Avid NewsCutter DV
®
®
Getting Started Guide
Release 1.0
a
tools for storytellers™
Contents
Chapter 1
NewsCutter DV Quick Start
Start Your Computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Start NewsCutter DV. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Create a New User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Create a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Create a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Start a New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Record to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Trim Using Top and Tail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Record a Digital Cut to Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Chapter 2
Introduction
About NewsCutter DV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
NewsCutter DV Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Basic Editing Steps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Understanding the Pieces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Organizing Your Work with Projects and Bins . . . . . . . . . . . . . . . . . 25
Customizing Your Work Environment. . . . . . . . . . . . . . . . . . . . . . . . . 26
Mapping Keys and Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Setting Up Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
How Media Is Stored. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
The Attic Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Chapter 3
Starting Your Project
Starting Your System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
ii
Starting NewsCutter DV. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Electronic Licensing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Using Online Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Three Ways of Finding Topics in Help . . . . . . . . . . . . . . . . . . . . . 34
Finding Topics with the Index. . . . . . . . . . . . . . . . . . . . . . . . . 34
Searching with the Find Feature . . . . . . . . . . . . . . . . . . . . . . . 34
Creating a User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Creating a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Opening an Existing Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
The Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Working with Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Creating a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
About Bin Display Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Text Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Frame Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Script Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Chapter 4
Recording
Selecting Settings for Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
The Record Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
The Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
The Video Input Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Record Preparations Check List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Recording to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Recording and Logging at the Same Time. . . . . . . . . . . . . . . . . . . . . . 54
Recording On-the-Fly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Recording from a Mark IN to a Mark OUT . . . . . . . . . . . . . . . . . 56
Autorecording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Batch Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Rerecording a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Chapter 5
Getting Ready to Edit
Using the Command Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
iii
Using the Tool Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Mapping Buttons to the Tool Palette. . . . . . . . . . . . . . . . . . . . . . . 67
Mapping Menu Options to the Tool Palette . . . . . . . . . . . . . . . . 67
Using the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Mapping Buttons to the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . 69
Mapping Menu Items to the Keyboard . . . . . . . . . . . . . . . . . . . . 69
Using Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Modifying Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Controlling Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Using Position Bars and Position Indicators . . . . . . . . . . . . . . . . 72
Using Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
The Play Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Step Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
J-K-L Keys (Three-Button Play) . . . . . . . . . . . . . . . . . . . . . . . 75
Home, End, and Arrow Keys . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Using the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Stepping with the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Shuttling with the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Marking IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Creating Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Chapter 6
Creating a First Cut
Viewing Your Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Navigating in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Using the Position Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Displaying More or Less Detail . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Using the Timeline Scroll Bar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Using the Track Selector Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Selecting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Patching Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Monitoring Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Making the First Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Using Digital Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
iv
Splicing Versus Overwriting Audio and Video . . . . . . . . . . . . . 92
Splicing or Overwriting an Audio Clip . . . . . . . . . . . . . . . . . . . . 92
Splicing or Overwriting Video into a Sequence . . . . . . . . . . . . . . . . 93
Marking Clips for Storyboarding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Using the Go to IN and Go to OUT Buttons . . . . . . . . . . . . . . . . . . . . 97
Moving to the Head or Tail of a Shot . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Undoing an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Redoing an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Splicing a Shot into the Middle of a Sequence . . . . . . . . . . . . . . . . . 98
Chapter 7
Refining the Edit
Editing in Segment Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Guidelines for Editing in Segment Mode . . . . . . . . . . . . . . . . . 101
Identifying Segment Mode Buttons . . . . . . . . . . . . . . . . . . . . . . 101
Rearranging Footage with Extract/Splice-in . . . . . . . . . . . . . . . 101
Removing Footage with Extract/Splice-in . . . . . . . . . . . . . . . . . 102
Removing Footage with Lift/Overwrite . . . . . . . . . . . . . . . . . . . 102
Overwriting Shots into a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Rearranging Shots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Overwriting with the Three-Point Edit . . . . . . . . . . . . . . . . . . . 104
Removing Footage with Lift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Basic Trim Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Trim Using Top and Tail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Entering Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Selecting Between Trim Sides . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Sync Locking Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Performing a Basic Trim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Dual-Roller Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Single-Roller Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Exiting Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Audio Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Adjusting Audio Level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Adjusting Audio Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
v
Chapter 8
Adding Effects
Effects Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Displaying the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Effect Categories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Effect Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Transition Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Segment Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Applying Effects to a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Working in Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Adding Transition Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Adding Fade In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Dissolving Between Shots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Insufficient Footage for a Dissolve . . . . . . . . . . . . . . . . . . . 126
Creating Audio Dissolves . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Adding a Fade Within the Sequence . . . . . . . . . . . . . . . . . . . . . . 127
Adding Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Adding a Picture-in-Picture Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Repositioning the Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Adjusting a Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Dissolving the Picture-in-Picture On and Off. . . . . . . . . . . . . . 132
Rendering an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Chapter 9
Creating Titles
Working with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Understanding the Title Tool Window . . . . . . . . . . . . . . . . . . . . . . . 137
Working with Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Text Formatting Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
The Selection Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Choosing Colors and Setting Transparency . . . . . . . . . . . . . . . . . . . 141
Adjusting the Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Creating a New Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Working with Title Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Creating a Title Template. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
vi
Using a Title Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Editing a Title Template. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Removing a Title Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Repositioning Text and Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Applying a Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Adding a Shadow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Saving a Title. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Editing the Title into the Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Editing an Existing Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Chapter 10
Output
Preparing for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Preparing Tapes for Frame-Accurate Recording. . . . . . . . . . . . . . . . 152
Previewing a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Recording a Digital Cut to Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Enabling VTR Play Emulation . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Index
vii
Figures
Figure 2-1
NewsCutter DV Hardware Components . . . . . . . . . . . 22
Figure 2-2
Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Figure 2-3
Bin Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Figure 3-1
Project Window — Bin View . . . . . . . . . . . . . . . . . . . . . 38
Figure 3-2
Project Window — Settings View . . . . . . . . . . . . . . . . . 38
Figure 3-3
Project Window — Info View. . . . . . . . . . . . . . . . . . . . . 39
Figure 3-4
Bin in Text Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Figure 3-5
Bin in Frame Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Figure 3-6
Bin in Script Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Figure 4-1
Record Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Figure 4-2
Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Figure 4-3
Video Input Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Figure 5-1
Command Palette Move Tab . . . . . . . . . . . . . . . . . . . . . 63
Figure 5-2
Command Palette Play Tab . . . . . . . . . . . . . . . . . . . . . . 64
Figure 5-3
Command Palette Edit Tab. . . . . . . . . . . . . . . . . . . . . . . 64
Figure 5-4
Command Palette Trim Tab . . . . . . . . . . . . . . . . . . . . . . 64
Figure 5-5
Command Palette FX Tab . . . . . . . . . . . . . . . . . . . . . . . . 65
Figure 5-6
Command Palette Other Tab . . . . . . . . . . . . . . . . . . . . . 65
Figure 5-7
Command Palette More Tab. . . . . . . . . . . . . . . . . . . . . . 65
Figure 5-8
Default Tool Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Figure 5-9
NewsCutter DV Default Keyboard Settings . . . . . . . . 68
Figure 5-10
Record Monitor Position Bar . . . . . . . . . . . . . . . . . . . . . 72
Figure 5-11
Source Monitor Position Bar. . . . . . . . . . . . . . . . . . . . . . 73
Figure 5-12
Position Indicator in Timeline . . . . . . . . . . . . . . . . . . . . 73
Figure 6-1
Source Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
viii
Figure 6-2
Record Monitor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Figure 6-3
Pop-up Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Figure 6-4
Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Figure 6-5
Timeline Track Selector Panel . . . . . . . . . . . . . . . . . . . . 87
Figure 7-1
Trim Mode Window . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Figure 8-1
Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Figure 8-2
Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Figure 8-3
Insufficient Source Footage Dialog Box . . . . . . . . . . . 126
Figure 8-4
Picture-in-Picture Effect . . . . . . . . . . . . . . . . . . . . . . . . 129
Figure 8-5
Picture-in-Picture Effect with Softness . . . . . . . . . . . . 132
Figure 9-1
Title Tool Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Figure 9-2
Title Tool Color Picker. . . . . . . . . . . . . . . . . . . . . . . . . . 142
ix
CHAPTER 1
NewsCutter DV Quick Start
You can use NewsCutter DV to get a story recorded as quickly and
effectively as the tape-to-tape process you are familiar with and have
the flexibility and power of nonlinear editing.
This chapter provides a way to get started very quickly, working in the
same style as you are accustomed to with tape-to-tape. You can follow
through this process and then go through the rest of this guide to
familiarize yourself with more NewsCutter DV features, or you can
use this chapter and continue on using the online help as needed. If
you are more comfortable with a more detailed set of procedures, start
with Chapter 2 and work through the guide to the end.
1
Start Your Computer
c
If you fail to follow the proper sequence for starting up your system,
you could damage your computer and storage drives and
NewsCutter DV may not work properly.
10
Turn on the devices as follows:
1. Fixed-storage drives: Turn on fixed-storage drives before starting
the computer. Allow 10 to 15 seconds for the drives to spin up to
speed before starting your computer.
2. Other peripheral hardware: Turn on all other peripheral units
except the computer. This includes:
•
Monitors and speakers
•
Tape decks or video source
•
The Meridien™ I/O box
3. The computer: Turn on your computer according to your manufacturer’s instructions.
Once you have turned on your computer, the Avid splash screen
appears and then your Windows NT desktop appears.
c
2
To avoid damage, do not disconnect or turn off external hard disk
drives while your computer is on.
Start NewsCutter DV
To start NewsCutter DV:
1. Click the Start button.
2. Point to Programs.
3. Point to the NewsCutter DV folder.
4. Click NewsCutter DV.
11
3
Create a New User
Once you have started NewsCutter DV, the Open Project dialog box
appears and you can create a new user.
1. Click New User in the Open Project dialog box.
The New User dialog box appears.
2. Type the name of the user you want to create in the New User dialog box and click OK.
The user name appears in the Avid Users list in the Open Project
dialog box.
12
4
Create a Project
You must create a new project before you can begin working.
1. Click New Project in the Open Project dialog box.
The New Project dialog box appears.
2. Type the name of the project you want to create.
NTSC is the default video format.
3. (PAL only) Select PAL 4:1:1 or PAL 4:2:0 from the Video Format
menu.
4. Click OK.
5. Click OK to open the Project window.
13
5
Create a Bin
You must create a bin to store your clips.
1. With the Project window open, click New Bin.
2. Type the name you want for the bin in the text field.
Open bin icon
Closed bin icon
Bin name text field
3. Double-click the bin icon to open the bin or to bring it to the front
of the Bin window display.
6
Start a New Sequence
To start a new sequence:
1. Choose New Sequence from the Clip menu or press Shift+Ctrl+N.
An untitled sequence appears in the bin, the Record monitor, and
the Timeline.
2. To rename the new sequence, immediately type a new name while
the name field is active in the bin.
14
If you click anywhere in the interface after creating the new
sequence, you deactivate the sequence name field. You must click
the sequence name again to rename the sequence.
7
Record to the Timeline
You can record footage directly from tape into a sequence loaded in
the Timeline in one step, without organizing and reviewing clips,
marking edit points, or performing edits.
1. Mark an IN point in the sequence using the mark IN button or
move the blue position indicator to where you want the edit to
take place.
2. Mark the source material that you want to record using the Record
Tool logging controls.
3. (Option) You can mark an OUT point based on the following:
Overwrite
Splice
•
If you are recording to the middle of a sequence in the Timeline, mark both IN and OUT points for frame accuracy.
•
If you are recording onto the end of a sequence, you can mark
just an IN point and then mark the OUT point later on-the-fly.
4. Click the Splice-in button or the Overwrite button in the Record
Tool to choose the type of edit.
Splice-in will move everything in the sequence down to make
room for the new clip. Overwrite replaces what is there; thus the
sequence is not lengthened.
5. Click the red Record button to begin recording.
6. If you did not mark the OUT point in advance, click the Record
button again when the footage reaches the frame where you want
to stop recording.
15
n
If you already marked an OUT point, recording will stop automatically.
When recording ends, the clip appears in place in the sequence,
and a master clip appears in the bin.
Record as many clips as you want, following the steps above.
8
Trim Using Top and Tail
Once you have recorded footage to the Timeline, use the Top and Tail
buttons to perform quick trims.
To quickly trim footage from the beginning of a clip:
1. Move the blue position indicator to where you want the clip to
start.
2. Press the Y key on the keyboard or click the Top button.
The footage from the position indicator to the beginning of the clip
is trimmed.
To quickly trim footage from the end of a clip:
1. Move the blue position indicator to where you want the clip to
end.
2. Press the U key on the keyboard or click the Tail button.
The footage from the position indicator to the end of the clip is
trimmed.
16
9
Record a Digital Cut to Tape
Once your sequence is finished, record a digital cut to tape:
1. Choose Digital Cut from the Clip menu.
The Digital Cut Tool appears.
2. Use the deck controls in the Digital Cut Tool to cue and control the
record tape during digital cut recording.
n
Make sure the deck’s Remote switch is set to Remote.
3. Select Record to Tape.
4. (Option) Choose either Insert Edit or Assemble Edit from the popup menu. This menu appears only if you enabled “Allow assemble edit for digital cut” in the Deck Preferences dialog box. See
“Enabling Assemble-Edit Recording” in the Online Help index.
5. Select or deselect the Entire Sequence option based upon the following:
17
•
Select this option if you want the system to ignore any IN or
OUT mark and play the entire sequence from start to finish.
•
Deselect this option if you have established IN or OUT marks
for recording a portion of the sequence.
6. Choose an option from the Record to Tape pop-up menu as follows:
•
Choose Sequence Time to start the recording at a timecode
existing on tape that matches the start timecode of the
sequence. To record several sequences to tape one after
another, reset the start timecode on each sequence to match
appropriate IN points on the tape.
•
Choose Record Deck Time to ignore the timecode of the
sequence, and start the recording wherever the record deck is
currently cued.
•
Choose Mark In Time to ignore the sequence timecode. Establish an IN point on the record tape by cueing and marking
with the Deck Controller.
7. Select the audio and video tracks you want represented in the digital cut preview. The display of tracks in the Digital Cut window
varies according to the tracks existing in the sequence.
Only those tracks beside and beneath the speaker icon and the
monitor icon are included in the digital cut.
8. Select the audio and video tracks you want represented in the digital cut. The display of tracks in the Digital Cut window varies
according to the tracks existing in the sequence.
Only those tracks beside and beneath the speaker icon and the
monitor icon are included in the digital cut.
9. Select the Audio Out Mode.
n
Changing the Audio Out Mode in Digital Cut also changes the audio out in
the Audio Mix Tool window.
10. Press the Play button in the Digital Cut window.
18
The system cues the record deck and then plays and records the
digital cut. The playback appears in the Playback monitor.
11. To stop the recording at any time, press the space bar.
19
CHAPTER 2
Introduction
This chapter provides an overview of the NewsCutter DV system and
the editing process. Understanding how the system organizes tapes,
clips, sequences, and other media objects helps you to edit projects
more effectively. This chapter contains the following sections:
•
About NewsCutter DV
•
NewsCutter DV Hardware
•
Basic Editing Steps
•
Understanding the Pieces
•
Organizing Your Work with Projects and Bins
•
Customizing Your Work Environment
•
How Media Is Stored
•
The Attic Folder
About NewsCutter DV
NewsCutter DV is a nonlinear editing workstation specifically
designed for editing news stories. It offers flexibility and speed to create compelling, up-to-the-minute news stories. You can edit a story
20
several different ways and choose the best one, or you can quickly create different versions of a lead story for three different broadcasts.
NewsCutter DV allows you to quickly add transition effects, motion
effects, and 2D digital video effects (DVEs) for added impact, with just
a few keystrokes — even after a story is laid out.
With a linear system, you must lay down the first shot, make sure it
ends at the right point, cue the second shot, make sure it starts at the
right point, and then make the edit. You build the sequence by making
sure each transition is correct before moving to the next edit.
NewsCutter DV lets you assemble a sequence in any order — you do
not need to edit the first shot first and the last shot last. The system’s
strength is that it lets you make changes without reassembling all the
edits after the change. You can update breaking stories quickly and
easily, save them, and then try different versions.
The system maintains frame-accurate links between each alteration of
the objects you work with and the original media files. This allows you
to experiment with every edit you make through multiple generations.
When you play back your work, the system immediately accesses and
plays the appropriate portions of the recorded video and audio.
You can start by editing a rough version of the entire sequence. You
can see how long it runs and where it drags, adjust individual edits
and transitions, replace or remove shots, and tighten or extend scenes.
Because the audio and video are stored on disk, they can be manipulated and used over and over again without duplication or degradation.
21
NewsCutter DV Hardware
The following hardware components make up NewsCutter DV, as
shown in Figure 2-1.
•
A PC running the Windows NT® operating system
•
Meridien audio and video interface
•
The User Interface (UI) and Playback monitors; recommended resolution 1024 x 768 with True Color or greater
•
Keyboard and mouse
•
Speakers
•
Audio amplifier if you do not have powered speakers
•
Decks or video source to input and output your work
•
Storage disks, 9-GB or 18-GB MediaDrives, for storing your
recorded video and audio
UI Monitor
Amplifier
V-LAN VLXI
Playback Monitor
Video Deck
VLX
O
AUDIO SYNC
PULL DOWN
48 kHz
VIDEO SYNC
POWER
l
44.1 kHz
SCS
I ID
s
Mouse
Figure 2-1
NewsCutter DV Hardware Components
22
NewsCutter
DV PC
Slot
Act
e
Wid
lbus
Dua
Fan
s
2
Pwr
1
Speaker
Pwr
Keyboard
l
O
Speaker
Meridien
I/O Box
MediaDock
Basic Editing Steps
Creating a sequence can be as simple as stringing several shots
together without sound for a voice-over, or it can be as complex as
editing a series of shots together with sound bites, narration, music
with dissolves, audio crossfades, and motion effects.
You create a sequence from raw footage in three simple stages:
1. Record the source video from tape or external feed onto an external drive. You can also record your raw footage while editing the
story. This process is called Record to Timeline.
2. Edit the sequence and fine-tune it using various NewsCutter DV
features and effects.
Use basic editing procedures to create a series of straight cuts.
NewsCutter DV offers both film-style splice and video insert edits.
Then trim the transitions between shots to create overlap cuts or to
move transitions forward or backward in the sequence.
Add effects, such as dissolves, wipes, or digital video effects
(DVEs). Edit multiple tracks of audio. Create or import graphic
images and key them over video. Add titles and credits. Use other
advanced features to create a complex sequence.
3. Output or play back your material.
NewsCutter DV allows you to view your sequence, broadcast
directly to air, and, if necessary, record a finished copy to tape
without returning to your source video.
23
Understanding the Pieces
Understanding what the objects are that you will be working with will
help you work more effectively:
•
Project — The job that results in one or more sequences; the
Project window organizes all the clips, sequences, effects, bins,
and media file pointers for a program or series of programs
•
Sequence — An edited composition that includes audio and video
clips and rendered effects
•
Bin — The window in which you organize the material to be
edited; bins reside in a project and you may have multiple bins in
a project
•
Source clip — The smallest media object that references your
source footage
•
Master clip — An object that references the compressed media
•
Media file — Stored, compressed digital data representing the
original video and audio
•
Source/Record mode — Two modes you switch between — the
Source monitor displays source clips, the Record monitor displays
the assembled sequence
•
Timeline — The graphical representation of every edit made to a
sequence, including effects and titles
•
Segment mode — Editing controls for moving, deleting, marking,
and editing segments in the Timeline
•
Trim mode — Controls for fine-tuning edits and transitions with
various trim procedures
24
•
Effect mode — Controls in the Timeline and the Effect mode window to apply, render, and edit effects into the sequence
•
IN and OUT points — Starting and ending points of an edit
•
Subclip — Part of a master clip; a subclip references the master
clip
•
Digital cut — A copy struck directly from disk to tape
Organizing Your Work with Projects and Bins
All work on NewsCutter DV is stored in a project in NTSC or PAL
video format.
A project contains all the work for a single job. You can organize
projects to suit your needs. A project could contain a specific show,
one reporter’s work, or an ongoing series.
For example, you begin working on a sequence about a bombing in
Vermont and you create a project called Vermont bombing. The name of
the project appears in the Project window.
Project name
Figure 2-2
Project Window
25
Then, within the Vermont bombing project, you can create multiple
bins; for example, you could keep all your raw footage in one bin, a
short sequence in another bin, and a more in-depth sequence in
another bin. Use bins to store and organize master clips, subclips,
sequences, and other media objects in a way that works best for your
workflow. The bin contains information about each clip, such as name,
start timecode, and end timecode.
Bin name
Figure 2-3
Bin Window
You can customize bin views to suit your needs, such as showing more
or less information about each media file. You can also sort clips by the
information in any field, choosing to view only clips that meet specific
criteria, such as a certain interview subject. You can view bins in Frame,
Text, or Script view. For more information about bin views, refer to
“About Bin Display Modes” on page 41.
Customizing Your Work Environment
NewsCutter DV lets you customize your work environment so you
can work more quickly and more efficiently. You can map buttons to
the Tool Palette and the keyboard and you can save an arrangement of
windows in your NewsCutter DV workspace.
26
Mapping Keys and Buttons
NewsCutter DV lets you map buttons from the Command Palette and
menus options from the NewsCutter DV main menu to the Tool
Palette and keys on your keyboard. You can also remap buttons to
other buttons. When you start NewsCutter DV, there are only 11
assigned buttons on the Tool Palette; the other 13 are blank spaces for
mapping the buttons you use most frequently. You can also map menu
items that you use frequently to the Tool Palette.
If you are more comfortable working with the keyboard, you may
want to map buttons to the keyboard where they are most accessible
for you to reach. For instructions on mapping buttons from the Command Palette, see “Mapping Buttons to the Tool Palette” on page 67.
For instructions on mapping buttons from the Command Palette to the
keyboard, see “Mapping Buttons to the Keyboard” on page 69.
The ability to map buttons, keys, and menu items lets you tailor
NewsCutter DV tools to your working style, making you faster and
more efficient.
Setting Up Workspaces
A workspace is the arrangement and size of tool windows displayed
on your NewsCutter DV system. For example, during recording you
might want to have the Record Tool and Video Input Tool display in
specific locations. During effects editing, you might want to have the
Effect Palette and Effect Editor appear in a particular location and size.
NewsCutter DV comes with four workspaces set up for the basic functions of record, edit, effects, and audio. You can use these workspaces
as is, or you can modify them to your liking.
Customizing your workspace lets you be prepared when you want to
start working on a particular NewsCutter DV functional area, such as
recording or effect editing.
27
For instructions on using and modifying the default workspaces, see
“Using Workspaces” on page 70.
How Media Is Stored
When you record media, NewsCutter DV creates two types of files:
media files and master clips. Media files contain the digitized media.
Master clips contain information about the source material and the
location of the media files on disk.
NewsCutter DV creates a media file for each track of video and audio.
If you record a section of video with two tracks of audio,
NewsCutter DV creates three separate media files.
The system creates one master clip for each shot captured, regardless
of the number of tracks in the shot. When you edit the recorded material, you access the media files through the master clip. You do not edit
the media files directly.
When you create dissolves or motion effects, or when you import
graphic or animation files, NewsCutter DV creates additional media
files.
Media files require substantial storage space on your disk drives. Master clips are stored on your internal hard drive and require very little
storage space.
A 9-GB MediaDrive holds approximately 40 to 45 minutes of video; an
18-GB MediaDrive holds approximately 90 minutes.
The Attic Folder
NewsCutter DV saves copies of your current project and its bins at
regular intervals and whenever you save or close a project or bin.
28
These auto-save files are stored in the Attic folder in the
NewsCutter DV application folder. If at any time you lose work due to
a power outage or system error, open the Attic folder and look for a
project or bin of the same name with the suffix .bakxx, where xx is the
version number. For example, the first backup file for the bin Rough
Cut would be named Rough Cut.bak.1.avb. Later versions would be
named Rough Cut.bak.2.avb, Rough Cut.bak.3.avb, and so on.
29
CHAPTER 3
Starting Your Project
This chapter gets you started with NewsCutter DV and presents the
concept of projects and how you use them to organize your work. It
contains the following sections:
•
Starting Your System
•
Starting NewsCutter DV
•
Electronic Licensing
•
Using Online Help
•
Creating a User
•
Creating a Project
•
Opening an Existing Project
•
The Project Window
•
Working with Bins
30
Starting Your System
Begin your edit session by turning on the components of your
NewsCutter DV system. If any part of your system fails to turn on,
make sure its electrical cord is plugged snugly into an appropriate
electrical outlet or power strip. See the Avid NewsCutter DV Setup
Guide for information on setting up your system.
c
If you fail to follow the proper sequence for starting up your system,
you could damage your computer and storage drives and
NewsCutter DV may not work properly.
Always turn on the devices as follows:
1. Fixed-storage drives: Turn on fixed-storage drives before starting
the computer. Allow 10 to 15 seconds for the drives to spin up to
speed before starting your computer.
2. Other peripheral hardware: Turn on all other peripheral units
except the computer. This includes:
•
Monitors and speakers
•
Tape decks or video source
•
The Meridien I/O box
3. The computer: Turn on your computer according to your manufacturer’s instructions.
Once you have turned on your computer, the Avid splash screen
appears and then your Windows NT desktop appears.
c
To avoid damage, do not disconnect or turn off external hard disk
drives while your computer is on.
31
Starting NewsCutter DV
To start the NewsCutter DV application:
1. Click the Start button.
2. Point to Programs.
3. Point to the NewsCutter DV folder.
4. Click NewsCutter DV.
n
To start the application from a convenient location, Avid recommends that
you create a shortcut and place it in a convenient location. For more information on making a shortcut, see your Windows NT documentation.
Electronic Licensing
To accept your NewsCutter DV product license electronically:
1. Read the License Agreement, and then click the Accept button or
the Decline button at the bottom of the screen.
n
If you click Decline, the application will not start.
The agreement appears the first several times you start the application. After you have started NewsCutter DV several times, a
new button appears at the bottom of the screen.
2. If you do not want to see the license agreement again, click the
Accept and Don’t Show Again button.
A dialog box appears.
3. Enter the name of your organization in the dialog box, and click
OK.
The Open Project dialog box appears; from here you create a new
user and a new project.
32
Using Online Help
This release supports online help for your NewsCutter DV system.
The Help is automatically installed with the application.
n
You must have the NewsCutter DV application running, in order to access
the Online help. If you want to run the Online help without having
NewsCutter DV running, use the Avid NewsCutter DV Online Publications
CD-ROM and run the Online help from there.
You can access Help in three ways:
•
From the Help menu on the NewsCutter DV main menu, choose
NewsCutter DV Help.
•
As context-sensitive Help:
a. Make sure your NewsCutter DV system is active.
b. Position the cursor on the window for which you want help.
c. Press the F1 key on the keyboard.
A window appears representing the tool or feature for which
you want help.
•
By opening What’s This?:
a. Position the cursor on a feature.
b. Right click the mouse button.
c. Select What’s This? with the left mouse button.
n
If no specific help for the window exists, the Topics window opens.
Procedures are displayed in yellow How To windows; background
information and illustrations are displayed in white Reference windows.
The following sections explain how to use the Help system. For more
information, see “Online Help:overview” in the Help index.
33
Three Ways of Finding Topics in Help
To find a topic in Help:
1. Select NewsCutter DV Help from the Help menu on the
NewsCutter DV main menu.
2. Do one of the following:
•
Click the Contents tab to view lists of topics in the main Help
window.
•
Click the Index tab to open the Index window and view a list
of index entries.
•
Click the Find tab to search for words or phrases that may be
contained in a Help topic.
Finding Topics with the Index
To find topics using keywords in the Index:
1. Click the Index tab to display the Index panel.
2. In the text box, type the keyword you are interested in or choose a
topic from the list.
3. Click the Display button to view the topic or double-click the topic
name in the Index scroll list.
Searching with the Find Feature
To search for words in a Help file:
1. Click the Find tab to display the Find panel.
The Find Setup Wizard window opens.
2. Select “Minimize Database Size (Recommended)” if it is not
already selected.
3. Click Next.
4. Click Finish.
34
The word list is created.
5. In the text box, type a word you want to find. Use the pop-up
menus to change the way in which you search for words.
6. If you would like to search for additional words, click the More
Choices button.
7. Click the Search button. Topics that are found are displayed in the
list.
8. Choose a topic in the list (if any were found) and click the Display
button.
n
Do not type quotes or asterisks in the text boxes.
Creating a User
Before you can start working in NewsCutter DV, you need to create a
user. Once you have started NewsCutter DV, the Open Project dialog
box appears and you can create new users.
To create a new user:
1. Click New User in the Open Project dialog box.
The New User dialog box appears.
2. Type the name of the user you want to create and click OK.
35
The user name appears in the Avid Users list in the Open Project
dialog box. You can create as many users as you need.
When you create a new user, NewsCutter DV creates a folder for the
user and two files within the folder: a user profile file and a user settings file. The folder is stored in the Avid Users folder on your hard
drive. If you want to delete a user, you delete their folder.
Creating a Project
When you start NewsCutter DV, the Open Project dialog box appears
and from there you can open and create projects. It does not matter
whether you create your project or your users first; they can be done in
either order.
To create a new project:
1. Click New Project in the Open Project dialog box.
The New Project dialog box appears.
2. Type the name of the project you want to create.
NTSC is the default video format.
3. (PAL only) Select PAL 4:1:1 or PAL 4:2:0 from the Video Format
menu.
4. Click OK.
36
The Project name appears in the Avid Projects list. You can then
click OK to open the Project window.
When you create a new project, NewsCutter DV creates a folder for the
project and two files within the folder: a project file and a project settings file. The folder is stored in the Avid Projects folder on your hard
drive. If you want to delete a project, you delete its folder.
Opening an Existing Project
Every time you start NewsCutter DV, it stops at the Open Project dialog box; from there you open your existing project:
1. Click the name of the project you want to open in the Avid Projects
list.
2. Optionally, click a user name in the list of Avid Users.
3. Click OK.
The Project window opens.
The Project Window
All your clips, sequences, bins, and subclips in NewsCutter DV are
organized into projects. Once you create your project and open it, you
will see the Project window.
Within the Project window, there are three buttons for displaying
information. They include:
•
Bins — Displays all the bins associated with this project; this is the
default view as shown below. The Bins display option is described
more fully in “Working with Bins” on page 40.
37
n
When you first create a project, there will not be any bins in it. You have to
create the bins you need.
Figure 3-1
•
Project Window — Bin View
Settings — Displays all the settings available for NewsCutter DV;
the Settings menu and the Fast menu let you change the settings
view to see specific types of settings, for example, Title Styles. To
view the Settings list, click the Settings button. For more information, see “Settings” in the Online Help index.
Settings menu
Settings Fast menu
Figure 3-2
Project Window — Settings View
38
•
Info — Provides access to system information; use the Fast menu
at the bottom of the Project window to display the Profile, Memory, or Hardware Info. To view the Info list, click the Info button.
-
Profile — Displays the video format of the project, either
NTSC or PAL
-
Memory — Displays the computer’s memory usage
-
Hardware — Displays the Operating System version and disk
usage
For more information on the Info display, see “Information Display Menu” in the Online Help index.
Settings Fast menu
Figure 3-3
Project Window — Info View
39
Working with Bins
Within a project, a bin is a way of organizing clips, subclips, and
sequences. The concept of a bin comes from the world of film. Editors
would store reels of film in bins. Logically, bins are still where you
store material for a project.
The names of the bins belonging to a project are displayed in the
Project window, as shown in Figure 3-1. The contents of a bin are displayed in the Bin window attached to the Project window. Only one
Bin window is displayed; to bring a different Bin window to the front,
double-click the bin icon in the Project window.
Creating a Bin
Once you have created your project, you can create as many bins as
you need to organize your work. To create a bin:
1. With the Project window open, click New Bin.
A new bin with the project name is created in the Project window.
2. Type the name you want for the bin in the text field.
New Bin button
Open bin icon
Closed bin icon
Bin name text field
3. Double-click the bin icon, next to the bin name, to open the bin or
to bring it to the front of the Bin window display.
40
About Bin Display Modes
There are three display modes for viewing and working with clips in a
bin: Text mode, Frame mode, and Script mode. You will probably use
each of these modes as you work with NewsCutter DV.
n
In the examples shown in the next three sections, footage has already been
recorded and that is why it appears in the bins. When you first start
NewsCutter DV, you will not see anything in your bins until you begin
recording footage.
Text Mode
In Text mode, clips are displayed in a text format using columns and
rows, with icons representing the various objects. You can customize
the view by adding, hiding, or rearranging column headings. You can
then save the view by using the Bin View menu and selecting Save As.
To choose column headings, select Headings from the Bin Fast menu
(or from the Bin menu on the main NewsCutter DV menu bar).
To enter Text mode, click the Text Mode button (labeled T) in the lower
left of the Bin window.
41
Bin name
Column headings
Object icons
Bin Fast menu
Frame mode
Script mode
Bin View menu
Text mode
Figure 3-4
Bin in Text Mode
Frame Mode
In Frame mode, each clip is represented by a single picture frame, with
the name of the clip. You can step through the footage forward and
backward in each frame, enlarge or reduce the frame, and rearrange
frames in any order within the bin.
To enter Frame mode, click the Frame Mode button (labeled F) in the
lower left of the Bin window.
Bin name
Frame of
media object
Object icons
Figure 3-5
Bin in Frame Mode
42
Script Mode
In Script mode, the system combines the features of Text mode with
Frame mode and adds space for typing notes or script. The frames are
displayed vertically on the left side of your screen with a text box to
the right of each clip. Clip data is displayed above the text box.
To enter Script mode, click the Script Mode button (labeled S) in the
lower left of the Bin window.
To add text, click in the text box and begin typing.
Bin name
Frame of
media object
Object icons
Text box
Figure 3-6
Bin in Script Mode
43
CHAPTER 4
Recording
This chapter describes recording, the process of converting your analog video and audio to a digital format. This chapter includes the following sections:
•
Selecting Settings for Recording
•
The Record Tool
•
The Audio Tool
•
The Video Input Tool
•
Record Preparations Check List
•
Recording to the Timeline
•
Recording and Logging at the Same Time
•
Batch Recording
Selecting Settings for Recording
A number of settings have a direct bearing on the recording process.
Before recording, review the following options for General Settings,
Deck Settings, and Digitize Settings.
44
•
c
Drive Filtering Based on Resolution causes the system to dim all
drives for which speed capabilities are unknown or untested. This
setting is selected by default in the General Settings dialog box.
NewsCutter DV does not prevent you from using non-Avid drives,
but their reliability cannot be ensured.
•
Deck Preferences include various options for drop-frame/nondrop-frame preference for NTSC decks, assemble edit for digital
cut, stop key pauses deck, shuttle holds speed, and deck control.
•
Deck Configuration Settings allow you to establish deck control
parameters for a single deck or for multiple decks. You can manually configure the deck or use the Auto-configure option. You can
also add channels.
•
Digitize Settings include essential options for recording and
batch-recording, including general parameters for capture of the
source material, and special conditions such as recording across
timecode breaks or capturing a single video frame.
Refer to the Online Help for more information on Record and Digitize
settings.
45
The Record Tool
The Record Tool provides controls for recording your footage. To open
the Record Tool, choose Record from the Tools menu.
Trash
Digitize indicator
Digitize/Log
mode Toggle Video Input
Source Tool
Audio Tool
Splice-in
Overwrite
Voiceover
Record
Enable Timecode
Audio Source menu
Subclip
indicators
Channel Selection
Status bar
Name field
Comment field
Bin pop-up
menu
One/Two
Disk Mode
Disk time
available
Target drive
Deck controls
Logging controls
Deck pop-up menu
Source tape
display
Tape name
Figure 4-1
Record Tool
The Record Tool has the following features:
•
Channel Selection panel lets you choose which audio tracks you
want to record from the source tape, whether you want to record
video, and whether you want to record timecode. If you click and
hold a track button, a menu appears where you can select another
track to patch to.
46
•
Bin pop-up menu lets you choose a target bin as the destination
for the master clips created when you record on-the-fly. You can
also choose a target bin containing the logged clips you will use to
batch-record your media.
•
Digitize indicator flashes on and off while you are recording.
•
Record button begins the recording process.
•
Digitize/Log Mode button lets you switch between Record mode
and Log mode.
•
One/Two Disk Mode lets you target a single or separate media
drive volumes for recording the audio and video for each clip.
•
Target drive pop-up menu lets you choose the target drive volumes.
•
Disk time available is displayed after you select a drive or drives
for the recorded media.
•
Trash button stops the recording process and deletes the recorded
media.
•
Status bar displays information on the current status of the tool.
•
Subclip indicators displays a subclip IN mark, a subclip OUT
mark, and a clip icon or number. It provides visual feedback when
you create subclips on-the-fly while recording.
•
Deck controls operate the deck.
•
Source tape display lets you choose the deck you want to play
from. It also lets you check and reset serial port connection to
decks.
•
Tape name shows the name of the source tape. If no tape is
selected, NewsCutter DV automatically assigns the tape a name.
•
Audio Source menu displays the menu of audio source options.
•
Toggle Source lets you switch between sources.
•
Name field lets you add a name for the clip you are recording.
•
Comment (Cmnt) field lets you add comments about the clip.
47
•
Video Input Tool button opens the Video Input Tool. See “The
Video Input Tool” on page 50.
•
Audio Tool button opens the Audio Tool. See “The Audio Tool”
on page 48.
•
Splice-in lets you record footage directly from tape into a
sequence loaded in the Timeline in one step. When you use Splicein, everything else in the sequence is pushed forward to make
room for the new clip.
•
Overwrite lets you record footage directly from tape into a
sequence loaded in the Timeline in one step. When you use Overwrite, it replaces what was on the track to which you are recording
with the material you just recorded.
•
Voiceover lets you record a voice-over while viewing your already
recorded footage.
•
Logging Controls allow you to mark IN and OUT points in your
footage before you begin recording.
The Audio Tool
The Audio Tool controls parameters for incoming audio.
To open the Audio Tool, choose Audio Tool from the Tools menu or
click the Audio Tool icon in the Record Tool window. Click the Output,
Input, and Setup buttons to display the full screen of the Audio Tool
(as shown below).
48
Setup
Peak Hold Input
Output button menu
Display Output
button
Display
Setup
Display
Input
button
In/Out toggle
Reset Peak
Channel
selectors
Digital VU scale
Meters Analog VU scale
Figure 4-2
Audio Tool
The Audio Tool has the following options:
•
Input button opens the Input display.
•
Input display shows a panel that contains a single slider control
for raising or lowering global audio input.
•
Output button opens the Output display.
•
Output display shows a panel that contains controls for raising or
lowering global audio output.
•
Setup button opens the Setup display.
•
Setup display shows a panel that contains information and controls for adjusting various audio hardware parameters.
•
Reset Peak button resets the current maximum peak measurements. It also stops the playback of the internal calibration tone.
49
•
In/Out buttons switch the meter displays for each channel
between input levels from a source device and output levels to the
speakers and record devices. The letter I indicates Input, and O
indicates Output.
•
Peak Hold pop-up menu allows you to choose options for customizing the meter displays, and setting and playing back the
internal calibration tone.
•
Digital VU scale to the left of the meters displays a fixed range of
values from 0 to -90 decibels (dB), according to common digital
peak meter standards.
•
Analog VU scale to the right of the meters displays a fixed range
of values that you can conform to the headroom parameters of
your source audio.
•
Meters dynamically track audio levels for each channel as follows:
•
-
Meters show green below the target reference level (the
default reference level is -14 on the digital scale).
-
Meters show yellow for the normal headroom range, above
the reference level to approximately -3 dB.
-
Meters show red for peaks approaching overload, between 3 dB and 0 (zero) dB.
-
Thin green lines at the bottom indicate signals below the display range.
Channel Selector pop-up menus let you map tracks in the
sequence to output channels.
The Video Input Tool
The Video Input Tool controls parameters for incoming video.
To open the Video Input Tool, choose Video Input Tool from the Tools
menu or click the Video Input Tool icon in the Record Tool window.
50
Internal
Vectorscope
Waveform button
Monitor
button
Internal
waveform
monitor
Vectorscope
Input
Slider
Settings
Toggle 100%
Bars on/off
Figure 4-3
Preset
buttons
Video Input Tool
Click the Internal Waveform Monitor button to bring up the Waveform
monitor. Click the Vectorscope button to bring up the Vectorscope.
The Video Input Tool has the following options:
•
Input pop-up menu lets you choose Composite, Component, or SVHS video input source.
•
Sliders let you change the value for each setting.
•
Preset buttons are highlighted when the factory preset levels are
displayed. When you click a lit Preset button, it turns gray and the
slider returns to the most recent manual level setting.
•
Settings pop-up menu lets you save the Site settings for an individual tape each time you calibrate bars.
•
Internal Waveform monitor button opens the Internal Waveform
monitor.
•
Internal Waveform monitor lets you adjust luminance values.
•
Vectorscope monitor button opens the Vectorscope monitor.
51
•
Vectorscope monitor lets you adjust hue and saturation.
•
100% Bars button switches the 100% bars for calibration on and
off.
Record Preparations Check List
1. Check your hardware configurations: power switches, cable connections, and remote switch on the source deck for deck control
(see the Avid NewsCutter DV Setup Guide for hardware configurations).
2. In the Settings list, make sure you have the options you want
selected in the General Settings, Deck Preferences, Deck Configuration, and Digitize Settings dialog boxes.
Check the settings for “Handle Length” in the Digitize Settings
dialog box. A “handle” is extra media on either side of your IN
and OUT points that ensures you have enough extra footage to
perform trims. The default setting is 2 seconds on each side. You
want to keep the default or increase it, if you think you will need
extra footage.
3. Label each of your external disk drives with a meaningful name.
For information on naming drives, see, “Naming Drives” in the
Online Help index.
4. Insert a tape into the deck and set up the Record Tool for track
selection, target bin, target drives, source tape, and source deck.
5. Use the Audio Input Tool to set the audio input levels.
6. Use the Video Input Tool to set the video input levels; save your
video settings for future use.
52
Recording to the Timeline
You can record footage directly from tape into a sequence loaded in
the Timeline in one step, without organizing and reviewing clips,
marking edit points, or performing edits.
Before you begin recording, refer to the “Record Preparations Check
List” on page 52.
n
Make sure Audio Input on the Record Tool is set to Microphone, or Microphone with Power depending on the type of microphone you are using.
To record to the Timeline:
1. Load a sequence into the Record monitor by selecting New
Sequence from the Clip menu or double-clicking an existing
sequence icon in a bin.
2. Mark an IN point in the sequence or move the blue position indicator to where you want the edit to take place.
3. Mark the source material that you want to record using the Record
Tool logging controls.
4. (Option) You can mark an OUT point based on the following:
Overwrite
Splice
•
If you are recording to the middle of a sequence in the Timeline, mark both IN and OUT points for frame accuracy.
•
If you are recording at the end of a sequence, you can mark
just an IN point and then mark the OUT point later on-the-fly.
5. Click the Splice-in button or the Overwrite button in the Record
Tool to choose the type of edit.
Splice-in will move everything in the sequence down to make
room for the new clip. Overwrite replaces what is there; thus the
sequence is not lengthened.
53
6. Click the red Record button to begin recording.
7. If you did not mark the OUT point in advance, click the Record
button again when the footage reaches the frame where you want
to stop recording.
n
If you already marked an OUT point, recording will stop automatically.
When recording ends, the clip appears in place in the sequence,
and a master clip appears in the bin.
Recording and Logging at the Same Time
When you record without entering log information in a bin ahead of
time, the system creates clips and associated media files while you
record. Recording in this manner involves manually cueing source
footage with an Avid-controlled deck using the deck controls in the
Record Tool.
Ways to record and log at the same time include:
•
Recording On-the-Fly
•
Recording from a Mark IN to a Mark OUT
•
Autorecording
Recording On-the-Fly
This method is easier than setting marks, but it is more imprecise. It
involves using the deck controls in the lower left corner of the Record
Tool to cue, play, and stop the source footage manually while recording.
Use the recording on-the-fly method in any of the following circumstances:
54
•
If you are eager to begin editing immediately and no adequate
logs exist for importing in to the system or setting marks.
•
If you are recording from a source deck that cannot be controlled
by the Record Tool or a V-LAN VLXi unit.
•
If your source tape does not have timecode.
•
If you are recording from a digital source such as a CD or DAT
player.
•
If you are recording from a live source, such as a studio feed, or an
in-house router.
In some circumstances, the recorded material may exceed the logical
file size allowed by NewsCutter DV. For example, the maximum size
of a media file cannot exceed the size of a 2-gigabyte partition. To
make sure that recording does not stop if a file exceeds the limit, select
“Digitize video to multiple files” in the Digitize Settings dialog box.
Then if a file does exceed the limit, it will be split across multiple files
and recording will continue.
Before you begin recording, refer to the “Record Preparations Check
List” on page 52.
n
There is a slight delay of several frames after you manually select a spot both
to start and to stop recording. Therefore, use this method when you do not
need precise beginning and end points in your clip.
To record on-the-fly:
1. Make sure the Digitize/Log Mode button in the Record Tool is set
to DIG.
2. Use the deck controls in the bottom left corner of the Record Tool
to locate the position on the tape where you want to start recording.
3. Play the deck and when it gets up-to-speed, click the Record button.
55
n
Make sure you have cleared any previous marks so that the deck does not
begin cueing to the previous location.
4. While the system is recording, you can type a clip name. Press the
Tab key after typing a clip name to enter comments about the clip.
5. Click the Pause button at any time to pause play. You can also
abort the record procedure by clicking the Trash button in the
Record Tool. The clip will be discarded.
6. To stop recording, click the Record button, or press the Esc key on
the keyboard.
The system creates a new clip in the bin.
Recording from a Mark IN to a Mark OUT
This method lets you specify the exact timecode location to begin and
end recording. You can also specify only a mark IN or mark OUT, and
enter the other mark on-the-fly.
Use this method in the following circumstances:
•
If logs exist in written or printout form but not in the proper format for quick import into the system.
•
If the IN and OUT marks are rough and need to be doublechecked for accuracy.
•
If you are familiar enough with the source material, estimate the
timecode for the mark IN, the mark OUT, or both, quickly and
accurately.
Before you begin recording, refer to the “Record Preparations Check
List” on page 52.
To record by specifying a mark IN and a mark OUT:
1. Cue the tape to the start of the clip you want to record and mark
an IN point.
56
2. Cue the tape and mark the OUT point now, or set the OUT on-thefly while you are recording.
3. Click the Record button in the Record Tool.
The Record Tool automatically rewinds the tape to the preroll
point before the IN point of the clip, and the tape begins to play.
The Record button becomes bright red, the indicator next to the
Record button flashes, and the Status bar displays the message
that recording has begun.
4. While the system is recording you can type a clip name or enter
comments about the clip.
Recording stops, and the system creates a new clip in the bin when
the tape reaches the clip’s OUT point or you press the Record button again.
Autorecording
This method requires the least amount of supervision and effort but
usually calls for more recording time and disk storage space. It
involves playing each source tape from a cue point near the beginning
and letting the system record the entire tape, automatically naming
and entering each long clip into the bin.
Autorecording can save you time by allowing you to bypass both the
logging process and the time it takes to cue each shot. However, this
process requires the most storage space, and more time is spent while
the system is actually recording entire reels.
When you autorecord, you mount and cue your tape to a starting
point and launch the recording process through the Record Tool.
When you have long continuous shots (for example, footage from a
live event), the recorded material for a single clip may exceed the 2gigabyte limit for file sizes on the NewsCutter DV. In this case, you
must select “Digitize video to multiple files” in the Digitize Settings
dialog box.
57
If you follow the tips and techniques described in the following procedure, the system can complete the recording process for an entire tape
unattended.
Before you begin recording, refer to the “Record Preparations Check
List” on page 52.
To autorecord:
1. Select Digitize in the Settings view of the Project window.
2. Configure Digitize settings with the following options:
•
“Digitize across timecode breaks” (“with outpoint set” if you
mark an OUT point as described in step 10) if you want the
system to begin a new master clip at each timecode break.
•
“Log errors to the console and continue digitizing” to instruct
the system to continue with the next clip when it encounters
an error.
•
“Digitize video to multiple files” if you intend to record the
entire tape as one master clip. Make sure you deselect “Digitize across timecode breaks.”
3. Open the Deck Configuration dialog box from the Settings list,
and double-click the deck box for the tape deck from which you
are recording.
4. Turn off the Fast Cue option in the Deck Settings dialog box and
set the preroll to approximately 4 seconds.
5. Click OK to close the Deck Settings dialog box, and click Apply to
close the Deck Configuration dialog box.
6. Create one bin for each source tape. This keeps bins to a manageable size and automatically names all clips from each reel after the
name of their respective bins.
7. Name each bin after the source reel number: by default all clips are
named after the reel and numbered incrementally beginning with
the suffix “.01.”
8. Open the Record Tool and open the bin for the first reel.
58
9. Load the source tape and cue past any false starts.
10. (Option) If you want the system to stop recording at a chosen
point on the tape, cue the tape to a chosen OUT point and click the
Mark OUT button in the Record Tool.
11. Play the tape, and wait 4 seconds before clicking the Record button.
The system automatically records the entire tape.
Batch Recording
Once you have imported a log or manually logged a group of clips to a
bin, you can automate the record process by using the batch-recording
capabilities of NewsCutter DV. In order to batch record, source tapes
must have timecode.
If your media was analog (not digital) when it was recorded, you will
need to reset the color bars in the Video Input Tool before batch recording. For more information and procedures, see “Adjusting color bars”
in the Online Help index.
You can also use the batch record process to rerecord existing clips.
n
Before you batch record, make sure the source tapes have timecode.
Before you begin recording, refer to the “Record Preparations Check
List” on page 52.
To batch record clips:
1. Open the bin that stores the logged clips.
2. Select the clips to batch record.
3. Choose Batch Record from the Bin menu.
4. Select options in the Batch Record dialog box:
59
•
If the bin contains some clips that are already recorded and
you do not want to rerecord those clips, select the option “Digitize only those items for which media is currently unavailable.”
•
If your selections include a sequence for batch recording, the
dialog box prompts you for handle length information.
5. Click OK.
If you have not loaded a tape, the system prompts you to insert
the first tape.
6. Insert the tape into the tape deck and click Mounted.
A message box appears.
7. Click OK to confirm the tape and deck entries and begin the
recording process.
The system records each clip from the tape, in start timecode
order.
Rerecording a Sequence
Rerecording is the process of capturing previously recorded source
footage based on existing clips and sequences. Rerecording uses the
batch record process and does not require extra logging time because
the clip information for such things as source tracks, timecodes, and
compression settings already exists in the bin.
There are several situations in which you might want to rerecord:
•
You can quickly rerecord selected clips if you make an error while
recording the first time.
•
You can rerecord clips if you accidentally delete media files.
•
You can rerecord a sequence after you transfer it to another system.
60
c
Rerecording requires your original source footage. Do not delete the
media files if the source footage is no longer available, unless you
will not need the material again.
Before you begin recording, refer to the “Record Preparations Check
List” on page 52.
To rerecord:
1. Choose Record Tool from the Tools menu.
2. Open or activate the bin that contains the sequence or clips.
3. Select the sequences or clips you want to rerecord.
4. Choose Batch Record from the Bin menu.
The Batch Record dialog box appears.
5. To preserve clips that already have existing media, select “Digitize
only those items for which media is currently unavailable.”
6. Click the Handle Length box and type the number of additional
frames you want to record at the heads and tails of the new master
clips.
7. Click OK.
The system prompts you to insert the first tape.
8. Insert the tape into the tape deck if you have not already done so.
9. Click Mounted to indicate to the system that the correct tape is
loaded and ready for recording.
A message box appears.
10. Click OK to confirm the tape and deck entries.
The system records each clip from the tape, in start timecode
order. If another source tape is needed, the system prompts for the
tape.
You can stop the Batch Record process at any time by clicking the
Trash icon in the Record Tool.
61
CHAPTER 5
Getting Ready to Edit
This chapter describes the tools available to you for editing. It also
describes methods for navigating within your clips or sequences and
ways of marking your footage for inclusion in a sequence. It includes
the following topics:
•
Using the Command Palette
•
Using the Tool Palette
•
Using the Keyboard
•
Using Workspaces
•
Controlling Playback
•
Marking IN and OUT Points
•
Creating Subclips
Using the Command Palette
The Command Palette, accessible from the Tools menu, provides a
central location for all editing, playback, and navigational buttons.
These buttons allow you to perform a wide range of commands with a
single click. The Button to Button Reassignment option allows you to
map buttons to the Tool Palette or to reconfigure the keyboard. The
62
Menu to Button Reassignment option allows you to map menu commands to various buttons and keys.
You can use the buttons directly from the Command Palette without
mapping them by selecting the Active Palette option at the bottom of
the Command Palette.
The Command Palette groups buttons by function. Tabs are displayed
for each function and the buttons that perform those functions are displayed within each tab. The functions are Move, Play, Edit, Trim, FX,
Other, and More.
You should familiarize yourself with the buttons on the Command
Palette. The more familiar you are, the faster you can edit. Once you
know which buttons or menu commands you use most often, you can
map them to the Tool Palette of the keyboard.
All available buttons are displayed in the Command Palette. If you
cannot find a particular button, open the Command Palette from the
Tools menu and search for it there. For procedures on mapping buttons to the Tool palette see “Mapping Buttons to the Tool Palette” on
page 67. For procedures on mapping buttons to the keyboard see
“Mapping Buttons to the Keyboard” on page 69.
Figure 5-1
Command Palette Move Tab
63
Figure 5-2
Command Palette Play Tab
Figure 5-3
Command Palette Edit Tab
Figure 5-4
Command Palette Trim Tab
64
Figure 5-5
Command Palette FX Tab
Figure 5-6
Command Palette Other Tab
Figure 5-7
Command Palette More Tab
65
Using the Tool Palette
You can view the Tool Palette by clicking the Fast Menu button under
the Source monitor. To keep the Tool Palette visible, click and hold the
mouse and drag the Tool Palette to any location on the screen.
The default Tool Palette, shown below, provides buttons for editing
and navigating. It has blank buttons where you can map the buttons or
menu commands you use most frequently.
Figure 5-8
Default Tool Palette
The Tool Palette default is to display the buttons without names. You
can turn on the display of button names:
1. Click the Settings button in the Project window.
2. Double-click Interface.
The User Interface Settings dialog box appears.
3. Select Show Labels in Tool Palette.
n
You can also enable ToolTips here as well to help you become familiar with the
NewsCutter DV interface. ToolTips shows the name of each tool on the interface as you move the cursor over it.
4. Click OK.
5. Resize the Tool Palette if necessary.
66
Mapping Buttons to the Tool Palette
You can map frequently used functions to the Tool Palette for easy
access. To map a button from the Command Palette to the Tool Palette:
1. Make sure the Source monitor is active; if it isn’t click the Source/
Record Toggle button to activate it.
When the Source monitor is active, it displays “NewsCutter
Source” in the title bar.
2. “Tear off” the Tool Palette by clicking and holding the mouse and
dragging it off the Source Monitor Fast menu and then releasing
the mouse.
3. Choose Command Palette from the Tools menu.
4. Click Button to Button Reassignment at the bottom of the Command Palette if it’s not already selected.
5. Find the button you want to remap, click the button, and drag it to
the Tool Palette, placing it where you want it.
You can place the button over an existing button, in which case
you can’t access the original button, or you can place it over one of
the blank buttons.
If you want to remove the button you mapped, you can drag
another button over it or drag the blank button over it. The blank
button can be found on the Other tab of the Command Palette.
Mapping Menu Options to the Tool Palette
You can map frequently used functions to the Tool Palette for easy
access. To map a menu option to the Tool Palette:
1. “Tear off” the Tool Palette by clicking and holding the mouse and
dragging it off the Source Monitor Fast menu and then releasing
the mouse.
2. Choose Command Palette from the Tools menu.
67
3. Click Menu to Button Reassignment at the bottom of the Command Palette if it’s not already selected.
4. Click the button on the Tool Palette where you want the menu
option to appear.
5. Find the menu option you want to remap and click it.
The menu option appears on the Tool Palette.
You can place the menu option over an existing button, in which
case you can’t access the original button, or you can place it over
one of the blank buttons.
If you want to remove the menu option you mapped, you can drag
another menu option or button over it or drag the blank button
over it. The blank button can be found on the Other tab on the
Command Palette.
Using the Keyboard
The keyboard has many editing and navigational buttons. For faster
editing, you can use the keyboard rather than the mouse. The default
keyboard is configured as shown below.
Step buttons
Play/Step/Shuttle buttons
Play button
Stop button
Figure 5-9
NewsCutter DV Default Keyboard Settings
68
Mapping Buttons to the Keyboard
You can map buttons to the keyboard from the Command Palette to
help you work more quickly. You can map only to the lighter-colored
keys shown in Figure 5-9; the darker keys are reserved for system
functions such as Shift, Ctrl, Alt.
To map a button from the Command Palette to the keyboard:
1. Choose Command Palette from the Tools menu.
2. Click Button to Button Reassignment at the bottom of the Command Palette.
3. Double-click Keyboard in the Settings list of the Project window.
The keyboard diagram appears.
4. Find the button you want to remap, click the button, and drag it to
the keyboard, placing it on any of the light gray keys.
You can place the button over an existing key, in which case you
can’t access the original key, or you can place it over one of the
blank keys.
If you want to remove the button you mapped, you can drag
another button over it or drag the blank button over it. The blank
button can be found on the Other tab of the Command Palette.
Mapping Menu Items to the Keyboard
You can map menu options that you use frequently to the keyboard
from the Command Palette. You can map only to the lighter-colored
keys shown in Figure 5-9; the darker keys are reserved for system
functions such as Shift, Ctrl, Alt.
To map a menu option from the Command Palette to the keyboard:
1. Choose Command Palette from the Tools menu.
69
2. Click Menu to Button Reassignment at the bottom of the Command Palette.
3. Double-click Keyboard in the Settings list of the Project window.
The keyboard diagram appears.
4. Click the key where you want the menu option to appear.
5. Find the menu option you want to remap and click it.
The menu option appears on the keyboard diagram.
You can place the menu option over an existing key, in which case
you can’t access the original key, or you can place it over one of the
blank keys.
If you want to remove the menu option you mapped, you can drag
another menu option or button over it or drag the blank button
over it. The blank button can be found on the Other tab of the
Command Palette.
Using Workspaces
Workspaces let you have the tools you need to perform a specific function, such as recording, available to you with the press of a key.
NewsCutter DV comes with four workspaces set up for the basic functions of record, edit, effects, and audio. These default workspaces are
already mapped to the keyboard as follows:
Workspace
Function Key
1 record
F9
2 edit
F10
3 effx (effects)
F11
4 audio
F12
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You can use these workspaces as is, or you can modify them to your
liking. To use a workspace press the function key on the keyboard for
the workspace you want.
Modifying Workspaces
You can modify the default workspaces to make them more closely fit
your style of working.
To modify an existing workspace:
1. Press the function key on the keyboard for the workspace you
want to modify, for example, F9 for recording.
2. Make any changes — resize or reposition any windows.
3. Click the Settings button in the Project window.
The Settings list appears.
4. Double-click the workspace you want to modify.
The Save Workspace dialog box appears.
5. Click OK.
The Workspace setting is modified.
n
When you change workspaces, you see the arrangement you set when you left
the workspace. If you close a window before you leave a workspace, the next
time you open the workspace, the window will be closed.
You may also create four additional workspaces. For information on
creating workspaces, see “Workspace” in the Online Help index.
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Controlling Playback
There are several ways to play, view, and cue clips:
•
Instantly access frames or move through footage using the position
indicator within the position bar under the Source or Record monitor.
•
Play, step (jog), or shuttle through footage using buttons.
•
Play, step, or shuttle using keyboard equivalents.
•
Step or shuttle using the mouse.
Using Position Bars and Position Indicators
You can quickly access frames within a clip that has been loaded into a
monitor or move through the footage using the position indicators
that appear in the position bars under the Source or Record monitor,
and in the Timeline when you are viewing a sequence.
•
You can move the position indicator within the position bar under
the Source or Record monitor by clicking anywhere in the position
bar or by dragging the position indicator to the left or right. The
speed with which you drag the position indicator determines the
speed at which you move through the footage.
Record monitor
position bar
Position indicator
Figure 5-10 Record Monitor Position Bar
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Source monitor
position bar
Position indicator
Figure 5-11 Source Monitor Position Bar
•
In the Timeline, the position indicator shows your position within
the sequence. It is always in the same position as the position indicator in the Record monitor’s position bar and works in the same
way: you can click anywhere in the Timeline to relocate the position indicator, or you can drag the position indicator through footage at varying speeds.
Position indicator in Timeline
Figure 5-12 Position Indicator in Timeline
•
You can go directly to the beginning or end of a clip or sequence
by clicking at the far left or far right of the clip or sequence.
Using Buttons
You can use the buttons that appear below the Source and Record
monitors to play and step through your footage. You can also use the
keyboard to manipulate footage.
Buttons can be remapped from the Command Palette to the Tool Palette and the keyboard in any configuration. See “Mapping Buttons to
73
the Tool Palette” on page 67 and “Mapping Buttons to the Keyboard” on page 69.
The Play Button
The Play button is a toggle button. With a clip loaded in a monitor, the
Play button plays your footage at a normal speed. When a clip is playing, the arrow on the button is lit. Clicking the Play button while your
clip is playing stops play. The space bar also stops play.
In the Record monitor, you can play only video and audio tracks that
are currently monitored in the Track Selector panel.
Track Selector panel
Video Monitor
button
Audio Monitor
button
To play a clip:
1. Load a clip into the Source monitor or a sequence into the Record
monitor by double-clicking a clip or sequence icon in a bin.
2. For sequences in the Record monitor, click the Video or Audio
Monitor button in the Track Selector panel.
3. Go to the start of the clip or sequence by clicking at the start of the
position bar under the monitor or by pressing the Home key.
4. To play the clip or sequence, click the Play button under the chosen monitor.
5. To stop playback, press the space bar or click the Play button
again.
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Step Buttons
You can also use the Step Forward and Step Backward buttons under
the monitors to play the clip backward or forward in one-frame increments.
You can advance 10 frames forward or 10 frames backward using the
10-step keys on the keyboard.
To step through footage:
1. Load a clip into the Source monitor or a sequence into the Record
monitor.
2. Press the appropriate key to step 1 or 10 frames forward or backward.
J-K-L Keys (Three-Button Play)
The J-K-L keys on the keyboard allow you to play, step, and shuttle
through footage at varying speeds. This feature, also referred to as
three-button or variable-speed play, allows you to use three fingers to
manipulate the speed of playback for greater control.
To shuttle through the footage using the J-K-L keys on the keyboard:
1. Do one of the following:
•
Load a clip into the Source monitor or a sequence into the
Record monitor.
•
Select a clip in a bin in Frame mode to play through the clip in
the bin.
2. Use the following keys to shuttle at varying speeds:
•
Press the L key to move forward through the footage at normal speed. Press once to increase the forward speed two
times, twice to increase it four times, and three times to
increase it eight times normal speed.
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•
Press the J key to move backward at the same shuttle speed
increments.
•
Press and hold K and L keys together for slow forward.
•
Press and hold the K and J keys together for slow backward.
3. To pause the shuttling, press the K key.
4. To stop shuttling, press the space bar.
Home, End, and Arrow Keys
You can also use the Home, End, and arrow keys on the keyboard to
move through footage when a clip is loaded in a monitor.
•
The Home key takes you to the beginning of a clip or sequence.
•
The End key takes you to the end of a clip or sequence.
•
The Left Arrow key moves the footage one frame backward.
•
The Right Arrow key moves the footage one frame forward.
Using the Mouse
You can also use the mouse for one-handed control of playback. You
can either step or shuttle by using the mouse.
Stepping with the Mouse
To step using the mouse:
1. Load a clip into the Source monitor or a sequence into the Record
monitor.
2. Activate the buttons on the Command Palette by selecting Active
Palette at the bottom of the Palette and then clicking the Mouse
Jog button on the Play tab of the Command Palette.
You can map the Mouse Jog button to a button on the Tool Palette
(see “Using the Tool Palette” on page 66).
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3. Move the mouse to the right to step forward, or to the left to step
backward.
4. To quit stepping with the mouse, press the space bar.
Shuttling with the Mouse
To shuttle by using the mouse:
1. Load a clip into the Source monitor or a sequence into the Record
monitor.
2. Do one of the following:
Mouse Shuttle
button
•
Activate the buttons on the Command Palette by selecting
Active Palette at the bottom of the Palette and then clicking
the Mouse Shuttle button on the Play tab of the Command
Palette.
•
You can map the Mouse Shuttle button to a button on the Tool
Palette (see “Using the Tool Palette” on page 66).
3. Move the mouse to the right to increase the shuttle speed, or to the
left to decrease the shuttle speed.
4. To quit shuttling with the mouse, press the space bar or doubleclick the mouse button.
You can also use the keyboard in conjunction with the mouse to control shuttling. For example, if you’re shuttling with the mouse and you
press the L key, the playback speeds up to the next normal play rate
(30, 60, 120, 240 fps for NTSC; and 25, 50, 100, 200 fps for PAL). You can
continue to change the shuttle speed and direction with the mouse.
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Marking IN and OUT Points
You can mark IN and OUT points for your clips in advance, which
provides several advantages:
•
You can quickly build a sequence by splicing the marked clips into
place one after another.
•
You can use the process of rough-cut or storyboard editing, which
allows you to instantly splice several prepared clips into a
sequence.
•
You can play back and mark clips in the bin before loading a single
clip, saving several steps.
Even if your marks are not accurate now, you can trim the edit points
and fine-tune the sequence later without reediting the material.
Creating Subclips
When you mark footage with IN and OUT points, either you can save
the entire clip along with the new marks, or you can create subclips to
break up longer master clips into smaller segments of selected footage.
Subclips do not directly reference the original media. Subclips remain
linked to the master clips from which they are created, and the master
clips in turn reference the recorded media files located on your storage
drives. As a result, none of the original footage is lost.
You can also create subclips while recording
as described in
“Subclips:creating onthe-fly” in the Online
Help index.
You can create subclips directly from the marked section of material in
the monitors by using one of the following methods:
•
Alt key: Press and hold the Alt key, and then drag the picture from
the monitor to the bin in which you want to store the subclip.
•
Make Subclip button: Click the Make Subclip button located on
the Edit tab of the Command Palette to create the subclip and
78
place it in the active bin by default. If you press the Alt key while
you click the Make Subclip button, a dialog box allows you to
choose the destination bin for the subclip.
The new subclip will be listed in the bin, preceded by a subclip icon
and identified with a numbered .Sub suffix, as shown in the following
illustration.
A new subclip
shown in Text
mode
For more information on trimming, see “Trim Edits” in the Online
Help index.
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CHAPTER 6
Creating a First Cut
This chapter describes how you begin to put your story together. It
includes the following topics:
•
Viewing Your Clips
•
Navigating in the Timeline
•
Using the Track Selector Panel
•
Making the First Edit
•
Splicing or Overwriting Video into a Sequence
•
Marking Clips for Storyboarding
•
Using the Go to IN and Go to OUT Buttons
•
Moving to the Head or Tail of a Shot
•
Undoing an Edit
•
Redoing an Edit
•
Splicing a Shot into the Middle of a Sequence
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Viewing Your Clips
You can work with clips and sequences in several different ways,
depending upon your needs and preferences. Each method has its
own uses and advantages, as follows.
•
Viewing in bins: Frame mode shows you pictorial images of the
clips in your bins; Text mode shows you the clips listed by name;
Script mode shows you pictorial images and provides a space for
you to add text. See “Working with Bins” on page 40 for more
information on displaying clips in bins.
•
Viewing in the Timeline: Use the Timeline to view individual
tracks for either a sequence or a source clip. You can drag a clip or
group of clips into the Timeline to create a sequence.
•
Viewing in full-screen: You can use a second, full-screen monitor
to view your footage in a larger screen format.
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•
Viewing in the Source monitor: You can load clips and sequences
into the Source monitor to view and mark shots for use in a
sequence that you build in the Record monitor. You load a clip into
the Source monitor by double-clicking its icon in the bin.
Clip icon
Source/Record Toggle button
Figure 6-1
Source Monitor
82
•
Viewing in the Record monitor: You can load a sequence into the
Record monitor to view, mark, or modify an existing sequence.
You cannot load a clip into the Record monitor. You load a
sequence into the Record monitor by double-clicking its icon in
the bin.
Sequence
icon
Source/Record Toggle button
Figure 6-2
Record Monitor
83
•
Viewing in pop-up monitors: You can load clips into pop-up
monitors to view and mark one or several clips simultaneously in
smaller, movable windows. (Enable a pop-up monitor by pressing
the Alt key while double-clicking the clip you want to open.) You
can have multiple pop-up monitors open at one time.
Figure 6-3
Pop-up Monitor
Navigating in the Timeline
The Timeline window provides various controls for quickly moving
through a sequence and adjusting your view of details displayed in
the tracks while editing. You can make changes in the Timeline format
by using the Timeline Fast menu or by choosing Timeline in the Settings list in the Project window.
84
Track Selector panel
Timeline track
Position indicator
Extract/Splice-in
Scale bar Segment mode
Scroll bar
Lift/Overwrite
Timeline Fast menu
Segment mode
Figure 6-4
Timeline
Using the Position Indicator
The position indicator, the vertical blue line in the Timeline, marks
your place in the sequence. It also determines how some of your commands are interpreted. For example, when you perform an edit, the
system takes the location of the position indicator as the mark IN point
if you haven’t marked an IN point. The position indicator can also be
used as a mark OUT point if you haven’t marked an OUT point.
When you move the position indicator in the Timeline, the smaller
position indicator within the Record monitor’s position bar also
moves.
Displaying More or Less Detail
The scale bar stretches and contracts the Timeline area centered
around the blue position bar, allowing you to either zoom in to focus
on a specific area of your sequence or zoom out to see your whole
sequence. This is especially useful when you have a lengthy sequence
with many edits.
85
Scroll bar
Scale bar
The Timeline always expands or contracts proportionally on both
sides of the position indicator.
•
To see more detail, click the scale bar and drag it to the right.
As the Timeline expands, a second “shadow” position indicator
appears next to the blue position indicator, showing the end of a
single frame, and the two continue to move apart as you expand
the Timeline.
As the Timeline
expands, a shadow
position indicator
appears.
The position indicator and its shadow mark the beginning and
end of each frame. The solid bar is the mark or edit point. You can
click on either the bar or the shadow to move exactly one frame
forward or backward.
In addition, if the Timeline is maximized for full-screen viewing,
the Timeline will split in half (or thirds) as it wraps through the
sequence for you to see all the clips.
•
To contract an expanded Timeline to see less detail but more of the
sequence, click the scale bar and drag it to the left.
Using the Timeline Scroll Bar
The scroll bar functions like any standard Windows scroll bar. You can
drag the scroll box to reposition yourself within the Timeline, or click
the arrows to scroll left or right.
Scroll bar
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Using the Track Selector Panel
The Track Selector panel provides numerous controls for working
effectively with multiple tracks. With this one resource, you can select,
delete, monitor, enlarge, reduce, lock, patch, and move any video or
audio track.
The Track Selector panel also provides a quick display of track information. You can see which tracks (on the source or the record side) are
available, active, patched, monitored, or locked. The configuration
shown below is just one example. The Track Selector panel may look
very different, depending on the nature of the source material or the
work under way in the sequence.
Source track monitors
Source tracks
Sync lock indicators
Record tracks
Record track monitors
Timecode track
Figure 6-5
Timeline Track Selector Panel
The source side (left side) of the panel displays only those tracks available for the clip currently loaded and displayed in the Source monitor.
For instance, a clip that has audio digitized for track A1 only does not
display an A2 track in the Track Selector panel.
The record side of the panel displays only those tracks currently in use
for the sequence. However, if you edit source material with a track
selected that does not yet exist on the record side (A3 or V2, in the pre-
87
vious example), by default the track appears on the record side after
the edit takes place.
A clip (or sequence) needs to be loaded in the Source and Record monitors to display both track panels.
Selecting Tracks
You can select tracks on either the record side or the source side as follows:
•
You can edit selected tracks on the source side directly into the
sequence, assuming you have selected parallel tracks on the
record side.
•
You cannot edit deselected tracks on the source side into the
sequence, regardless of record track selections.
•
You cannot edit deselected tracks on the record side, regardless of
source track selections.
There are five methods for selecting tracks:
•
Click any deactivated Track Selector button to select it. Click any
activated Track Selector button to deselect it.
•
Drag a lasso around multiple Track Selector buttons to select them
at once. Make sure the cursor is displaying the lasso box.
•
With the Timeline window active, choose Select All Tracks from
the Edit menu or press Ctrl+A to select all tracks on the record
side.
•
With the Timeline window active, use the keys on the keyboard
corresponding to each track to select and deselect tracks. To see
the default Keyboard settings, double-click Keyboard in the Settings list of the Project window.
For example, you might select the source and record tracks for V1, A1,
and A2 to edit video and audio from the source clip into the sequence.
88
Select only V1 source and record tracks to edit video without sound.
Or, select only A1 and A2 to edit the sound without the video.
n
Selected tracks change color.
Patching Tracks
When working with multiple tracks, you occasionally encounter a circumstance where you must edit source audio or video onto a track
other than the parallel track displayed in the Track Selector panel. To
edit the source material onto another record track above or below it,
you must patch the source track to the targeted record track.
You can perform only one patch per edit, but there is no limit to the
number of times you can patch from the same source track. Audio can
patch only to audio, and video only to video.
To perform a patch:
•
Drag from a source track (audio or video) to the targeted record
track (a white arrow appears during the patch).
The selected source track moves beside the record track to which it is
patched as soon as you release the mouse. The patched track remains
highlighted in preparation for your edit. You can proceed to select any
other tracks required for the edit.
To undo a patch:
1. Click directly in the Record monitor.
2. Manually repatch to the previous track.
n
When you are patching from one video track to another, the video track monitor icon moves to the track to which you patch. Be sure to return the icon to
the topmost track when necessary to play back and output all video tracks.
89
Monitoring Tracks
You determine the monitoring of tracks by clicking the monitor column of either the source- or record-side tracks to activate or deactivate
the monitor icons.
Video track monitors
Audio track
monitor
Audio track
monitor
The track monitor determines what you see and hear during playback.
You can turn track monitors off at any time to monitor only audio or
only video during editing. When there are multiple tracks, all tracks
below the monitored track are active during playback.
When you edit with multiple tracks, you can activate the monitor on a
lower track to monitor only that track. This is especially useful when
you have multiple layers of video effects and need to see one track
without the additional layers.
n
If you reposition the monitor, be sure to return it to the topmost track to view,
render, or record all the tracks together. Unmonitored tracks are not included
in playback.
90
Making the First Edit
As your first edit, lay down an audio clip, which can contain ambient
sound, music, narration, or voice-over narration. First, you play the
clip.
1. Double-click the audio clip and play the clip in the Source monitor.
The clip displays as black because it’s audio only.
2. Go to the head of the clip by pressing the Home key on your keyboard.
Now use digital audio scrub to find the specific frame you want to
use in your sequence.
Using Digital Audio Scrub
Digital audio scrub is used to locate a specific frame of audio. Use it to
locate the first frame of audio you want to include in your sequence.
1. Press the Caps Lock key to activate digital audio scrub.
Pressing and holding the Shift key while you play activates digital
audio scrub temporarily.
n
Keeping digital audio scrub on continuously can slow the performance of
NewsCutter DV. When you are finished using audio scrub, you should take
off the Caps Lock, de-activating audio scrub.
2. Play the clip again and click the Play button to stop at the approximate place where the music begins.
3. Press the Step (jog) keys (1, 2, 3, 4 on the keyboard) to locate the
first frame you want and click the Mark IN button.
When you use the Step keys, a frame of music or speech sounds
scratchy or buzzlike. You might want to increase the volume of
your speakers to hear the first frame of music.
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4. Use the Step keys again to find the last frame of audio you want.
5. Click the Mark OUT button.
6. Press the Caps Lock key again to exit digital audio scrub.
Splicing Versus Overwriting Audio and Video
When you are editing audio or video into a sequence, you can use
either Splice-in or Overwrite to perform the edit. Understanding the
difference between the two will make it easier for you to put together
your sequence to your satisfaction. They work the same way for either
video or audio edits.
Yellow
Splice-in
button
When you use Splice-in, everything from where you place your mark
IN forward shifts down to accommodate the clip you are splicing in.
This lengthens your sequence and it can cause other tracks to be out of
sync.
Red
Overwrite
button
When you use Overwrite, everything from where you place your mark
IN to the end of the clip you are overwriting is overwritten. This preserves the length of your sequence; you will overwrite whatever was
already in the sequence for the duration of the new clip.
Splicing or Overwriting an Audio Clip
Click the yellow Splice-in button or the red Overwrite button under
the Source monitor to edit the clip into the Record monitor.
To edit the audio clip you marked in “Using Digital Audio Scrub” on
page 91 into your sequence:
1. Choose New Sequence from the Clip menu.
An untitled sequence appears in the bin, the Record monitor, and
the Timeline.
92
2. Select the track into which you want to edit the audio by clicking
the Track Selector button.
3. Activate the Source monitor by clicking the Source/Record Toggle
button.
4. Press the Splice-in or Overwrite button under the Source monitor.
If no points are selected,
the entire clip is edited
into the Timeline.
The clip is edited onto the track you selected. The first frame is the
IN point you marked in the clip; the last frame is the OUT point
you marked in the clip.
The audio track appears in the Timeline. The sequence also
appears in the Record monitor; it appears black because there is no
video.
Now you are ready to add video to your sequence.
Splicing or Overwriting Video into a Sequence
You can start constructing your sequence by marking your clips and
splicing or overwriting them into your sequence.
1. From one of your bins, double-click the clip with which you want
to start your sequence.
Press and hold the Alt key while you double-click the clip to open
the clip in a pop-up monitor.
Play the whole clip
through once first to get
a sense of the material.
2. Play through the clip and decide where you want the clip to begin;
mark an IN point.
You can use the Mark IN button under the monitor or press the E
key on the keyboard.
n
All keys referred to here are from the default keyboard configuration. If you
remap your keyboard, your keys may not match those included in these
instructions.
93
3. Mark an OUT point where you want the clip to end.
You can use the Mark OUT button under the monitor or press the
R key on the keyboard.
n
Deselected
If you do not mark an IN point and an OUT point, the entire clip will be
edited into the sequence.
4. Select only the track where you want this clip to be recorded.
For example, if you wanted only video, you would deselect the
audio tracks. A track is gray when it is deselected; it changes color
when it is selected.
5. Click the Splice-in or Overwrite button under the Source monitor,
or press the V or B key on the keyboard.
The clip is edited onto the track you selected in the Timeline and
the monitor switches to the Record monitor where the clip is displayed. The position indicator rests on the first frame of black following the splice.
When you want to
bring an open bin or
monitor to the foreground, you can click
anywhere in it or
choose its name from
the Windows menu.
6. Do one of the following to move to the head of the sequence:
•
Press the Home key on the keyboard.
•
Click the beginning of the Timeline.
7. Click the Play button to play the clip in the sequence.
8. Continue adding clips to your sequence, following the steps
above.
Marking Clips for Storyboarding
Another way of starting your sequence is to use storyboarding. Storyboarding lets you set up a group of clips in order and then load them
into the Record monitor all at once. You can use storyboarding to start
your sequence or to add clips to an already existing sequence. When
you storyboard, you arrange clips in a bin in the order in which you
94
want them to appear in the sequence. You then select the group of
clips and drag them to the Timeline.
To add a group of clips to your sequence using storyboarding:
1. Open the clips you are going to use by double-clicking their icons
in the bin.
The clips appear in the Source monitor. Use the monitor menu
next to the clip icon in the Source monitor to view each clip in
turn.
2. Mark IN and OUT points in each clip
If you are using the whole clip, you don’t need to mark IN and
OUT points.
Frame mode
3. Display the bin where the clips are in Frame mode; click the lower
right corner of the bin and drag to enlarge the window.
4. Choose Fill Window from the Bin menu to arrange the clips in the
bin.
5. Arrange the clips in the order in which you want them to appear
in two or three rows, from left to right, and top to bottom, to form
the storyboard.
Make sure you maintain the order of clips.
95
Now you are ready to load the marked clips into the sequence.
6. Select only the record track where you want the clips to go.
7. Select the storyboarded clips all at once:
a. Position the mouse pointer in the bin in the blank area just to
the left of the first clip.
b. Lasso the clips by dragging the pointer to the right and down,
making sure to select all the storyboarded clips.
A box forms as you move the mouse, starting next to the first
clip and ending at the last pointer position. All the names are
highlighted.
8. Click on one of the clips (on the image, not the name), and drag
the group into the Timeline. Release the mouse when a red arrow
appears in the Record monitor.
The shots are edited into the sequence in the order you specified.
9. Move the position indicator to the head of the sequence.
10. Click the Play button under the Record monitor.
96
Using the Go to IN and Go to OUT Buttons
NewsCutter DV provides a number of methods for snapping the position indicator to an IN or an OUT point.
To go to an IN point, do one of the following:
Go to
IN
Go to
OUT
•
Click the Go to IN button.
•
Press the Q key on the keyboard.
•
Press and hold the Alt key and click the Mark IN button under the
Record monitor.
To go to an OUT point, do one of the following:
•
Click the Go to OUT button.
•
Press the W key on the keyboard.
•
Press and hold the Alt key and click the Mark OUT button under
the Record monitor.
Moving to the Head or Tail of a Shot
Before splicing in a clip, you can make sure the position indicator is on
the first frame of black after the last edit (head) or on the last frame of
the previous clip (tail).
To move to the head of a shot:
1. Move the position indicator in the Timeline anywhere to the right
of the transition where you want the edit to occur.
2. While pressing the Ctrl key, click the mouse between the transition
and the position indicator toward the head of the clip.
The position indicator snaps to the first frame of the shot.
97
To move to the tail of a shot:
1. Move the position indicator in the Timeline anywhere to the left of
the transition where you want the edit to occur.
2. While pressing the Alt and Ctrl keys, click the mouse between the
position indicator and the transition toward the tail of the clip.
The position indicator snaps to the last frame of the shot.
Undoing an Edit
Use the Undo feature whenever you want to go back a step. You can
undo or redo up to 32 previous actions listed in the Edit menu.
Choose Undo from the Edit menu, or press Ctrl+Z.
Redoing an Edit
Use the Redo feature whenever you want to get back to what you had
before you did an Undo. You can redo up to 32 previous undo actions
listed in the Edit menu.
Choose Redo from the Edit menu, or press Ctrl+R.
Splicing a Shot into the Middle of a Sequence
With nonlinear editing, you can splice a shot anywhere in your
sequence.
To splice a clip at a transition point between two clips:
1. Double-click the clip you want to splice into the sequence.
The clip opens in the Source monitor.
98
2. Mark the IN and OUT points.
3. Make sure the track(s) you want to splice the clip into is selected.
4. Move the position indicator anywhere in the clip to the right of the
transition where you want to splice the clip.
5. While pressing the Ctrl key, click the mouse between the transition
and the position indicator.
6. Click the Splice-in button, or press the V key on the keyboard.
Wherever you splice a shot into the middle of a sequence, the rest
of the sequence moves down. Splicing lengthens the material on
the track.
7. Play the sequence so far to see what you have done.
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CHAPTER 7
Refining the Edit
This chapter describes how to refine your story once you have completed your rough cut. Topics include:
•
Editing in Segment Mode
•
Overwriting Shots into a Sequence
•
Basic Trim Procedures
•
Audio Editing
Editing in Segment Mode
Segment mode provides editing controls for moving, deleting, marking, and editing entire segments in the Timeline. A segment is a portion
of the sequence that includes two or more transitions. There are two
modes for editing segments or adding shots: Extract/Splice-in, indicated by a yellow arrow, and Lift/Overwrite, indicated by a red arrow.
Unlike traditional tape editing, Segment mode allows you to instantly
reposition entire segments using visual controls as though you were
physically “dragging” portions of your sequence around on a tape.
You can move shots separately or together, on one track or across
tracks.
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Guidelines for Editing in Segment Mode
Observe the following guidelines when editing in Segment mode:
•
Transition effects on either side of a moved selection are deleted.
Transition effects inside the selection are preserved.
•
You can track the audio while moving segments by pressing the
Caps Lock key to enable audio scrub.
•
When you are finished, Segment mode continues to affect your
editing unless you click the active Segment Mode button to deactivate it.
•
Once you have selected one or more segments and entered
Segment mode, you can reposition the segments with the Segment
mode pointer.
Identifying Segment Mode Buttons
Segment Mode buttons
Extract/Splice-in
Lift/Overwrite
In Chapter 6, you used the Splice-in or Overwrite button. The Splice-in
and Overwrite buttons under the Source monitor take clips from the
Source monitor and put them into the Timeline. The Segment Mode
buttons, Extract/Splice-in and Lift/Overwrite on the Timeline window, move segments around within the Timeline. Although the button
names are similar, you use them for different purposes.
Rearranging Footage with Extract/Splice-in
Extract/Splice-in is a great tool for changing the order of shots in a
sequence. Let’s see what it looks like if we reverse the position of two
shots in a sequence.
1. Click the yellow Segment Mode (Extract/Splice-in) button below
the Timeline.
When the button is activated, its background turns light gray.
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2. Select only the track on which you want to rearrange clips.
3. Drag the selected clip to its new location and release the mouse.
4. Click the Extract/Splice-in button again to deactivate it.
5. Click the Timeline in front of the two shots and play the sequence
to see how it looks now.
If you don’t like the change, press Ctrl+Z or use the Undo command from the Edit menu to go back to the way the sequence was
before you made your change.
Removing Footage with Extract/Splice-in
To remove a clip from the sequence and close up the sequence:
1. Click the yellow Segment Mode (Extract/Splice-in) button below
the Timeline.
2. Click anywhere in the clip you want to remove, and then
Shift+click any other track you want to remove as well.
The clip is highlighted on all tracks you selected.
3. Press the Delete key on the keyboard.
The selected shot is eliminated, and the surrounding shots close
the gap.
4. Click the Extract/Splice-in button again to deselect it.
Removing Footage with Lift/Overwrite
Lift/Overwrite is a useful tool if you want to remove a clip while preserving the position of the rest of the clips in the sequence. For example, if you wanted to replace a clip in the sequence, but leave the audio
untouched, Lift/Overwrite would create a gap where you could just
drop in the replacement clip.
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To remove a clip from the sequence:
1. Click the red Segment Mode (Lift/Overwrite) button below the
Timeline.
2. Click anywhere in the clip you want to remove, and then
Shift+click any other track you want to remove as well.
The clip is highlighted on all tracks you selected.
3. Press the Delete key on the keyboard.
The selected shot is eliminated, and the surrounding shots stay
where they were. You now have a gap the length of the clip you
just removed.
4. Click the Lift/Overwrite button again to deselect it.
Overwriting Shots into a Sequence
In addition to splicing, you can overwrite shots into a sequence. An
overwrite edit replaces a section of a sequence with other source footage. An overwrite edit does not affect the length of the sequence.
To overwrite a clip into your sequence:
1. Make sure the Record monitor is active.
2. Move the position indicator in the Timeline to where you want the
overwrite to begin.
3. Mark an IN point.
Mark IN point
4. Open the clip you want to edit into the sequence.
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5. Mark IN and OUT points in the clip.
6. Click the Overwrite button under the Source monitor, or press the
B key on the keyboard.
The shot overwrites the existing clip for the duration that you set
with your IN and OUT points.
Rearranging Shots
You can rearrange shots by overwriting material, lifting material, or
removing material. Overwriting material doesn’t change the length of
the sequence. Lifting material leaves filler and does not affect the
length of the sequence. Removing material shortens the length of the
sequence.
Overwriting with the Three-Point Edit
The three-point edit is an excellent way to replace a shot in a sequence.
Use the Mark Clip button to select the shot in the sequence (or mark an
IN point and OUT point for a segment that is not a single shot), and
mark either the IN or OUT point in the source clip. The system calculates the exact duration of the source clip to insert.
To overwrite a clip with a three-point edit:
1. Move the position indicator to the clip you want to replace.
2. Select only the record tracks you want to replace.
You could replace just the audio by deselecting the video tracks
before you mark the clip, or you could replace just the video tracks
by deselecting the audio tracks.
3. Click the Mark Clip button under the Record monitor, or press the
T key on the keyboard.
The IN and OUT points appear at the head and tail of the clip in
the TC1 track of the Timeline; the marked segment turns purple.
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The IN and OUT points also appear in the Record monitor’s position bar.
4. Open the clip you want to edit into the sequence and mark an IN
point where you want the edit to begin.
5. Clear any OUT marks.
6. Click the red Overwrite button, or press the B key on the keyboard
to make the three-point edit.
The new clip replaces the existing shot.
n
The length of the clip you are editing in must be long enough to replace what
you are overwriting.
7. Play the sequence to see how the new clip works.
Removing Footage with Lift
Lift retains the gap after lifting footage from the sequence. Use Lift if
you want to maintain the rhythm of a sequence or the synchronization
of the video and audio tracks.
If you have a shot that plays for too long, but you want the next shot to
remain in sync with the audio, use Lift to shorten the clip. Using Lift
maintains the same entrance point for the next shot. You can then go
back and put something in its place.
To remove footage using Lift:
1. Select only the track where you want to lift a clip.
2. Mark an IN point in the sequence where you want the lift to begin.
3. Mark an OUT point where you want the lift to end.
You must mark IN and OUT points in the sequence.
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4. Click the Lift button on the Command Palette, or press the Lift key
(Z) on the keyboard to remove the segment.
The selected segment lifts out and leaves black filler in its place.
Basic Trim Procedures
Trimming allows you to adjust incoming and outgoing frames of your
clip. There are three types of trims: Top and Tail, dual-roller, and
single-roller.
Trim Using Top and Tail
Once you have recorded footage to the Timeline, use the Top and Tail
buttons to perform quick trims. Trimming using Top and Tail is the
fastest way to trim. To use Top and Tail, it is not necessary to enter
Trim mode.
To quickly trim footage from the beginning of a clip:
1. Move the blue position indicator to where you want the clip to
start.
2. Press the Y key on the keyboard or click the Top button.
The footage from the position indicator to the beginning of the clip
is trimmed.
To quickly trim footage from the end of a clip:
1. Move the blue position indicator to where you want the clip to
end.
2. Press the U key on the keyboard or click the Tail button.
The footage from the position indicator to the end of the clip is
trimmed.
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Entering Trim Mode
You can enter Trim mode in several different ways, depending on the
type of trim you expect to perform. Once in Trim mode, you can:
•
Select additional tracks
•
Switch between trim sides
•
Perform and play back the trim
There are three methods for entering Trim mode:
•
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Clicking the Trim Mode button on the Other tab of the Command Palette. The system enters Trim mode and selects the tracks
nearest the position indicator for dual-roller trimming. This
method is useful for selecting straight-cut transitions on one track
or across video and audio tracks.
You can map the Trim Mode button to the Tool Palette for easier access.
Transition selected
for trimming
When you deselect one or more tracks in the Track Selector panel,
by default only the transitions in the highlighted tracks are
selected for trimming. If the transitions are not straight cuts (overlap cuts or L-edits), the system highlights the topmost track nearest the position indicator.
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•
Lassoing the transitions in the Timeline. This method is useful
when you need to select multiple transitions staggered across parallel tracks (overlap cuts) for simultaneous trimming.
Lasso drawn across three
Transitions are selected for dual-roller trim.
You can drag from right to left, or left to right, and you can lasso
single transitions across several contiguous tracks. However, if
you lasso more than one transition on a single track, you activate
Segment mode rather than Trim mode.
n
To select transitions located below several track layers, draw a lasso within
the Timeline by pressing the Alt key while you drag.
•
Using the Play Loop button on the Play tab of the Command Palette. This is useful if you like to trim quickly as you edit, going
back and forth between Trim mode and other edit modes.
Once in Trim mode, the Record monitor changes to allow you to perform trim functions. The Trim Mode window is shown in Figure 7-1.
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Transition effect
placement
and duration
Pre- & Post-roll
for Play Loop
Outgoing video
Incoming video
A-Side frame
counter
B-Side frame
counter
Play Loop button
Figure 7-1
Trim frame buttons
Trim Mode Window
Selecting Between Trim Sides
To select sides of a transition to trim:
•
Click the outgoing (A-side) or incoming (B-side) monitor to define
which side of the transition to trim. Notice that the pointer
changes to a single-roller A-side, single-roller B-side, or doubleroller icon, depending on position.
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A-side
The selected parts of the transition are highlighted, and the corresponding rollers appear in the Timeline. Also, one or both of the
frame counter indicators below the monitors are highlighted to
reflect the active trim sides: A-side, B-side, or both. The number
indicates how many frames have been added or subtracted (-)
from the transition.
B-side
Highlight indicates
active sides
Sync Locking Tracks
The sync lock feature allows you to maintain sync among several
tracks while adding or removing frames in Trim mode. For example, if
you insert an edit into one track that is sync locked to a second track,
the system automatically inserts filler in the second track to maintain
sync between the two.
The middle row of the Track Selector panel displays a slash mark icon
for sync-locked tracks.
There are several unique aspects to sync locking:
•
Sync locking is a Trim mode feature only. Edits performed in
Source/Record, Segment, or Effect mode will override synclocked tracks.
•
Sync locking applies to single-roller trims only, because dual-roller
trims do not break sync.
•
You can sync lock any number of tracks in any combination. In
other words, the tracks do not require matching timecode or common sources and can include multiple video tracks as well as
audio tracks.
•
Sync locking affects entire tracks. This means that parallel segments in other sync-locked tracks are affected when you trim anywhere in the sequence.
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Performing a Basic Trim
With your transitions and trim sides selected, you can perform a basic
trim using one of the following procedures:
•
Use the Trim buttons to trim forward or backward by 1- or 10frame increments.
Trim Left
10 Frames
Trim Right
10 Frames
Trim Left
1 Frame
•
•
Trim Right
1 Frame
Use the numeric keypad at the right side of the keyboard, as follows:
-
To move the transition a specific number of frames, type a
plus sign (+) or minus sign (–) and the number of frames (from
1 to 99) you want to move forward or backward. Then press
Enter. If the number of frames is larger than 99, type an F after
the number to indicate frame count. For example, to enter 200
frames, type 200F and press Enter.
-
To move the transition to an exact timecode, type a timecode
number larger than 99, including frames. For example, type
102 to enter 1 second and 2 frames.
Use controls in the Timeline by clicking a roller at the selected
transition and dragging forward or backward in the sequence.
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Click and drag the roller to perform your trim.
As you trim, all selected transitions in the Timeline move in unison.
The frame counter displays the frame count backward or forward for
one or both trim sides, and the monitors display the new incoming or
outgoing frames.
Dual-Roller Trimming
Use a dual-roller trim to adjust both sides of a transition simultaneously, adding frames to one shot while subtracting frames from the
adjacent shot. The total duration of the sequence does not change.
To perform a dual-roller trim:
1. Select the record track you want to trim.
2. Move the position indicator near the transition you want to trim,
and click the Trim Mode button.
The position indicator snaps to the transition.
3. Play the transition by clicking the Play Loop button.
The transition plays repeatedly.
4. To stop the playback loop, click the Play Loop button again.
5. If you’re trimming an audio track, press the Caps Lock key on the
keyboard so you can hear the audio as you trim.
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To use digital audio scrub, make sure the speaker icon for the
record track you want to trim is hollow. Alt click the speaker icon
to turn the it hollow. Increase the speaker volume if necessary.
6. Perform your trim using one of the following methods:
•
Use the Trim buttons to trim forward or backward by 1- or 10frame increments.
•
Use the numeric keypad at the right side of the keyboard to
enter a plus sign (+) or minus sign (–) and the number of
frames (from 1 to 99) you want to move forward or backward.
Then press Enter. To move the transition to an exact timecode,
type a timecode number larger than 99, including frames.
•
Use controls in the Timeline by clicking a roller at the selected
transition and dragging forward or backward in the sequence.
7. Play the transition again by using the Play Loop button.
Single-Roller Trimming
In single-roller trimming, you trim only one side. Since you are not
compensating by adding to the other side, you shorten the sequence.
1. Select the record track you want to trim.
2. Enter Trim mode and click the frame counter on the side you want
to trim.
A-Side
B-Side
Frame counters
The frame counter on the side you selected remains purple, while
the other side is gray. Trimming the A-Side shortens the outgoing
clip; trimming the B-Side shortens the incoming clip.
3. If you’re trimming an audio track, press the Caps Lock key on the
keyboard so you can hear the audio as you trim.
To use digital audio scrub, make sure the speaker icon for the
record track you want to trim is hollow. Alt click the speaker icon
to turn the it hollow. Increase the speaker volume if necessary.
4. Perform your trim using one of the following methods:
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•
Use the Trim buttons to trim forward or backward by 1- or 10frame increments.
•
Use the numeric keypad at the right side of the keyboard to
enter a plus sign (+) or minus sign (–) and the number of
frames (from 1 to 99) you want to move forward or backward.
Then press Enter. To move the transition to an exact timecode,
type a timecode number larger than 99, including frames.
•
Use controls in the Timeline by clicking a roller at the selected
transition and dragging forward or backward in the sequence.
5. Play the transition again by using the Play Loop button.
Exiting Trim Mode
You can exit Trim mode at any time in one of several ways:
•
Click the Step buttons under the Trim monitor.
•
Press the Esc key on the keyboard.
•
Click a specific location in the Timecode (TC1) track at the bottom
of the Timeline. The position indicator moves to that location.
Audio Editing
NewsCutter DV provides audio scrub features and waveform plots
specifically designed for frame-accurate cueing, marking, and editing
of audio. You can use these features at any time during editing or
while making adjustments with the audio tools.
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Adjusting Audio Level
You can make the audio in a clip louder or softer as needed. For example, to make the audio clip on A2 louder:
1. Select record track A2 and deselect track A1.
2. Move the position indicator anywhere on the audio clip you want
to adjust.
3. Choose Audio Mix from the Tools menu.
4. In the A2 area, move the A2 Audio Level slider to level +6 by
doing one of the following:
•
Drag the slider to level +6.
•
Click the number field and type 6.
•
Click the number field and press the Up Arrow or Down
Arrow key on the keyboard to reach level +6.
Type a number
5. Play a portion of the shot or use the Play Loop button on the
Audio Mix tool.
6. If the volume is still too low, activate the Audio Mix Tool by clicking in it, and move the slider up, trying level +10.
Continue to adjust the level until it sounds right.
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Adjusting Audio Pan
You may have audio for a sequence that plays only out of the left
speaker or only out of the right speaker. You can adjust the audio pan
(balance) so the sound plays equally from both speakers.
To adjust audio pan:
1. Clear any IN or OUT points from the sequence by clicking the
Clear Both Marks button on the Edit tab of the Command Palette
or by pressing the G key on the keyboard.
2. Select record tracks A1 and A2.
3. Choose Audio Mix from the Tools menu.
4. Click the Timeline’s position indicator at a point that has audio on
track A1.
Choose A1.
Click here
to open the
Pan Adjustment
window.
Drag Pan slider.
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5. Drag the Pan slider to the middle of the scale until it reads MID.
To make the slider snap
to MID, press the Alt
key and click the Pan
slider.
6. Pull down the Pan Adjustment window for track A2 and drag the
Pan slider until it reads MID.
7. Play a portion of the sequence to check speaker balance.
8. Click the Close button to close the Audio Mix window.
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CHAPTER 8
Adding Effects
Adding an effect to a clip enhances your sequence by fading in or out
of a scene or adding video or a graphic on top of a clip. This is
described in the following sections:
•
Effects Editing
•
Displaying the Effect Palette
•
Effect Types
•
Applying Effects to a Sequence
•
Working in Effect Mode
•
Adding Transition Effects
•
Adding Keyframes
•
Adding a Picture-in-Picture Effect
•
Rendering an Effect
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Effects Editing
NewsCutter DV offers many effects that you can apply to your
sequences. This chapter explains how to apply effects to transitions or
segments (clips) in your sequence. After you have selected the effect
and applied it to a transition or segment, you can adjust the effect
parameters to meet your requirements.
Effects, with the exception of some motion effects, are not real time,
which means you must render them before you play them. You can
preview effects that are not real time before rendering. Rendering an
effect creates a media file that plays with the sequence. When an effect
is rendered, the system stores the effect and its media file as a precomputed master clip (often referred to as a precompute). The system uses
the precompute to play the effect at its normal speed.
After you create an effect, you can save it as an effect template and
reapply the template to other transitions or segments in your
sequence. Some effects can be applied only to transitions, other effects
can be applied only to segments, and some effects can be applied to
both transitions and segments. In addition, some effects can be applied
to a single video layer and others to multiple video layers.
Displaying the Effect Palette
Motion Effect Button
You select most effects from the Effect Palette in the Tools menu. The
exceptions are motion effects that you access from the tool bar under
the Source monitor, the Freeze Frame effect that you access from the
Clip menu, and titles that you create with the Title Tool.
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Figure 8-1
Effect Palette
Effect Categories
The effects in the Effect Palette are grouped by effect category:
•
Blend
•
Box Wipe
•
Conceal
•
Edge Wipe
•
Image
•
Key
•
L-Conceal
•
Matrix Wipe
•
Peel
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•
Push
•
Sawtooth Wipe
•
Shape Wipe
•
Spin
•
Squeeze
Each of these effect categories contains multiple effects.
Effect Types
There are two primary types of effects that are defined by where you
use them in a sequence:
•
Transition effects
•
Segment effects (single-layer and multilayer)
Transition Effects
A transition is the point where two clips meet. You apply a transition
effect to the cut point between two clips on the same video track. After
you apply a transition effect, you can adjust its relative position and
duration. Depending on the specific effect, other effect parameters
may apply.
Transition effects are included in all effect categories on the Effect
Palette, except the Image effect category.
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Segment Effects
You apply a segment effect to an entire clip or a group of clips. There
are two types of segment effects:
•
A single-layer segment effect, such as a Mask effect, is applied to a
segment on one video track.
•
A multilayer segment effect, such as a Picture-in-Picture effect, is
applied to the top layer of segments that contain two video tracks
that will be played simultaneously.
Applying Effects to a Sequence
This section explains how to apply an effect to a sequence in the
Record monitor. You can apply an effect:
•
To one transition or segment on a single video layer
•
To multiple transitions or segments on a single video layer
•
To multiple transitions or segments on multiple video layers
The effect type (transition or segment) determines where you can
place the effect in the sequence. For an explanation of the types of
effects, see “Effects:types of” in the Online Help index.
After you apply an effect, the next step is to adjust the effect’s parameters. To understand how to adjust the effect parameters, see “Effect
mode:adjusting parameters in” in the Online Help index.
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Working in Effect Mode
After you have created an effect and applied it to a transition or segment in your sequence, you can adjust its appearance and operation
by changing its effect parameters in the Effect Editor. Open the Effect
Editor by selecting it from the Tools menu. Not all effect parameters
apply to all effects. Parameters that do not apply to an effect are disabled in the Effect Editor. The Effect Editor is shown in Figure 8-2.
Effect icon
Reduce
Enlarge
Play Loop
Play
Transition Effect
Duration
Add
Keyframe
Render
Effect
Grid
Transition Effect
Outline/Path Alignment
Play
Preview
Figure 8-2
Effect Editor
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Adding Transition Effects
Transition effects are added between two clips. Effects you can use
include Blend, Box Wipe, Conceal, Edge Wipe, Key, L-Conceal, Matrix
Wipe, Peel, Push, Sawtooth Wipe, Shape Wipe, Spin, and Squeeze.
Adding Fade In
To add a fade in effect to a transition:
1. Select the record track where you want the fade in.
2. Move the position indicator to where you want the effect.
3. Click and hold the Fast Menu button under the Source monitor to
bring up the Tool Palette if the Tool Palette isn’t already visible.
4. Click the ADD DISS (Add Dissolve) button on the Tool Palette.
The Quick Dissolve dialog box appears.
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5. Create a dissolve (fade in):
a. Choose Dissolve from the Add pop-up menu.
b. Type the duration of the fade in the Duration text box.
For example, typing 20 would create a 20 frame fade in.
c. Choose Starting at Cut from the Position pop-up menu.
6. Choose the disk on which the effect media file should be stored
from the Target Disk pop-up menu.
The default disk is Effect Source Disk.
7. Click the Add and Render button to render the effect.
The system creates the media file of the video effect during the
rendering process. It also places a Dissolve icon in the Timeline
where you added the effect.
8. Play the effect. Press the space bar to stop playback.
Dissolving Between Shots
The most common effect is dissolving between two shots in the
sequence.
1. Select the record track where you want the Dissolve effect to occur.
2. Place the position indicator where you want the effect.
3. Click the Add Dissolve button on the Tool Palette.
4. Create a Dissolve effect, centered on the cut:
a. Choose Dissolve from the Add pop-up menu.
b. Type the duration of the dissolve in the Duration text box.
c. Choose Centered on Cut from the Position pop-up menu.
5. Choose the disk on which the effect media file should be stored.
6. Click the Add and Render button.
7. Play the effect. Press the space bar to stop playback.
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You can continue to add Dissolve effects to transitions where you want
them throughout the sequence. The last parameters that you set stay in
the Quick Dissolve dialog box, so you can quickly create Dissolve
effects with the same parameters.
Insufficient Footage for a Dissolve
It can happen that when you attempt to apply a dissolve, you get an
error message telling you there is not enough footage to create the dissolve (see Figure 8-3). It means there is no source footage, or “handle,”
left for the dissolve to use.
To fix the error, you can trim back each side of the dissolve, shorten the
duration, or change the placement of the dissolve, for example from
“Centered on Cut” to “Starting at Cut”. You can have NewsCutter DV
make the adjustment for you by clicking Size to Fit in the Insufficient
Source dialog box.
Figure 8-3
Insufficient Source Footage Dialog Box
Creating Audio Dissolves
It is just as easy to add audio dissolves, and the procedure is the same
as adding video dissolves. Be sure to select only the audio track and
deselect other tracks.
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Adding a Fade Within the Sequence
You can also create a fade to black within a sequence:
1. Select only the track where you want the fade to occur.
2. Move the position indicator to where you want the fade to black to
occur.
3. Without moving the position indicator, mark both an IN point and
an OUT point on that frame.
n
Do not use the Mark Clip button.
4. Click the red Segment Mode (Lift/Overwrite) button below the
Timeline.
5. Press the Z key.
A single frame is lifted from the sequence, leaving one frame of
black.
6. Deselect the Lift/Overwrite button.
7. Add a Dissolve effect, ending at the cut.
8. Select the disk drive and click the Add and Render button to add
and render the Dissolve effect.
9. Play the effect.
Adding Keyframes
You can add keyframes to an effect, giving you more control over the
effect’s parameters. At each keyframe, you can change parameters for
things like position, opacity, or border softness. Adding keyframes lets
you create a motion path for an effect by changing the effect’s position
at each keyframe.
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To add keyframes:
1. Apply an effect where you want one to occur.
2. Move the position indicator to the location within the Effect
monitor position bar where you want the keyframe.
3. Click the Add Keyframe button under the Effect monitor, or press
the N key.
In a Picture-in-Picture effect, you can add an unlimited number of keyframes. In any other type of effect, you can add as many as four
keyframes.
Adding a Picture-in-Picture Effect
You can add a Picture-in-Picture effect to create a window with one
image, while another image plays in the background. When you use a
Picture-in-Picture effect, you must have video on tracks 1 and 2.
To create the Picture-in-Picture effect:
1. Select the V2 track and its monitor.
2. Choose Effect Palette from the Tools menu.
The Blend effects, including Picture-in-Picture, are displayed in a
list on the right side of the Effect Palette.
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3. Move the position indicator to the clip where you want the
Picture-in-Picture effect.
Effect icon
4. Click the Picture-in-Picture Effect icon on the Effect Palette and
drag it to the clip.
The effect icon appears in the Timeline and the clip with the
Picture-in-Picture effect appears in a box mid-screen.
5. Render the effect or continue to modify the Picture-in-Picture
effect as described in the sections that follow.
To render the effect, see “Rendering an Effect” on page 133.
Foreground
image (V2)
Figure 8-4
Background
filler (V1)
Picture-in-Picture Effect
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Repositioning the Image
You can move Picture-in-Picture image anywhere on the screen.
1. Click the Effect Mode button on the Other tab of the Command
Palette or select Effect Editor from the Tools menu to enter Effect
mode.
Parameters for the Picture-in-Picture effect appear in the Effect
Editor.
2. In the Timeline, move the position indicator directly over the effect
icon.
3. Make sure the track with the effect is active.
4. If there aren’t drag handles on the Picture-in-Picture image, click
the Outline/Path button, and then click the image.
Drag handles (the dots at the edges and in the middle of the box)
appear, and a white hand appears when the mouse is over a handle.
5. Click in the image and drag the image to where you want it to
appear.
n
The center dot corresponds to the active keyframe, so when you reposition the
image using the center dot handle, you change the position of the image at the
active keyframe.
6. Render the effect or continue to modify the Picture-in-Picture
effect as described in the sections that follow.
To render the effect, see “Rendering an Effect” on page 133.
By adding additional keyframes and changing the position of the
Picture-in-Picture image at each keyframe, you can create a motion
path for your effect. For more information on creating a motion path,
refer to the Online Help.
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Adjusting a Parameter
There are many parameters you can use to adjust the way an effect
appears. For example, you can add a border, soften the edges, and
adjust opacity. If you want to soften the edges of the Picture-in-Picture
image so that it blends into the background image, you can adjust the
softness:
1. Click the Soft slider in the Border pane of the Effect Editor.
2. Drag the Soft slider to the right or enter a numeric value using the
keypad.
You may need to play with the values to get the effect that you
want.
Soft slider
3. Click the Play Preview button in the Effect Editor to view the
effect.
4. Render the effect when you are finished adjusting parameters. See
“Rendering an Effect” on page 133.
The figure that follows shows the same image as Figure 8-4 on page
129 but with the edges softened and the position slightly changed.
131
Figure 8-5
Picture-in-Picture Effect with Softness
Dissolving the Picture-in-Picture On and Off
You can create the effect of having the Picture-in-Picture dissolve on
and off by adding keyframes. These let the system know where the
dissolve should start and end.
To dissolve the Picture-in-Picture on and off:
1. In the Timeline, move the position indicator directly over the effect
icon.
2. Click the Effect Mode button if you’re not already in Effect mode.
3. In the Record monitor, click the first keyframe so it is the only keyframe highlighted.
132
4. Drag the Level slider in the Effect Editor all the way to the left to
display 0.
5. With the Record monitor active, type +1:00 on the numeric keypad and press Enter.
This moves the position indicator one second after the first key
frame.
6. Click the Add Keyframe button beneath the Effect monitor.
7. Drag the Level slider all the way to the right to display 100.
8. Click the mouse button on the last key frame.
9. Drag the Level slider all the way to the left to display 0.
10. With the Record monitor active, type -15 on the numeric keypad
and press Enter.
This moves the position indicator 15 frames before the last key
frame.
11. Click the Add Keyframe button.
12. Drag the Level slider all the way to the left to display 100.
13. Render the effect. See “Rendering an Effect” on page 133.
Last key
frame
First key
frame
Rendering an Effect
You must render a non-real-time effect before it can be played. When
an effect is rendered, the system stores the effect and its media file as a
precomputed master clip (often referred to as a precompute). The system uses the precompute to play the effect at its normal speed.
133
To render an effect:
1. Place the position indicator on the effect icon.
2. Select the track where the effect is located.
3. Click the Render Effect button on the Tool Palette. If the Tool Palette isn’t visible, click the Fast Menu button below the Source
monitor.
The Choose Volume dialog box appears.
4. Select a target disk drive from the pop-up menu and click OK.
The Effect Source Disk is the default disk for storing the rendered
effect.
5. (Option) Press the T key to display the render time or the P key to
see the render percentage time in the render status bar.
6. After the effect is rendered, close the Effect Palette.
7. To save your work, choose Save All Bins from the File menu.
134
CHAPTER 9
Creating Titles
You can create a new title with the Title Tool and save the title in a bin,
or add a new video track to the Timeline if you want the title to appear
over video. This is described in the following sections:
•
Working with Titles
•
Understanding the Title Tool Window
•
Working with Text
•
Text Formatting Tools
•
The Selection Tool
•
Choosing Colors and Setting Transparency
•
Creating a New Title
•
Working with Title Templates
•
Repositioning Text and Objects
•
Applying a Color
•
Adding a Shadow
•
Saving a Title
•
Editing the Title into the Sequence
•
Editing an Existing Title
135
Working with Titles
You can create a new title with or without a sequence in the Timeline.
However, if you want to create a title with a video background, you
can load a video clip into the Source monitor to use as a reference
frame while you create the title. The video reference frame you select
appears in the background of the Title Tool while you create the title.
The reference frame makes it easier to position text and objects exactly
where you want them and to select colors from the frame to use in the
text and objects.
There are three basic ways to work with titles:
•
Create a new title by choosing New Title from the Clip menu.
•
Edit an existing title by pressing the Ctrl key and double-clicking a
Title Effect icon in a bin or by dragging the existing title from a bin
into the open Title Tool.
•
Edit an existing title that is in a sequence.
The main difference between the three methods is that you can use
Save As for the first two, but you cannot use Save As for the third
method.
Because NewsCutter DV automatically loads the new title into the
Source monitor, you can immediately use standard editing procedures
to edit the title into your sequence. If you create multiple titles in the
same Title Tool session, the system loads the last title you create into
the Source monitor.
n
After you create a title with a particular video format (PAL or NTSC), if you
want to create a title for a project using the other video format, you must exit
and restart NewsCutter DV.
NewsCutter DV saves each title you create to a bin. You can load a title
into the Source monitor at any time or drag the Title Effect icon from
the bin to a segment in the Timeline. You can also drag a title from the
bin onto an existing title in the Timeline; this replaces the existing title.
136
n
The procedures described in this section use a video reference frame to create a
title.
Understanding the Title Tool Window
It is helpful to understand the components of the Title Tool, so you
know what options you have for working with text, graphic objects,
color, and shadows.
To open the Title Tool, choose New Title from the Clip menu. The Title
Tool window has several major components:
•
The toolbar at the bottom of the screen
•
A video or color background
•
The title that you create
•
The safe title and safe action area guidelines.
For more information, see “Safe Title/Action Area” in the Online
Help index.
The following illustration shows a title over a video background:
137
Safe action
area
Safe title
area
Title
Toolbar
Figure 9-1
Title Tool Window
Working with Text
By default, the Text Tool is active when you open the Title Tool. Click
in the Title Tool window at the position where you wish to begin entering text.
Text Tool
138
To use the Text Tool at any other time, click the Text Tool button, click
anywhere within the title frame, and begin typing. A blinking vertical
bar indicates your cursor position in the frame.
The Text Tool remains selected until you select another tool.
n
If you press the Alt key and click anywhere in the Title Tool window, you
switch between the Selection Tool and the Text Tool.
Text Formatting Tools
The text formatting tools control the appearance of text. If a text object
is selected when you change an attribute, NewsCutter DV automatically applies the attribute to the object.
Text formatting tools
The text formatting tools allow you to change the following text
characteristics:
•
Font
•
Bold and italic
•
Point size
•
Justification
•
Kerning
•
Leading
139
This section describes how to change these characteristics on a text
string basis. You can also change these attributes on a character-bycharacter basis by editing the text string. For more information, see
“Titles:text for, working with” in the online help index.
You can also modify the following text attributes on a text string basis:
•
Color
•
Transparency
•
Drop and depth shadows
•
Outlines surrounding text
While you type text, only the text color is apparent. Shadows, outlines,
and other color attributes appear when you finish typing the text and
click the Selection Tool.
n
If you have multiple text elements in a title, and you want to give each element a different appearance, create separate text strings.
The Selection Tool
The Selection Tool lets you select objects, including text, which you can
then move, assign color and transparency to, and align in the Title
Tool.
The Selection Tool remains selected until you select another tool.
n
If you press the Alt key and click anywhere in the Title Tool window, you
switch between the Selection Tool and the Text Tool.
140
Selection Tool
Choosing Colors and Setting Transparency
You can select the color and transparency for objects, shadows, and
borders.
The following illustration shows the boxes associated with color and
transparency:
Color and Transparency Blend tools
Color Selection boxes
Transparency Level boxes
•
The Color Selection boxes control the fill (Fill), shadow (Shad), and
border (Bord) colors.
•
The Transparency Level boxes control the fill, shadow, and border
transparency.
•
The Color and Transparency Blend tools appear when you select a
Fill or Border Color Selection box.
If you select a Color Selection box, the top boxes show the two colors that are used to create the blend. The bottom box shows the
blended color and allows you to control the direction of the blend
or transparency by clicking and dragging in the direction you
want the blend.
141
If you select a Transparency Level box, the top boxes show the two
transparency values that are used to create the blend. The bottom
box allows you to control the direction of the transparency blend.
Adjusting the Color
To select a color from the Title Tool Color Picker, use the eyedropper to
select a color from any open application on your computer, or use the
Color dialog box to select a color. All these features are available
through the Title Tool Color Picker (see Figure 9-2).
Gray-scale
selection bar
Color selection bar
New Color window
Eyedropper
Original Color window
Click to open Color
dialog box.
Figure 9-2
Shade selection palette
Title Tool Color Picker
The Title Tool Color Picker allows you to select an object fill, shadow,
or border color. The box you use controls whether the color applies to
an object, creates a colored shadow, or places a colored border around
the selected object.
You can “tear-off” the color picker by clicking the color picker and
dragging it where you want it.
142
Creating a New Title
Once you create and add a title to your sequence, you can reposition it,
change the text color, adjust the font and point size, add a shadow or
border, adjust levels and kerning, and bold or italicize it.
To create a new title:
1. In the Record monitor, move the blue position indicator to a clip in
the sequence you want to use as a background.
You don’t have to use a video background; you can create your
title over a color background.
2. Choose New Title from the Clip menu.
The Title Tool window opens.
3. Click the Text Tool button. If it is already selected on the toolbar,
the cursor becomes an I-beam when you click in the Title Tool
window.
4. Click in the Title Tool window where you want to position the text.
A blinking insertion point appears.
5. Type your title.
6. Click the Selection Tool on the toolbar.
Object selection handles surround the title.
7. Change the point size if you want the text to be larger or smaller.
8. Change the font if you want to.
9. Click B for bold if it’s not already selected and you want your title
bolded.
n
You might want to drag the right side of the text selection box to eliminate
any unused space, especially if you want to use the Alignment menu commands. To drag the right side, click the middle handle on the right side of the
text selection box and drag it to the left until it is closer to the text.
143
Working with Title Templates
A template is useful for setting up text and graphics that you use regularly in many titles. You can set up the position, font, and color and
then save that as a template. When you want to use the template, you
can just edit the text and your title is finished.
Templates pop-up menu
Creating a Title Template
To create a title template:
1. Choose New Title from the Clip menu to open the Title Tool.
2. Create your text and/or graphic elements that you want to
include in the template.
3. Click Templates in the Title Tool toolbar.
4. Click Save Template.
The Save Template As dialog box appears.
5. Enter the name you want for your template.
6. Choose Save.
The default is to save the template in the Title_Templates folder,
but you can save it somewhere else if you need to.
7. Close the Title Tool, selecting Don’t Save from the Save Title dialog
box.
144
Using a Title Template
When you use a title template, you can edit the text, but you cannot
change the colors, shadows, or graphics.
n
You can change the position of the template elements by checking Moveable
Templates on the Templates menu.
To use a title template:
1. Choose New Title from the Clip menu to open the Title Tool.
2. Click Templates in the Title Tool toolbar.
3. Choose Include Template.
The Open dialog box appears.
4. Select the template you want to use.
5. Click Open.
The template text or graphics appears in your title.
6. Make any edits you need to the text.
7. Close the Title Tool, selecting Save from the Save Title dialog box.
Editing a Title Template
You can make changes to a title template whenever you need to
update it. Whenever you re-edit a title that uses the template, the title
will be updated automatically to reflect the template changes.
To edit a title template:
1. Choose New Title from the Clip menu to open the Title Tool.
2. Click Templates in the Title Tool toolbar.
3. Select Edit Template.
4. Select the template to edit.
145
5. Make your changes.
6. Choose Save Template.
The default is to save the template in the Title_Templates folder,
but you can save it somewhere else if you need to.
7. Close the Title Tool, selecting Don’t Save from the Save Title dialog
box.
Removing a Title Template
You can remove a title template from a title if you no longer need it.
To remove a title template:
1. Select Templates with the title open in the Title Tool toolbar.
2. Select Remove Template.
Repositioning Text and Objects
You can move text and objects anywhere you want in the Title Tool
window. You can use the safe action area or safe title area grid to make
sure your text falls within those areas. Refer to Figure 9-1 on page 138
for an illustration of the safe action area and safe title area grid.
1. With the Selection Tool active, click the title or object and drag to
reposition it.
2. Use the arrow keys to move the title more precisely.
146
Applying a Color
To apply a color to text or objects:
1. Select the text or object to which you want to apply color using the
Selection Tool.
2. Click and hold the Fill Color Selection box.
The Title Tool Color Picker appears. From here you can pick a
color from the color bar, use the eyedropper to select a color from
the video, or open the Color dialog box and select a color from
there. See Figure 9-2 on page 142.
3. Click a color.
The color is applied to the title.
Adding a Shadow
There are two types of shadows you can use — drop and depth —
depending on the effect you want to create. To create a shadow:
To apply a shadow to text or objects:
1. Select the text or object to which you want to apply a shadow
using the selection tool.
2. Click the shadow text box.
3. Enter a value in the Shadow Depth text box.
Drop is the default shadow.
4. Optionally, for a depth shadow, click the Drop and Depth Shadow
box.
When you use a depth shadow, the icon turns green.
147
5. Drag the shadow in the Shadow Depth and Direction box to the
position you want.
You can also change the size by dragging the shadow further away
from the white center.
6. Click the Shadow Color Selection box to open the Title Tool Color
Picker to add a color to the shadow.
See Figure 9-2 on page 142 for a description of the Title Tool Color
Picker.
Saving a Title
To save your title:
1. Choose Save Title from the File menu.
The Bin Parameters dialog box appears.
2. Type the title name in the name text box.
3. Choose the bin where you want the title to reside and a target disk
to store your title.
4. Click OK.
5. Click the Title Tool window Close button.
148
The title appears in the Source monitor and in the bin where you
chose to save it.
Editing the Title into the Sequence
After you have created a title with the Title Tool, you can use one of
the following two methods to edit the title into your sequence:
•
Method 1: Add a new video track, load the title into the Source
monitor, mark an IN point and an OUT point, and splice/overwrite the title into the sequence.
•
Method 2: In Segment mode, drag the Title Effect clip from the bin
to an existing segment in the Timeline between the edit points.
You edit titles into a sequence by using the same editing procedures
you use for video clips. The only difference is that if you want to key
the title over video, you must add a new video track.
To add a title to the V2 track of your sequence:
1. Turn the V2 track on and turn V1, A1, and A2 off.
2. Click the V1 source track and patch it to the V2 record track.
3. With the title clip loaded in the Source monitor, set an IN mark at
the beginning of the clip and an OUT mark where you want the
title to end.
If you want to use the whole clip, you don’t need to set IN and
OUT marks.
4. In the Timeline, move the position indicator to where you want
the title.
5. Click the Overwrite button under the Source monitor.
This adds the title to the V2 video track.
149
6. Render the title by moving the position indicator to the effect and
pressing the Render Effect button.
7. Play the sequence to see your title.
Editing an Existing Title
To edit an existing title:
1. In the bin, press the Ctrl key and double-click the title clip to open
it in the Title Tool.
2. Make whatever edits you want.
3. Do one of the following:
•
To overwrite the existing title:
-
Choose Save Title from the File menu.
The original title is overwritten and the new title is saved with
the original title name.
•
To save the existing title and create an additional one:
a. Choose Save Title as from the File menu.
The Bin Parameters dialog box appears. See “Saving a Title”
on page 148.
b. Choose a bin and a drive or leave the defaults.
c. Click OK.
A new title is created with a number appended to the original
title name, for example, Title.01.
d. Click the Close button if you are finished working in the Title
Tool.
150
CHAPTER 10
Output
NewsCutter DV provides tools for generating output for individual
tracks or entire sequences to various videotape or audiotape formats.
You can also use VTR emulation for direct playback of sequences
using an edit controller in an analog editing suite. This is described in
the following sections:
•
Preparing for Output
•
Preparing Tapes for Frame-Accurate Recording
•
Previewing a Digital Cut
•
Recording a Digital Cut to Tape
Preparing for Output
Preparing for video output involves the following procedures:
•
Render all non-real-time effects, as described in “Rendering an
Effect” on page 133.
•
Calibrate and adjust video output levels (see “Video:output, calibrating (basic or advanced)” in the Online Help index).
•
Calibrate and adjust audio output levels (see “Audio output:preparing for” in the Online Help index).
151
•
Decide whether you want to generate stereo or mono audio.
•
Mix down multiple audio tracks if necessary. Systems equipped
with a two-channel audio board can generate a maximum of two
channels. For more information on mixing down audio tracks, see
“Audio:tracks, mixing down” in the online help index.
•
(Option) Select settings for direct two-channel audio output (see
“Two-channel audio:output, generating” in the online help index).
•
Prepare the record tapes.
•
(Option) Record reference bars and tone to tape.
Preparing Tapes for Frame-Accurate Recording
Frame-accurate recording involves using the Digital Cut Tool to record
your sequence onto a prestriped tape (a tape with prerecorded control
track and timecode) or a partially striped tape.
Before you can record a frame-accurate digital cut, you must prepare
the record tapes in advance by using one of the following options.
To perform insert edit recording:
•
Stripe the record tapes (record black and timecode for the entire
duration of the tape) in advance (prestriped tape).
To perform assemble edit recording:
•
Record black with timecode onto the tape. Include the necessary
preroll prior to the IN point plus at least 10 seconds (partially
striped tape).
•
You must select “Allow assemble edit for digital cut” in the Deck
Preferences dialog box.
152
Previewing a Digital Cut
You can preview a digital cut before recording it to tape to make sure
your preparations and output settings are correct, or for screening purposes.
To preview a digital cut:
1. Choose Digital Cut from the Clip menu.
The Digital Cut window opens.
2. Deselect the Record to Tape option.
The With Countdown option is enabled.
3. Select the With Countdown option to preview the digital cut using
the default computer-generated countdown containing the Avid
logo.
4. Select the With Countdown and Custom Screen options to preview the digital cut using a customized countdown screen that
you create.
See “Creating a Custom Countdown Display” in the Online Help
index.
5. Select the audio and video tracks you want represented in the digital cut preview.
The display of tracks in the Digital Cut window varies according
to the tracks existing in the sequence.
Only those tracks beside and beneath the speaker icon and the
monitor icon are included in the digital cut.
6. Click the Play button on the Digital Cut window.
The system plays the digital cut in the Record monitor.
7. To stop the playback at any time, press the space bar.
153
Recording a Digital Cut to Tape
The Digital Cut Tool provides frame-accurate control when recording
a sequence to tape. The Digital Cut Tool provides several options for
managing the recording of your sequence. For example, you can:
•
Record using either assemble or insert edits
•
Record a selected portion of the sequence or selected tracks
•
Record according to different timecode parameters
You can also preview the digital cut before recording it to tape.
To record a digital cut to tape:
1. Load a sequence into the Record monitor. (You cannot access digital cut options without a sequence loaded.)
2. Choose Digital Cut from the Clip menu.
The Digital Cut window opens.
3. Use the deck controls in the Digital Cut Tool to cue and control the
record tape during digital cut recording.
4. Select Record to Tape.
5. (Option) Choose either Insert Edit or Assemble Edit from the popup menu.
This menu appears only if you selected “Allow assemble edit for
digital cut” in the Deck Preferences dialog box. See “Enabling
Assemble-Edit Recording” in the Online Help index.
6. Select or deselect the Entire Sequence option, based upon the following:
•
Select this option if you want the system to ignore any IN or
OUT marks and play the entire sequence from start to finish.
•
Deselect this option if you have established IN or OUT marks
for recording a portion of the sequence.
154
7. Choose an option from the Record to Tape pop-up menu as follows:
•
Choose Sequence Time to start the recording at a timecode
existing on tape that matches the start timecode of the
sequence. To record several sequences to tape one after
another, reset the start timecode on each sequence to match
appropriate IN points on the tape.
•
Choose Record Deck Time to ignore the timecode of the
sequence and start the recording wherever the record deck is
currently cued.
•
Choose Mark In Time to ignore the sequence timecode. Establish an IN point on the record tape by cueing and marking
with the Deck Controller.
8. Select the audio and video tracks you want represented in the digital cut preview.
Only those tracks beside and beneath the speaker icon and the
monitor icon are included in the digital cut. The display of tracks
in the Digital Cut window varies according to the tracks existing
in the sequence.
9. Select the audio and video tracks you want represented in the digital cut.
Only those tracks beside and beneath the speaker icon and the
monitor icon are included in the digital cut. The display of tracks
in the Digital Cut window varies according to the tracks existing
in the sequence.
10. Select the Audio Out Mode.
n
Changing the Audio Out Mode in the Digital Cut window also changes the
audio out in the Audio Mix Tool window.
11. Press Play.
The system cues the record deck and then plays and records the
digital cut. The playback appears in the Playback monitor.
155
12. To stop the recording at any time, press the space bar.
n
n
After assemble-edit recording, a freeze frame is usually added after the OUT
point for one or more seconds, depending upon the record deck model. This
provides several frames of overlap for the next IN point, before control track
and timecode break up.
NewsCutter DV allows you to choose a different format when creating a digital cut to tape. For example, if your sequence is non-drop-frame and you
choose to make the digital cut drop-frame, an error message will appear, indicating the mismatch. If you choose to continue, the duration of the digital cut
will not match the duration of your sequence.
Enabling VTR Play Emulation
VTR play emulation allows you to control a sequence loaded in the
Record monitor from an edit controller for playback in the edit room
along with other sources.
n
To use VTR play emulation, you must connect a supported controller to the
PC using the serial adapter included with NewsCutter DV. See the Avid
NewsCutter DV Setup Guide.
VTR play emulation allows you to control the sequence with the edit
controller as follows:
•
You can shuttle, step (jog), play, cue, and mark points based on
master sequence timecode for editing onto another master.
•
Your control of the NewsCutter DV system is for play only. For
example, you cannot apply IN and OUT marks, arm tracks, or
send record commands to the NewsCutter DV system itself.
•
Smooth audio scrub is enabled by default, emulating analog audio
scrub on a VTR.
156
To enable VTR play emulation:
1. Connect a supported controller (any controller that uses Sony
serial control protocol) by using a 9-pin to serial cable.
2. Choose Serial (COM) Ports from the Tools menu to open the Serial
(COM) Ports Tool window.
3. Select the appropriate port (COM1 or COM2) from the VTR Emulation pop-up menu.
4. Close the Serial (COM) Ports Tool window. The system saves the
setting as a Site setting, effective for all projects.
5. Choose VTR Emulation from the Clip menu when you are ready
to use the system for playback.
A check mark appears next to the command to indicate that the
system is ready. A yellow outline appears around the Play button
in the Record monitor to indicate that VTR emulation is active.
n
This command behaves like a Local/Remote switch on a playback device, with
VTR play emulation disabled (in Local mode) by default when you start the
system.
157
Index
ABCDEFGHIJKLMNOPRSTUVW
display modes 41 to 43
viewing clips in 81
Blue bar See Position indicator
B-side (incoming frames), in trims 109
Buttons
Add Dissolve (Fast menu) 124, 125
Audio Monitor (Track Selector panel) 74
Command Palette 62 to 65
Digitize/Log Mode (Record Tool) 47
Extract/Splice-in 102
Frame mode (Bin window) 42
Go to IN (Command Palette) 97, 97
Go to OUT (Command Palette) 97, 97
In/Out (Audio Tool) 50
Input (Audio Tool) 49
Internal Waveform Monitor (Video Input
Tool) 51, 51
Lift 105
Lift/Overwrite 102
mapping to keyboard 69
mapping to Tool Palette 67
Mouse Shuttle (Command Palette) 77
Mouse Step (Command Palette) 76
One/Two Disk Mode (Record Tool) 47
Output (Audio Tool) 49
Overwrite 104
Play Loop (Command Palette) 108
Record Record Tool) 47
A
Add Dissolve button (Fast menu) 124, 125
Adding
keyframes 127
transition effects 124
Adding a Picture-in-Picture 128
Agreeing to electronic license 32
Analog VU scale (Audio Tool) 50
Applying effects 122
Arrow keys, navagating with 76
A-side (outgoing frames), in trims 109
Audio
locating specific frame 91
tracks, monitoring 90
Audio Monitor buttons (Track Selector panel)
74
Audio scrub, using 91
Audio Tool 48
B
Batch recording 59
Bin pop-up menu (Record Tool) 47
Bins
creating 40
defined 24
158
Reset Peak (Audio Tool) 49
Script Mode (Bin window) 43
Setup (Audio Tool) 49
Splice-in 92
Step 75
Subclip (Source monitor) 78
Text Mode (Bin window) 41
Tool Palette 66
Trash (Record Tool) 47
Trim Mode 107
using to control playback 73
Vectorscope (Video Input Tool) 52
Video Monitor (Track Selector panel) 74
Digital audio scrub 91
Digital cuts
defined 25
previewing 153
recording 154
Digital VU scale (Audio Tool) 50
Digitize settings 45
Digitize/Log Mode button (Record Tool) 47
Digitizing See Recording
Displaying recording status 47
Dual-roller trim 112
E
Editing titles into sequence 149
Effect categories 120
Effect Editor 123
Effect mode
defined 25
working in 123
Effect Palette, displaying 119, 119
Effect parameters
segment effects 122
transitions 121
Effect types 121
Effects
applying 122
Electronic license 32
End key 76
Entering Trim mode 107
Exiting Trim mode 114
Extract/Splice-in 101
Extract/Splice-in button 102
Eyedropper 142
C
Channel Selection panel (Record Tool) 46
Clips
splicing 92
viewing 82
Clips, playing 74
Color Picker, Title Tool 142
Color selection boxes in Title Tool 141
Command Palette, using 62 to 65
Controlling playback 72
Controlling transparency in titles 141
Creating
bins 40
projects 36
subclips 78
title templates 144
users 35
D
Deck Configuration settings 45
Deck controls (Record Tool) 47
Deck preferences 45
Deleting recorded media 47
F
Fade in, adding 124
Fixed-storage drive, turning on 11, 31
159
J
Footage
marking IN and OUT 78
rearranging 101
viewing and playing 72 to 77
Frame Mode button (Bin window) 42
Frame-accurate recording, preparing for 152
Frames
locating with digital audio scrub 91
title background in 137
Freeze Frame effect, accessing 119
J-K-L keys (Three-Button Play) 75
Jogging See Stepping
K
Keyboard
default settings 68
mapping buttons to 69
mapping menu options to 69
navagating with 76
using to control playback 75
Keyframes, adding 127
G
Go to IN button (Command Palette) 97, 97
Go to OUT button (Command Palette) 97, 97
L
H
Left Arrow key 76
License agreement, accepting 32
Lift button 105
Lift/Overwrite button 102
Locating audio frames 91
Logging and Recording at once 54
Hardware components 22
Hardware, starting 11, 31
Help, using 33
Home key 76
I
M
IN and OUT points
defined 25
marking 78
In/Out buttons (Audio Tool) 50
Input button (Audio Tool) 49
Input pop-up menu (Video Input Tool) 51
Internal Waveform Monitor (Video Input Tool)
Mapping buttons
to keyboard 69
to Tool Palette 67
Mapping menu options
to keyboard 69
to Tool Palette 67
Marking IN and OUT points 78
Masks, effect types 122
Master clips, defined 24
Media files, defined 24
Meters (Audio Tool) 50
Monitor icons 90
51
Internal Waveform Monitor button (Video
Input Tool) 51
160
Monitoring audio/video tracks 90
Monitors
pop-up 84
Record 83
Source 82
viewing in 82 to 84
Motion effects, accessing 119
Mouse buttons
Shuttle (Command Palette) 77
Step (Command Palette) 76
Moving through clips 73
Multiple layer effects, defined 122
Picture-in-Picture, addding 128
Play Loop button (Command Palette) 108
Playback, controlling
with buttons 73
with position bars and indicator 72
with the keyboard 75
Playing clips 74
Pop-up monitor
viewing in 84
Position bar 72
Position indicator
in Timeline 85
positioning for title creation 143
using 72
Precompute 133
Preparing for Frame-accurate recording 152
Preparing to record 52
Previewing digital cuts 153
Projects
creating 36
defined 25
opening 37
N
New title, creating 143
NewsCutter DV hardware 22
Nonlinear editing, defined 21
O
One/Two Disk Mode (Record Tool) 47
Online Help, using 33
Output
preparing for 151
recording a digital cut 154
Output button (Audio Tool) 49
Overwrite
button 104
defined 92
Overwriting shots 103
R
Rearranging footage in sequences 104
Record button (Record Tool) 47
Record monitor, viewing in 83
Recording
and logging at once 54
batch 59
digital cut 154
preparing frame-accurate tapes for 152
to the Timeline 53
Recording preparations 52
Removing title template 146
Rendering effects 133
Repositioning title text 146
Reset Peak button (Audio Tool) 49
Right Arrow key 76
P
Patching tracks 89
Peak Hold pop-up menu (Audio Tool) 50
Peripheral hardware, turning on 11, 31
Picture tracks, monitoring 90
161
Single-roller trim 113
Source clips
defined 24
Source monitor
marking edit points in 78
playing clips in 73
viewing clips in 82
Source tape display (Record Tool) 47
Source/Record mode, defined 24
Splice-in
defined 92
Splice-in button 92
Splicing an audio clip 92
Status bar (Record Tool) 47
Step buttons 75
Stepping
with buttons 75
with the keyboard 75
Storyboard editing 95
Subclip button (Source monitor) 78
Subclip indicator (Record Tool) 47
Subclips
creating 78
defined 25
Switching between record mode and log mode
Rollers See Trim mode
S
Safe title and safe action area 137
Saving settings for video input 51
Scale bar in Timeline 85
Script mode 43
Script Mode button (Bin window) 43
Scroll bar in Timeline 86
Scrubbing audio 91
Segment effect
applying 122
multilayer 122
single-layer 122
types of 122
Segment mode
defined 24
using 100
Selecting
color for titles 142
title colors 141
tracks for recording 46
tracks in the Timeline 88
transitions for trimming 107
trim sides 109
Selecting Tracks 88
Sequences
adding shots to 98
defined 24
editing a title into 149
rearranging footage in 104
splicing into 94
Settings
digitize 45
keyboard 68
Settings pop-up menu (Video Input Tool) 51
Setup display (Audio Tool) 49
Shuttling with J-K-L keys 75
Single-layer segment effects 122
47
Sync locking tracks 110
T
Tail trimming 106
Tape Name display (Record Tool) 47
Target Drive pop-up menus (Record Tool) 47
Template, title
creating 144
defined 144
editing 145
removing 146
using 145
Text for titles, repositioning 146
162
Text formatting tools 139
Text Mode button (Bin window) 41
Text Tool, working with 138
Three-button play See J-K-L keys
Timeline
defined 24
lassoing transitions in 108
monitoring tracks in 90
patching tracks in 89
position indicator 85
recording directly to 53
scale bar 85
scroll bar 86
segment editing of titles 149
Track Selector panel 87
viewing in 81
Title template
creating 144
defined 144
editing 145
removing 146
using 145
Title text, repositioning 146
Title Tool
about 137
understanding tools 137 to 143
window 137
Title Tool Color Picker 142
Title, editing into sequence 149
Tool Palette
displaying names on 66
mapping buttons to 67
mapping menu options to 67
using 66
Tools for text formatting 139
Top and Tail trimming 106
Track Selector panel, using 87
Tracking audio levels 50
Tracks
monitoring 90
patching 89
selecting 88, 88
sync locking 110
Transition effects
adding 124
adding fade in to 124
applying 121
Transitions, selecting for trimming 107
Transparency selection boxes in Title Tool 141
Trash button (RecordTool) 47
Trim mode
basic procedures in 107
defined 24
entering 107
exiting 114
Play Loop button in 108
selecting
single transitions in 107
trim sides in 109
Trim Mode button 107
Trim sides, selecting 109
Trimming
dual-roller 112
single-roller 113
using Top and Tail 106
Turning on the system 11, 31
U
Users, creating 35
Using a title template 145
V
Variable-speed play See J-K-L keys
Vectorscope button (Video Input Tool) 52
Video Input Tool 50
Video Monitor buttons (Track Selector panel) 74
Video output, preparing for 151
Video tracks, monitoring 90
163
Viewing clips
in bins 81
in monitors 82 to 84
Viewing source tape name (Record Tool) 47
W
Workspaces
modifying default 71
using default 70
164
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