audio
sampling rate for this clip only. If omitted, global entry
applies.
183
Table A-4
<Source tape ID>
Avid Log Data Headings (Continued)
[Tab]
Under Tape heading. Enter the source videotape ID for
this clip only.
<29.97>
[Tab]
Under FPS heading. Enter the video capture rate for this
clip only. If omitted, global entry applies. Use 25 fps for
PAL video or 29.97 fps for NTSC video.
<time code>
[Tab]
Required
Under Start heading. Enter the video timecode for sync
point, the first frame in clip. Use colons for
non-drop-frame (for example, 01:00:12:20). Use one or
more semicolons for drop-frame (for example,
01;18;00;02).
<time code>
[Tab]
Required
Under End heading. Enter the video timecode for the last
frame of clip.
<time code>
[Tab]
Under Duration heading. Enter the length of the video
clip, Start to End.
<lab roll ID>
[Tab]
Under Labroll heading. Identify the lab roll using letters
and numbers.
<camera roll ID>
[Tab]
Under Camroll heading. Identify the camera roll using
letters and numbers.
<time code>
[Tab]
Under Auxiliary TC heading. Enter a Nagra timecode,
Aaton code, Arri code, and so on, for the sync point.
Syncs with the Start timecode.
<Sound roll ID>
[Tab]
Under Soundroll heading. Identify the sound roll using
letters and numbers.
<scene ID>
[Tab]
Under Scene heading. Identify the scene using letters and
numbers.
<take ID>
[Tab]
Under Take heading. Identify the take using letters and
numbers.
<clip description>
[Tab]
Under DESCRIPT heading. Describe the clip.
<25>
Describing an Avid Log File
184
Table A-4
Avid Log Data Headings (Continued)
<clip comments>
[Tab]
Under COMMENTS heading. Comment on the clip.
<information>
[Tab]
Press the Tab key between each heading. Do not press the
Tab key after last heading. Under the headings you
created yourself, type the appropriate information.
[Enter] or [Return]
Press Enter (Windows) or Return (Macintosh) after the
last entry for the clip.
Do not press Tab after the last entry for the clip.
Enter an additional line of data for each remaining clip.
Sample Avid Logs
This section contains a sample Avid log for an NTSC video project.
Formatting keys (such as [Tab] and [Enter] (Windows) and [Return]
(Macintosh)) are shown in brackets.
Avid Log Specifications
185
Windows
Heading [Enter]
FIELD_DELIM [Tab] TABS [Enter]
VIDEO_FORMAT [Tab] NTSC [Enter]
AUDIO_FORMAT [Tab] 44kHz [Enter]
TAPE [Tab] 001 [Enter]
FPS [Tab] 29.97 [Enter]
[Enter]
Column [Enter]
Name [Tab] Tracks [Tab] Start [Tab] End [Enter]
[Enter]
Data [Enter]
CU Josh & Mary [Tab] V [Tab] 01:00:00:00 [Tab] 01:15:05:00 [Enter]
CU Josh [Tab] VA1 [Tab] 01:15:06:00 [Tab] 01:20:00:00 [Enter]
Macintosh
Heading [Return]
FIELD_DELIM [Tab] TABS [Return]
VIDEO_FORMAT [Tab] NTSC [Return]
AUDIO_FORMAT [Tab] 44kHz [Return]
TAPE [Tab] 001 [Return]
FPS [Tab] 29.97 [Return]
[Return]
Column [Return]
Name [Tab] Tracks [Tab] Start [Tab] End [Return]
[Return]
Data [Return]
CU Josh & Mary [Tab] V [Tab] 01:00:00:00 [Tab] 01:15:05:00 [Return]
CU Josh [Tab] VA1 [Tab] 01:15:06:00 [Tab] 01:20:00:00 [Return]
Sample Avid Logs
186
Avid Log Specifications
APPENDIX B
Working with a Film Project
This appendix covers the following topics:
n
n
•
Creating a Film Project
•
Film Settings
•
Logging Film Information
The information in this appendix also applies to matchback projects.
Matchback is available in Symphony, Media Composer, Film Composer, and
Avid Xpress systems.
Film projects that use 24p and 25p media are only available in Symphony,
Media Composer, and Film Composer systems. For information on film
projects, see the appropriate editing guide and input and output guide.
188
Creating a Film Project
To create a new project:
1. Click New Project in the Select User and Project dialog box.
The New Project dialog box appears.
2. Type a name for your new project in the text box and click OK.
n
If you plan to move bins and projects from one platform to another, do not use
the characters / \ : * ? “ < > | when naming projects, bins, and users.
3. Choose a project type from the Format pop-up menu, based on
your source footage (NTSC or PAL) and your Avid system model:
-
If your Avid system does not include support for 24p projects
or 25p projects, make a selection based on the source footage:
NTSC or PAL.
-
If your Avid system includes support for 24p projects or 25p
projects, make a selection based on the source footage or the
type of film-to-tape transfer you are working with.
Table B-1 lists the format options available with Avid systems
that include support for 24p projects and 25p projects.
Working with a Film Project
189
Table B-1
Project Types for Systems That Support 24p and
25p Projects
Project Type
Source Footage Transfer
24p NTSC
For film-originated or other 24-fps footage
transferred to NTSC videotape
30i NTSC
For NTSC video-originated or other 30-fps footage
transferred to NTSC videotape
24p PAL
For film-originated or other 24-fps footage
transferred to PAL videotape at 25 fps
25p PAL
For 25-fps film footage transferred to PAL
videotape
25i PAL
For PAL video-originated footage (25 fps)
4. Choose a tracking format or audio transfer rate:
-
For 24p projects and 25p projects, choose a film gauge tracking
format from the Film Type pop-up menu.
-
For 24p PAL projects, choose an audio transfer rate. For
information on audio transfer rates, see the input and output
guide for your Avid editing system.
5. (Option) Click Matchback and choose a film tracking format from
the Film Type pop-up menu. The Matchback item appears only if
your Avid system includes the Matchback option.
6. Click OK.
The system creates the new project files and folders, and then
returns you to the Select User and Project dialog box. The project
name is highlighted in the Projects scroll list.
Creating a Film Project
190
Film Settings
Set film preferences in the Film Setting dialog box immediately after
you create a project to provide the system with important information
about the type of film and audio transfer you used for your job. You
can access the Film Settings from the Settings scroll list in the Project
window. The following illustration shows the dialog box for an NTSC
film project. A PAL project replaces the Picture Transfer Rate menu
with an Audio Transfer Rate menu.
Working with a Film Project
191
Film settings determine essential parameters for accurately capturing,
tracking, and editing source material for 24p and 25p projects.
including:
•
Audio transfer rate (PAL only) and pulldown parameters for
film-to-tape transfers
•
Format and display of ink numbers
Setting the Format and Display of Ink Numbers
Table B-2 describes the Film Settings options for setting the format and
display of ink numbers.
Table B-2
Film Setting Dialog Box Options
Option
Description
Ink Number Format
Selects one of these industry-standard ink number formats to meet
your production lab standards and your film format.
Ink Number displayed as
Selects the format for the ink number display in bins and cut lists.
Auxiliary Ink Format
Selects the format for a second ink number (this is useful for tracking
additional information for different film gauges). The choices are the
same as for Ink Number Format.
Auxiliary Ink displayed as
Selects the format for the auxiliary ink number display. The choices are
the same as for Ink Number displayed as.
See “Entering the Ink Number (Optional)” on page 206 for more
information.
Film Settings
192
Transfer Settings for Film Projects
The following settings are important for transferring media in a film
project. You should set the transfer settings for film projects
immediately after you create a new project and before digitizing.
•
(NTSC only) Picture Transfer Rate allows you to specify the type
of film-to-tape transfer that you digitize:
-
Without pulldown: Select this option when working with 24-fps
footage that has been transferred MOS (roughly translated as
“without sound”) to 30 fps by speeding up the film, and the
audio has been brought into the Avid system separately at
100% of the actual speed.
-
With 2:3 pulldown: Select this option when working with 24-fps
footage that has been transferred to 30 fps by duplicating
frames (pulldown), and the audio has been synchronized to
the picture.
If you are digitizing sound that has been created during an NTSC
film-to-tape transfer, you need to set the pulldown switch before
you begin digitizing.
For NTSC projects, you can mix footage transferred with
pulldown and footage transferred without pulldown (video rate).
You can also mix sound transferred at 0.99 (with pulldown) and
1.00 (without pulldown).
•
(PAL only) You define the Audio Transfer Rate in the New Project
dialog box when you create a 24p PAL film project. (It is not
needed for a 25p PAL project because there is no film speedup
during the transfer.) It is important to keep the audio transfer rate
constant for the project. However, if there is a specific element you
need to digitize at a different rate, you can use the Film Setting
dialog box to change the rate. The following options are available:
-
Working with a Film Project
Film Rate (100%): Select this option when your 24-fps film
footage has been transferred MOS to 25 fps by speeding up
the film, and the audio comes in separately at 100% of the
actual speed (PAL Method 2).
193
-
Video Rate (100%+): Select this option when your 24-fps film
footage has been transferred to 25 fps by speeding up the film,
and the audio is synchronized to the video picture. This
means the audio speed is increased by 4.1 percent (PAL
Method 1).
For PAL 24p projects, you can mix audio that has been transferred
at 4.1 percent speedup (video rate, PAL Method 1) with audio that
has not been transferred (film rate, PAL Method 2). However, Avid
does not recommend this. For more information, see the editing
guide for your Avid editing system.
n
The Info tab in the Project window allows you to view the audio transfer rate
you selected when you created the project. The actual audio transfer rate
might be different from the display if you used the Film Setting dialog box to
change the audio transfer rate.
•
Set Pulldown-to-Timecode Relationship allows you to set a
default pulldown phase for a 24p NTSC project. See “Determining
the Pulldown Phase” on page 200.
Setting the Pulldown Phase
If you are logging or digitizing 24-fps sources (film-to-tape transfers,
media downconverted from 1080p/24 footage, or both), you can set
the pulldown-to-timecode relationship for a transferred tape in the
Film Setting dialog box.
Set Pulldown
Phase option
n
The information in this section only applies to NTSC projects.
Film Settings
194
You set this relationship by selecting the pulldown phase (sometimes
called the pulldown frame or pullin frame), which is the video frame at
which the master clip starts. The pulldown phase is designated A, B,
X, C, or D. Film labs and transfer houses typically use the A frame to
start the transfer.
The following illustration shows the relationship between film frames
and video frames.
Four film frames
A
B
C
D
n
Five NTSC video frames (10 fields)
A1
odd
A2
even
B1
odd
B2
even
B3
odd
C1
even
C2
odd
D1
even
D2
odd
D3
even
A
B
X
C
D
This setting is not available in matchback projects. However, you can modify
the pulldown phase after you log it. See “Entering Pulldown Information” on
page 198.
The Set Pulldown Phase option lets you log, digitize, and
digitize-on-the-fly more easily, because the correct pulldown phase of
any IN point for a particular tape is automatically determined. Setting
the correct pulldown phase prevents inaccuracies in cut lists and
matchback EDLs. It also prevents incorrectly digitized clips that
appear to stutter when played in 24p NTSC projects.
For example, if you set the pulldown phase of 00:00:00:00 as A
(indicating that the A frame is located at timecodes ending in 0 or 5),
any timecode you log will calculate its pulldown phase based on the
Working with a Film Project
195
same sync point, regardless of where you set the IN point. If you use
the Digitize tool to log a clip that starts at 01:00:10:01, the Avid system
automatically enters B in the Pullin column of the bin. If you digitize
with an IN point at 01:00:10:01, the system begins to digitize at the
next A frame, in this case, 01:00:10:05.
The pulldown-to-timecode relationship might vary from tape to tape,
or within the same tape, depending on how the footage was
transferred. If you find a tape requires a different pulldown phase, you
can change the setting in the Film Setting dialog box, or use the
Modify Pulldown Phase dialog box before digitizing (see “Modifying
the Pulldown Phase Before Digitizing” on page 202.
To set the pulldown phase:
1. Determine the correct pulldown phase for 00:00:00:00 in one of the
following ways:
t
If you are digitizing film-to-tape transfers, check the transfer
log.
t
If you are digitizing tapes that have been downconverted
from 1080p/24, check what pulldown frame was set for
00:00:00:00 on the deck that performed the conversion.
If you still cannot determine the pulldown phase, see
“Determining the Pulldown Phase” on page 200.
2. Double-click Film in the Settings scroll list of the Project window.
3. Select the option Set Pulldown Phase of Timecode 00:00:00:00 and
then choose the correct pulldown phase (A, B, X, C, D) from the
pop-up menu.
4. Click OK.
Film Settings
196
Logging Film Information
Once you have entered or imported the basic log information into a
bin, you might want to add film-related log information before
digitizing. This section describes procedures and formats for adding
various film headings.
The following are some important requirements for film-based
projects:
•
The minimum information required for digitizing is the data
recorded in the Start and End video timecode columns, and the
pulldown phase for NTSC transfers, which is noted in the Pullin
column (24-fps capture only).
•
Each reel of film can be logged as a separate clip, and will
correspond to a single master clip, only if the video transfer of the
film reel has continuous pulldown (NTSC format) and continuous
timecode (NTSC and PAL). If the film reels for your project do not
meet this condition, then you must log each take on a reel of film as
a separate clip, which will correspond to a single master clip.
•
If you want to produce a cut list, or use film-tape-film-tape for
redigitizing, you must log key numbers. You can add key numbers
after digitizing, before you create the cut list.
•
All film and video reference numbers must be in ascending order.
For example, you cannot have key numbers in descending order.
Working with a Film Project
197
Displaying Film Columns
To display film columns in the bin:
1. Choose Film from the Bin View pop-up menu, which is located at
the bottom of the Bin window, to display all the required film
column headings.
2. To log data under optional headings (for example; Ink Number,
Auxiliary TC1 through Auxiliary TC5, or Film TC), choose
Headings from the Bin menu and Ctrl+click (Windows) or click
(Macintosh) the specific headings you want to add from the Bin
Column Selection dialog box.
Logging Film Information
198
3. You can also track custom information for the job by creating a
custom heading. To create a new heading, type a name that
describes the information in the headings bar at the top of the bin.
For more information on customizing bin views, see
“Customizing Bin Views in Text View” on page 126.
Entering Pulldown Information
For information about
importing a log file, see
“Importing Logs” on
page 112.
To accurately digitize NTSC transfer tapes in 24p projects, you need to
enter pulldown information into the bin. (This information is not
required for PAL transfer tapes.) Setting the correct pulldown phase
prevents inaccuracies in cut lists and matchback EDLs. If you are
importing a log generated during the telecine transfer, the pulldown
information is automatically included in the bin.
Working with a Film Project
199
You specify the pulldown phase in the Pullin column. The following
illustration shows a bin with a Pullin column.
Start timecode
Pullin column
(information required for NTSC)
If you do not have a transfer log, or if the transfer log is incorrect, you
need to add the information manually. If you log clips using the
Logging tool, the Avid system uses the A frame as the default
pulldown phase. You might need to edit this value.
n
You can set a default pulldown phase in the Film Setting dialog box. See
“Setting the Pulldown Phase” on page 193 (24p projects only).
n
For matchback projects, you need to log key number information before you
can log pulldown information.
By specifying the pulldown phase in the Pullin column, you
accomplish the following:
•
You ensure the clips will start with the correct frame for the
pulldown. Otherwise, you might experience inaccuracies in
key-number tracking and in the cut lists.
•
You indicate where the pulldown fields are located so the Avid
system can accurately eliminate the pulldown fields during the
digitizing process, leaving you with a frame-to-frame
Logging Film Information
200
correspondence between your digital media and the original
24-fps footage (24p projects only).
To do this, you must indicate whether the sync point at the start of
each film clip transferred to tape is an A, B, C, or D frame, as described
in the following section. In most cases, the sync point is the A frame.
Determining the Pulldown Phase
It is easiest to determine the pulldown of a sync point (or pulldown
phase) if you ask your film lab to keypunch (cut a small hole in) the
sync frame at the zero frame in the original film footage before
transferring the film to video. Many film labs or transfer houses can
also provide a pulldown frame indicator displayed at the far right of
the burn-in key numbers, depending on the equipment available.
Ideally, the A-frame pulldown coincides with timecode ending in
0 and 5 (:00, :05, :10, and so on).
If the footage has not been keypunched, you can determine pulldown
according to clapsticks or any other distinctive frame at the beginning
of the clip. Determining the pulldown is easier if the frames depict
motion.
To determine the pulldown phase:
1. While viewing the video transfer on a monitor, go to the
keypunched (or clapsticks) sync point for the beginning frame of
the clip you’re logging.
2. Step (jog) past the sync point frame field-by-field using the step
wheel on the tape deck. You will see either two or three
keypunched fields. If the footage is not keypunched, look for two
or three fields with little or no motion.
3. If there are two keypunched fields, the pulldown is either A or C.
Step through the fields again and note where the timecode
changes:
-
Working with a Film Project
If the timecode does not change from the first to the second
fields, the fields came from an A frame.
201
-
If the timecode changes from the first to the second fields, the
fields came from a C frame.
The following illustration shows a keypunch on the A frame.
Notice where the timecode changes.
Four film frames
A
B
C
D
Five NTSC video frames (10 fields)
A1
odd
A2
even
B1
odd
B2
even
B3
odd
C1
even
C2
odd
D1
even
D2
odd
D3
even
A
Timecode change
B
Timecode change
X
Timecode change
C
Timecode change
D
4. If there are three keypunched fields, or fields without motion, the
pulldown is either B or D. Step through the fields again and note
where the timecode changes:
-
If the timecode changes from the second to the third fields, the
fields came from a B frame.
-
If the timecode changes from the first to the second fields, the
fields came from a D frame.
5. Enter or edit the information in the Pullin column in the
appropriate bin, as described in the next section.
Logging Film Information
202
Modifying the Pulldown Phase Before Digitizing
After you determine the correct pulldown phase (as described in the
previous section) you can modify the pulldown phase before
digitizing in one of the following ways.
To modify the pulldown phase directly in the Pullin column:
1. Enter Text view.
2. Click the cell you want to modify.
3. Click the cell again. The pointer changes to an I-beam.
4. Type the pulldown phase and press Enter (Windows) or Return
(Macintosh).
To modify the pulldown phase for multiple clips:
1. Ctrl+click (Windows) or Shift+click (Macintosh) the clips you
want to modify.
2. Choose Modify from the Special menu.
3. Choose Pull-in from the Modify Options pop-up menu.
4. Select A, B, C, or D.
5. Click OK.
The pullin for all selected clips is changed, based on the pulldown
phase you selected.
To modify the pulldown phase for multiple clips that have the same
pulldown-to-timecode relationship:
1. Ctrl+click (Windows) or Shift+click (Macintosh) the clips you
want to modify.
2. Choose Modify Pulldown Phase from the Special menu.
The Modify Pulldown Phase dialog box appears.
Working with a Film Project
203
3. Choose the correct pulldown phase for timecodes ending in 0 or 5
from the pop-up menu.
4. Click OK.
The pulldown phase for each selected clip is changed, based on
the pulldown phase you selected for 00:00:00:00.
The Pulldown Phase setting also appears in the Film Setting
dialog box (24p projects only). You can override that setting with
the Modify Pulldown Phase dialog box. The selection in the Film
Setting dialog box remains the same. For more information, see
“Setting the Pulldown Phase” on page 193.
n
After you digitize an NTSC transfer, the timecode shows a loss of every fifth
frame of video. For example, don’t be alarmed if you find that your timecode
jumps at one point from 1:00:14:15 to 1:00:14:17. You haven’t lost a frame,
just an extra pulldown field.
Entering Frames-per-Second Rates for PAL Transfers
When you log in advance for PAL film-to-tape transfers, you must log
the footage as clips that have a 25-fps play rate, as listed in the FPS
column of the bin. If you want, you can digitize the footage on-the-fly,
without logging the clips first. The minimum information required to
capture the footage is the data logged in the Start and End video
timecode columns.
Logging Film Information
204
Entering Key Numbers
To add key numbers:
t
Highlight the KN Start column, then type the key number for the
sync point at the start of the clip using one of the following
formats:
t
Keykode™ Format: Type a 2-character manufacturer and
film-type code, a 6-digit prefix for identifying the film roll, a
4-digit footage count, a 2-digit frame offset, and then press
Enter (Windows) or Return (Macintosh).
The Avid system adds a space, hyphen, and either a plus sign
(for 35mm projects) or an ampersand (for 16mm projects) to
format the number. For example, in a 35mm project, to enter
KJ 23 6892-1234+15, type KJ236892123415. In a 16mm
project, typing the same number results in the code KJ 23
6892-1234&15.
t
Other Formats: Enter other key-number formats in the Ink
Number column. Type up to eight characters for the prefix, up
to five characters for the footage count, two digits as the frame
count, and then press Enter (Windows) or Return (Macintosh).
The Avid system automatically calculates the ending key number
(KN End), based on the timecode duration.
c
Make sure the correct number appears when you press Enter
(Windows) or Return (Macintosh). For key-number formats other
than Keykode, you might need to type the space, hyphen (-), and
plus sign (+) or ampersand (&) to format the number correctly.
Working with a Film Project
205
Entering Additional Timecodes (Optional)
Consider the following when you enter additional timecodes:
•
•
n
In one of the Auxiliary TC columns (that is, Auxiliary TC1 through
Auxiliary TC5) type an auxiliary timecode that syncs with the
video timecode logged in the Start column. You can enter up to
five auxiliary timecodes. Supported timecodes depend on your
project: 30-fps for NTSC (drop-frame or non-drop-frame) and
25-fps for PAL. Use one of the following formats:
t
Enter a 2-digit format for hours, minutes, seconds, and frames.
You need not enter a leading zero. (For example, to enter
01:23:02:00, type 1230200.)
t
When working with drop-frame timecode in the NTSC format
(not applicable to PAL), enter a semicolon to indicate
drop-frame timecode. (For example, to enter 01;23;02;00, type
01;230200.)
In the Sound TC column, enter the Nagra or DAT timecode for the
original audio for the start of the clip. The timecode should sync
with the video timecode logged in the Start column in the bin.
Enter the source sound-roll identifier in the Soundroll column.
Supported timecodes depend on your project: 30-fps for NTSC
(drop-frame or non-drop-frame) and 25-fps for PAL. The clip
being digitized must contain an audio track.
Enter the soundroll value before you enter the timecode.
•
In the Film TC column, enter timecode generated by a film camera
(using Aaton or Arri timecode) for tracking the picture at the start
of the clip. The film timecode should sync with the video timecode
logged in the Start column. Only 24-fps timecode is supported.
The clip being digitized must contain a video track.
•
In the TC 24 column, enter timecode for original HDTV sources
(1080p/24) or audio DATs created for PAL feature-film
productions that use in-camera timecode.
Logging Film Information
206
n
You can use the Duplicate command to convert timecodes from one format to
another. For more information, see “Duplicating a Column” on page 144.
Entering the Ink Number (Optional)
To enter ink numbers:
1. Open the Film Setting dialog box by double-clicking Film in the
Settings scroll list of the Project window.
2. Make sure the correct options are selected for ink number format
and ink number display, and click OK.
n
You can log different ink number formats in the same project as long as you
change the ink number setting to the appropriate format before you log each
type. Changing the ink number setting affects only the next ink numbers you
log, not numbers already logged.
3. Return to the bin and enter numbers under the Ink Number
heading.
For example, use Keykode format or use a 2-digit prefix to identify
the roll, a hyphen, a 4- or 5-digit footage count, a plus sign, and a
2-digit frame count (for example, AA-00924+00).
Entering Additional Film Data
You can continue to log additional film data into the Labroll, Camroll,
Soundroll, Scene, and Take columns, or into your own custom
columns, as necessary. You can include the information in these
columns on the cut lists you create for your edited sequence.
Working with a Film Project
Index
ABCDEFGHIJKLMNOPQRSTUVW
Numerics
24p editing projects
creating 188
displaying timecodes in 157
25i PAL editing projects
creating 189
25p editing projects
creating 188
displaying timecode in 157
30i NTSC editing projects
creating 189
A
AatonBase
importing 113
log format 174
Add Channel button (Deck Configuration
dialog box) 85
Add Deck button (Deck Configuration dialog
box) 87
Adding
bin columns 146
memory mark 105
AFE files
described 170
transferring projects and bins 170
ALE (Avid Log Exchange)
converting logs with 113
logs compatible with 112
Align to Grid command (Bin menu) 142
Aligning columns in a bin 142
Attic folder
Bin settings for 68
defined 61
Audio Project settings
access and brief description of 65
dialog box 101
Audio sample rate
setting 101
Audio Transfer Rate (Film Settings) 192
AUDIO_FORMAT heading in Avid logs 179
Autoconfigure All Ports (Special menu) 83
Automatic deck configuration 83
Auto-save function
described 61
Auto-Save options (Bin settings) 67
Auxiliary timecode headings
in Avid logs 179
Avid Calculator tool
using 76
208
Avid Log Exchange See ALE
Avid logs
audio format heading in 179
clip data in 181
compatible log formats 174
creating 176
custom headings in 178
data headings in 181
formatting guidelines 175
fps (frames per second) heading in 179
global headings in 176
importing 113, 173
log format 174
sample created with text editor 184
specifications 175
standard headings in 178
timecode headings in 179
Avid Symphony application
quitting 47
B
Backing up
media files 47
Backup options (Bin settings) 67
Bin Column Selection dialog box 142
Bin display
settings 121
Bin Fast menu
described 128
Bin settings
access and brief description of 65
Automatic-Save options 67
Backup options 67
defined 67
storing files in the Attic folder 68
Bin View settings
column headings 160
Bin views
customizing 126
saving 127
types of 125
Bins
auto-save function
described 61
Bin View pop-up menu 125
changing fonts 73
changing the display font in 74
closing 59
columns in
adding 146
aligning 142
deleting 144
duplicating 144
moving 142
showing and hiding 142
creating 56
deleting 59
displaying film columns in 197
displaying in Project window 54
displaying objects in 121
exporting 167
Fast menu 128
Info display 73
listing timecodes in 157
locking items in 140
managing 61
managing clip information in 147
opening 57
opening from a different project 58
printing 166
renaming 57
saving
using the Save Bin command 62
targeting for digitizing 99
transferring 169
transferring from a MediaLog system 117
transferring through AFE 170
using system backup to save 47
Bins display (Project window) 54
Brief tab (bin) 124
209
Buttons
Add Channel (Deck Configuration dialog
box) 85
Add Deck (Deck Configuration dialog box)
87
New Project (Select User and Project dialog
box) 41, 188
New User (Select User and Project dialog
box) 38
C
Calculator tool
using 76
Camroll data 206
Changing
bin font 74
Changing clip information
before digitizing 111
Channel dialog box 85
Channel Selection area 99
Choosing
a user 38
bin headings 141
film format options 188
Clip colors
assigning source colors 132
viewing in bins 132
Clip data
in Avid logs 181
Clip information
managing in bins 147
modifications table 151
Clips
assigning source colors in bins 132
copying 130
defined 23
deleting from bins 131
displaying
source colors in bins 132
duplicating 129
locking in a bin 140
modifying information in 111
moving 130
removing from bins 131
selecting 129
sifting 134
Closing
a project 46
bins 59
the Project window 53
CMX EDL log format 174
Color
assigning source color in bins 132
Color column
adding to bins 132
Column headings
displaying or hiding in a bin 160
in Avid log file 178
Columns See Bins
Commands
Autoconfigure All Ports (Special menu) 83
Delete (Edit menu) 131
Import (File menu) 113
Configuring decks 84
automatically 83
manually 83
Connecting deck to computer
Macintosh 29
Windows 28
Copying
clips 130
Creating
a folder in a project 56
bins 56
folders 44
projects 41, 188
users 38
Criterion pop-up menu (Custom Sift dialog box)
135
210
Custom headings
in Avid logs 178
Custom Sift command (Bin menu) 134
Custom Sift dialog box 134
Customizing
bin views 126
D
Data headings
in Avid log file 181
Deck
automatic configuration 83
connecting 28, 29
manual configuration 83
not connected
logging with 108
offline 108
pausing while logging 107
Deck Configuration settings
access and brief description of 65
Add Channel options 85
adjusting 84
deleting elements in 92
Deck Preferences settings
access and brief description of 65
description 92
Deck settings
Fast Cue option 91
for configuring decks 87
Preroll option 91
Decks
configuring 84
Default settings
restoring 71
Delete command (Edit menu) 131
deleting
columns using 144
Deleting
bin columns 144
bins 59
clips from bins 131
columns 144
deck configurations 92
Destination bins
choosing 99
Dialog boxes
Bin Column Selection 142
Custom Sift 134
Film Setting 42, 190
Modify Pulldown Phase 202
New Project 41, 188
New User 38
Open 58
Select User and Project 37
Set Bin Display 121
Set Font 74
View Name (bin) 127
Digitizing
film transfers
minimum information for 196
modifying clip information before 111
preparing for
tape selection 100
targeting bins 99
Displaying
bin column headings 160
Displaying film columns 197
Drop-frame and non-drop-frame timecode
described 94
Drop-frame timecode
described 94
Duplicate command (Edit menu)
duplicating
a bin column using 144
clips using 129
Duplicating
bin columns 144
clips 129
211
E
Entering
additional film data 206
ink numbers 206
key numbers 204
optional timecodes 205
pulldown of the sync point 198
Entering frames-per-second rates
for PAL transfers 203
Evertz
importing 113
log format 174
Excalibur
importing 112
log format 174
Existing projects
selecting 43
Existing users
selecting 39
Export command (File menu) 167, 171
Exporting bins 167
selecting 188
preferences
setting 42, 190
scene workflow 120
timecodes, entering 205
Film Composer application
quitting 47
Film settings
described 65
for transfer 192
in the Project window 191
pulldown phase 193
FLEx
importing 113
log format 174
Folders
creating 44
managing 61
nesting projects in 44
Fonts
changing in bins 74
fps (frames per second)
heading in Avid logs 179
Frames-per-second rates for PAL 203, 204
F
Fast Cue option (Deck settings) 91
Fast menus
Bin 128
Bin display in the Project window 55
Settings display in the Project window 69
Film
columns
displaying 197
data
entering 206
information
logging 196
minimum information for digitizing 196
options
matchback 42, 189
G
Global headings
in Avid log file 176
H
Hardware
setup (Macintosh) 29
setup (Windows) 28
turning on 31
Headings command (Bin menu) 132, 142
212
Help system (Contains complete reference
information for your Avid system)
overview 49
Hiding
bin column headings 160
bin columns 142
I
Import command (File menu) 113
Import settings
access and brief description of 65
Importing logs 112
Info display in the Project window
defined 73
Ink numbers
entering 206
Installing MediaLog 32, 33
Interface settings
changing text font and size 73
J
Joining cables 28
K
Key numbers
entering 204
formats for 204
Keyboard settings 75
access and brief description of 65
Keykode format 204
Keyscope log format 174
Kits for connecting hardware 28
L
Labroll data 206
Launching (Starting) MediaLog 36
Lock Bin Selection command (Special menu)
140
Locking and unlocking
bin items 140
Log files
importing from film-to-tape transfer
systems 126
Log Producer
importing 113
log format 174
Log Right
importing 112
log format 174
Logging
basic steps 25
defined 82
directly to bin from source tape 102
film information 196
information from active tracks 99
on-the-fly 106
pausing deck while 107
preparing for 96
without a tape 108
without deck connected 108
Logging tool 96
Logs
importing into MediaLog bins 113
M
Managing
bins 61
folders 61
Marking tape location
using Mark Memory button 105
213
Master clips
copying 130
duplicating 129
locking 140
moving 130
selecting 129
sifting 134
Matchback
options 42, 189
Media Composer application
quitting 47
MediaLog
importing logs into 113
overview 21
Memory marks
adding 105
Menu commands
Align to Grid (Bin menu) 142
Custom Sift (Bin menu) 134
Delete (Edit menu)
columns using 144
Duplicate (Edit menu) 129
Export (File menu) 167, 171
Headings (Bin menu) 142
Lock Bin Selection (Special menu) 140
New Bin (File menu) 56
Open Bin (File menu) 58
Page Setup (File menu) 166
Print Bin (File menu) 166
Save Bin Copy As (File menu) 171
Save Project Copy As (File menu) 171
Set Bin Display (Bin menu) 121
Set Font (Edit menu) 74
Modify Pulldown Phase dialog box 202
Modifying
clip information 111
Moving
bin columns 142
clips 130
Multilevel sorting of columns 156
N
Naming tapes 97
National Television Standards Committee
(NTSC) video editing format 42, 188
Nesting
projects in folders 44
New Bin command (File menu) 56
New User button (Select User and Project dialog
box) 38
Non-drop-frame timecode
described 94
NTSC (National Television Standards
Committee) video editing format 42, 188
O
Offline logging 108
Online Help See Help system
Open Bin command (File menu) 58
Open dialog box 58
Opening
a project 45
bins 57
Help 49
the Project window 53
OSC/R log format 174
Output timecodes
displaying in bins 157
P
Page Setup command (File menu) 166
PAL (Phase Alternating Line) video
frames-per-second rates 203
PAL (Phase Alternating Line) video editing
format 42, 188
Phase Alternating Line (PAL) video editing
format 42, 188
214
Picture Transfer Rate (Film Settings) 192
Preroll option (Deck Settings dialog box) 91
Print Bin command (File menu) 166
Printing bins 166
Project settings
defined 64
displaying 69
Project window
closing 53
displaying
bins 54
settings 64
usage 73
Info display
using 73
opening 53
Projects
backing up 47
closing 46
creating new 41, 188
nesting in folders 44
opening 45
saving 47
selecting 41, 43
transferring through AFE 170
working with 37
Pulldown
finding at the sync point 198
Pulldown phase
modifying before digitizing 202
setting in Film Setting 193
Q
Quitting the Avid application 47
R
Removing
clips from bins 131
deck configuration elements 92
Renaming
bins 57
Replacing deck configuration elements 92
Restoring
default settings 71
Restricted characters
in project names 41, 188
in user names 38
S
Sample rate
setting 101
Save Bin command (File menu) 61
Save Bin Copy As (File menu) 171
Save Project Copy As (File menu) 171
Saving
bins
automatically 61
manually 47
custom bin views 127
projects 47
Scene data 206
Select User and Project dialog box 37
Selecting
clips 129
projects 41
settings for deck configuration 84
tapes for digitizing 100
Serial (COM) Ports settings
access and brief description of 65
Serial Ports tool 78
Set Bin Display command (Bin menu) 121
Set Font command (Edit menu) 74
215
Setting up hardware
Macintosh 29
Windows 28
Settings
basic 66
bin 67
deck configuration 84
default
restoring 71
defining 66
described 64
film 67, 190
for film preferences 42, 190
keyboard 75
overview of 64
project
defined 64
displaying 69
scroll list 64
site
defined 64
using 72
tab 63
user
defined 64
Settings scroll list
Audio Project 65
Bin 65
Deck Configuration 65
Deck Preferences 65
Film 65, 191
Import 65
Keyboard 65
Serial (COM) Ports 65
summary of contents 65
Workspace 65
Shot Lister
importing 112
Showing
bin columns 142
Shutting down the system
Macintosh 49
Windows 48
Sifting clips 134
Site settings
defined 64
using 72
Sorting
clips 155
columns
multilevel 156
Sound roll
entering data for 206
Source colors
assigning custom colors to 133
assigning in bins 132
limiting available colors of 133
Source tapes
selecting for digitizing 100
Specifications
Avid log 175
Standard headings
in Avid log files 178
Starting MediaLog 35, 36
Subclips
copying 130
duplicating 129
moving 130
selecting 129
sifting 134
Symphony application
quitting 47
Sync point
finding the pulldown at 198
T
Tape
naming schemes 97
216
Target bin
choosing 99
Telecine
importing log file from 126
Text editor
creating Avid logs with 176
Text tab (bin) 141
Text view (bin display)
defined 125
using 141 to 156
Three-perforation film projects 42
Timecode
display options
24p and 25p projects 157
entering 205
headings in Avid logs 179
Transferring
bins from another MediaLog system 117
bins to an Avid editing system 169
through AFE 170
Trash
emptying 60
moving bins from 59
viewing contents of 59
Turning off equipment
Macintosh 49
Windows 48
Turning on the hardware 31
U
Unique tape names 97
Unlocking and locking
bin items 140
Usage information
displaying 73
User
identifying 38
profiles 38
selecting another 70
User settings
defined 64
opening a project with 45
selecting a user from 70
Users
creating new 38
selecting existing 39
setting up 38
V
Video decks See Decks
View
bin
customizing 126
saving 127
types of 125
View Name dialog box (bin) 127
VITC (Vertical Interval Timecode)
in a bin 163
V-LAN/VLXi 86
VTRs See Deck
W
Word processor
creating Avid logs with 176
Workflow
film scene 120
Workspaces
assigning buttons to 75
assigning windows to 75
settings 65