Avid DS Nitris 8.4 Instructions

Avid DS Nitris 8.4 Instructions
Avid® DS Nitris User Guides
™
version 8.4
m a k e m a n a g e m ove | m e d i a ™
Avid
®
Copyright and Disclaimer
Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology,
Inc.
The software described in this document is furnished under a license agreement. You can obtain a copy of that license by
visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as
the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the
license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license
agreement.
No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including
photocopying and recording, for any purpose without the express written permission of Avid Technology, Inc.
Copyright © 2007 Avid Technology, Inc. and its licensors. All rights reserved. Printed in USA.
The Avid DS and Avid DS Nitris application uses JScript and Visual Basic Scripting Edition from Microsoft Corporation.
Attn. Government User(s). Restricted Rights Legend
U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial computer software” or
“commercial computer software documentation.” In the event that such Software or documentation is acquired by or on behalf
of a unit or agency of the U.S. Government, all rights with respect to this Software and documentation are subject to the terms
of the License Agreement, pursuant to FAR §12.212(a) and/or DFARS §227.7202-1(a), as applicable.
Trademarks
888 I/O, Adrenaline, AirPlay, AirSPACE, AirSPACE HD, AniMatte, AudioSuite, AudioVision, AutoSync, Avid, Avid DNA,
Avid DNxHD, AVIDdrive, AVIDdrive Towers, Avid Mojo, AvidNet, AvidNetwork, AVIDstripe, Avid Unity, Avid Xpress, AVoption,
AVX, CamCutter, ChromaCurve, ChromaWheel, DAE, D-Fi, D-fx, Digidesign, Digidesign Audio Engine, Digidesign Intelligent
Noise Reduction, DigiDrive, Digital Nonlinear Accelerator, DigiTranslator, DINR, D-Verb, Equinox, ExpertRender, FieldPak,
Film Composer, FilmScribe, FluidMotion, HIIP, HyperSPACE, HyperSPACE HDCAM, IllusionFX, Image Independence,
Intraframe, iS9, iS18, iS23, iS36, Lo-Fi, Magic Mask, make manage move | media, Marquee, Matador, Maxim, MCXpress,
Media Composer, MediaDock, MediaDock Shuttle, Media Fusion, Media Illusion, MediaLog, Media Reader, Media Recorder,
MEDIArray, MediaShare, Meridien, MetaSync, NaturalMatch, Nearchive, NetReview, NewsCutter, Nitris, OMF,
OMF Interchange, OMM, Open Media Framework, Open Media Management, ProEncode, Pro Tools, QuietDrive, Recti-Fi,
RetroLoop, rS9, rS18, Sci-Fi, Softimage, Sound Designer II, SPACE, SPACEShift, Symphony, the Avid|DS logo, Trilligent,
UnityRAID, Vari-Fi, Video Slave Driver, VideoSPACE, and Xdeck are either registered trademarks or trademarks of Avid
Technology, Inc. in the United States and/or other countries.
iNEWS, iNEWS ControlAir, and Media Browse are trademarks of iNews, LLC.
Adaptec is a trademark which may be registered in some jurisdictions. ATTO is a trademark of ATTO Technology, Inc. FireGL
is a trademark of ATI Technologies, Inc. HP is a registered trademark of Hewlett-Packard Company. Mac OS is a trademark of
Apple Computer, Inc., registered in the U.S. and other countries. OpenGL is a registered trademark of Silicon Graphics, Inc., in
the United States and/or other countries worldwide. UNIX is a registered trademark of The Open Group in the U.S. and other
countries. Wacom is a registered trademark of Wacom Company, Ltd. in the United States and/or other countries. Windows is
either a registered trademark or trademark of Microsoft Corporation in the United States and/or other countries. All other
trademarks contained herein are the property of their respective owners.
GOT FOOTAGE?
Editors — Filmmakers — Special Effects Artists — Game Developers — Animators — Educators — Broadcasters — Content
creators of every genre — Just finished an incredible project and want to share it with the world?
Send us your reels and we may use your footage in our show reel or demo!*
For a copy of our release and Avid’s mailing address, go to www.avid.com/footage.
*Note: Avid cannot guarantee the use of materials submitted.
June 2007
ii
Using Help
Avid DS Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Accessing the Help System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Understanding the Help System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Finding Information Within Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
New in this Release...
New in Avid DS Nitris v8.4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Hardware/Platform Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Software Performance Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
New in Avid DS Nitris v8.0. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Hardware/Platform Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Software Performance Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Other Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Documentation & Support Services
Using Avid Support and Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Using the Product Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Contacting Avid Customer Support. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Best Practices
Assistant Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Using the Avid DS Assist Station . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Scenario: Sharing Projects and Media with an Avid DS Assist Station. . . . . . . . . . . 36
Conforming HD Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Conforming HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Scenario: Conforming HD Sequences from SD Downconvert Sources . . . . . . . . . . 42
Scenario: Conforming HD Projects with DNxHD Media . . . . . . . . . . . . . . . . . . . . . . 45
Scenario: Transferring MXF Media from Avid DS Nitris to an Avid Editing System . 48
Using Digital Intermediates for Film-based Projects . . . . . . . . . . . . . . . 51
The Digital Intermediate Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
iii
Setting up Storage and Media for Film Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Opening a Film-based Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Conforming the Film Sequence from EDL and ALE. . . . . . . . . . . . . . . . . . . . . . . . . 66
Capturing DPX Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Editing in Film Proxy Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Outputting Film Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Conforming HDV Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
What is HDV Media? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Scenario: Conforming an HDV Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Conforming in an Avid Interplay Environment . . . . . . . . . . . . . . . . . . . . 91
Scenario: Conforming Projects with Avid DS in an Interplay Environment . . . . . . . 92
Getting Started
Prerequisites. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Before you begin... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Using the Avid DS Training Edition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Accessing the Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Logging on to Your Workstation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Accessing the Help System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Understanding the Help System. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Finding Information Within Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Finding Other Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Contacting Avid Customer Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Starting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
The Digital Post-Production Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Working with Project Files and Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Working on the Desktop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Restoring the Default Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Title Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Layouts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Using the Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
iv
Undoing and Redoing Actions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Status Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Accessing the Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Using the Toolbars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Dialog Boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Using Keyboard Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Capturing Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Capturing Source Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Configuring the External Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Capturing from Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Capturing from File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Getting Ready to Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Editing Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Previewing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Creating a First Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
The Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Working with Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Navigating the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Selecting Objects on the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Placing Clips on the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Refining the Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Rearranging Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Trimming Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Applying Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
The Effects Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Applying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
The Effects Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Working with Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Editing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Animating Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Using Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Mix Parameter for Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
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Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Processing Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Adding Graphics and 2D Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Starting a Graphics Session. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Using the Graphics Object View (GOV) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Finishing a Graphics Session. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
Outputting a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Outputting to Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Outputting to File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
About Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Compositing Methods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Creating a Basic Matte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Simple Track Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Using Composite Container Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Conforming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Methods for Conforming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Conforming a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Installation and Administration
Setting up your Avid DS Environment . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Installation Scenarios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Installing New Avid DS Workstations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Upgrading Existing Avid DS workstations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Removing Avid DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Recovery Procedures for Avid DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
Managing a Workgroup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Configuring Windows XP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
Configuring the Network Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336
Microsoft Windows Workgroups: Account Management . . . . . . . . . . . . . . . . . . . . 340
Microsoft Windows Domains: Account Management . . . . . . . . . . . . . . . . . . . . . . . 341
vi
Naming your Workstation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Sharing Folders and Setting Permissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
Creating User Accounts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Installing Avid DS Software and Services . . . . . . . . . . . . . . . . . . . . . . . 349
Installing Avid DS Software Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350
Installing the Avid DS Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Loading Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
Installing and Removing Fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
Installing the Remote Processing Software . . . . . . . . . . . . . . . . . . . . . 367
Remote Processing Concepts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Minimal Requirements for Avid DS RP Workstation . . . . . . . . . . . . . . . . . . . . . . . . 369
Installing Avid DS RP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
Avid Throttle Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
The Avid DMS Broker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
About the Avid DMS Broker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Installing Avid DMS Broker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Starting the DMS Broker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383
Using the DMS Administration Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Licensing Avid DS Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401
Requesting a License File. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402
Installing the Registered License File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403
Managing Your Storage Areas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405
Planning your Storage Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406
Sharing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
Configuring your Storage Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415
Checklist: Installing Avid DS with Avid Unity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422
Establishing the Project Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424
Maintaining Disk Space on your Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425
Striping your Drives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426
Importing Foreign Disks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429
About your Local Storage Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430
vii
Capture and Output
Capturing Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437
Workflow: Capturing Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438
Preparing to Capture Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439
Logging and Capturing Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
Capturing Material from File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471
Creating Linked Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Batch Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486
Using Scripts to Capture Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497
Managing Tapes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
Using Tapeless Archive for Film Transfer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508
Outputting Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
Workflow: Outputting Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514
Preparing for Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515
Outputting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524
Conform
Conforming & Finishing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541
Beginning the Conform Process. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542
Supported Conform Formats for Avid DS Nitris . . . . . . . . . . . . . . . . . . . . . . . . . . . 544
Transferring or Sharing Media between Avid Systems . . . . . . . . . . . . . . . . . . . . . 550
Conforming with AFE Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553
Workflow: Conforming AFE Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554
Exporting an AFE File from an Avid Editing System . . . . . . . . . . . . . . . . . . . . . . . 556
Importing AFE Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562
Conforming with AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569
Exporting AAF Files from Avid DS Nitris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570
Conforming with ALE Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575
Workflow: Conforming an ALE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576
Conforming ALE Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577
Transferring ALE Files using MediaLog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580
viii
Conforming with OMF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581
Conforming OMF Compositions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582
Exporting an OMF File from Avid DS Nitris. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
Conforming with EDL Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593
Conforming EDLs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
Conforming Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
Exporting and Importing OMF Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608
Capturing Audio as Separate Mono Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
Appendix: Conforming Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
Naming Conventions when Conforming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612
Notes on Conforming Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613
Notes on Conforming Graphics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619
Notes on Conforming Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620
Notes on Conforming Matte Keys and Alpha Channels . . . . . . . . . . . . . . . . . . . . . 624
Notes on Conforming Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
Editing
Working with Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629
Starting a Work Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
Managing Files and Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637
Working with Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 648
Viewing Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 662
Working with Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 667
Workflow: Working with Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 668
Opening Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669
Setting Sequence Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675
Working with Media of Different Qualities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 679
Saving Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698
Searching for Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700
Deleting Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702
Building a Rough Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703
Workflow: Editing Audio and Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 704
ix
Creating Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 707
Marking In and Out-points on the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 732
Displaying Timecodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735
Viewing a Sequence as a Hieracharical Tree Structure. . . . . . . . . . . . . . . . . . . . . 746
Playing Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748
Manipulating Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 759
Using Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 773
Finding Frames, Clips, and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 783
Extracting Parts of a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 787
Grabbing Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 791
Rippling Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 793
Synchronizing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 798
Referencing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 806
Trimming Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 809
Workflow: Trimming Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 810
Understanding Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 811
Methods of Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 813
Understanding Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 814
Selecting and Breaking Edit Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 818
Performing a Basic Trim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 822
Creating Overlap Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 832
Trimming Container Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 833
Trimming Transition Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 834
Understanding Slipping or Sliding Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 836
Maintaining Sync While Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 842
Applying Image Transition Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 843
Understanding Image Transition Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 844
Applying a Dissolve Effect to a Transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 845
Applying a DVE Effect to a Transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 848
Understanding the Morph Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 850
Applying a Picture-in-Picture Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 866
Applying Wipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 869
x
Processing Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 871
Understanding Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 872
Workflow: Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 875
Processing Areas of the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 876
Processing a Single Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 878
Setting the Processing Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 882
Creating Caches at Any Level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 887
Understanding Processing Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 893
Working with Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 898
Remote Processing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 903
Working with Effects and Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . 905
Displaying Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 906
Applying Effects on the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 907
Applying Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 908
Nesting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 916
Displaying Effects in a Viewer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 925
Processing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 930
Working with Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 933
Understanding the Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 934
Applying a 3:2 Contract Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 935
Applying a 3:2 Expand Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 937
Applying a Deinterlace Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 938
Applying an Interlace Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 940
Working with the Timewarp Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 941
Animating Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 961
Workflow: Animating Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 962
Creating Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 963
Understanding the Animation Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 981
Editing Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 989
Processing Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1016
Mixing Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1017
Workflow: Mixing Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1018
Working in Audio Container Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1019
xi
Audio Clips and Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1021
Understanding the Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1023
Using an External Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1033
Building an Audio Mix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1036
Fine-tuning the Mix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1043
Animating the Audio Mix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1047
Audio Media Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1051
Processing the Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1056
Working with Audio Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1059
Understanding Audio Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1060
Applying Crossfade Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1061
Applying Dynamics Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1062
Working with Equalizer (EQ) Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1063
Applying Fade Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1065
Applying a Gain Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1066
Applying Reverb Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1067
Applying a VST Host Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1068
Media Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1071
Understanding Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1072
Managing Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1075
Archiving Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1093
Restoring Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1105
Moving Projects to Another Workstation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1114
Deleting Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1115
Deleting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1117
Viewing Information about Storage Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1119
Compositing and Graphics
Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1123
Quick Recap: Compositing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1124
Using the Effects Tree to Composite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1125
Relationship within the Compositing Layout. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1127
Working with the Layers View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1129
xii
Working with Mattes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1136
Working with Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1147
Applying Blending Operations in the Layers View . . . . . . . . . . . . . . . . . . . . . . . . 1150
Compositing with Premultiplied Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1153
Working with Layered Photoshop Images. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1163
Processing Composites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1167
Using Effects Trees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1171
Applying Effects Trees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1172
Working with the Effects Tree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1178
Using the Effects Tree to Composite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1197
Keying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1217
About Keying. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1218
Using the Blue-Green Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1219
Spill Subtraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1227
Using the Chroma Keyer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1231
Using the Difference Keyer Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1236
Using the HSL Keyer Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1243
Using the Linear Luma Keyer Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1247
Using the Luma Keyer Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1251
Color Correcting Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1255
Setting Up the Color Correction Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1256
Workflow: Color Correcting Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1257
Color Correction in Avid DS Nitris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1258
Working with Source Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1259
Applying a Color Correction Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1266
Setting the Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1267
Analyzing Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1268
Color Correcting Tonal Ranges in Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1274
Linearizing Film-Based Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1282
Color Correcting a Dark Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1287
Color Correction by Matching Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1292
Correcting Inaccurate or Deficient Color Channels. . . . . . . . . . . . . . . . . . . . . . . . 1299
Adjusting Curves to Color Correct. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1303
xiii
Setting Legal Luma, Chroma, and RGB Values. . . . . . . . . . . . . . . . . . . . . . . . . . 1306
Returning to Default Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1307
Transforming Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1311
Applying a DVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1312
Transforming an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1316
Transformation in Layers View and Effects Tree . . . . . . . . . . . . . . . . . . . . . . . . . 1319
Working with Transform Trees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1324
Corner Pinning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1331
Working with Motion Paths. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1332
Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1339
Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1340
Choosing a Tracking Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1342
Using the Trackers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1344
Tracking Composited Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1348
Combining Tracking with Other DVEs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1362
Tracking Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1363
Stabilizing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1370
4-Point Corner Pinning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1377
Tracking Difficult Shots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1379
Painting and 2D Titling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1383
Workflow: Painting and 2D Titling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1384
Applying Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1387
Using Presets in Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1393
Setting Drawing Tool Properties. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1397
Defining Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1409
Working with Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1411
Working with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1439
Manipulating Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1451
Tracking Graphics Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1461
Working in Raster Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1463
Creating Mattes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1467
Scratch Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1470
Blending Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1472
xiv
Blending Graphics Objects or Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1473
Importing Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1474
Importing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1477
Importing Subtitles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1478
Processing Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1483
Paint Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1487
Clone Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1488
Color Blend Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1492
Cutout Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1496
Dodge and Burn Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1500
Noise Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1501
Paper Grain Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1504
Reveal Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1507
Stack Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1508
3D DVE and 3D Titling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1511
Workflow: Creating 3D DVEs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1512
Workflow: 3D Titling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1513
Working in the 3D World . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1514
Setting Preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1517
Working with the Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1526
About Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1533
Manipulating Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1535
Working with 3D DVEs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1548
Working with Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1552
Working with Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1562
Working with Surfaces and Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1588
Working with Lights and Shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1601
Importing and Exporting Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1612
Setting the Output Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1616
Image Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1619
3D Warp Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1620
AVX Host Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1635
Channel Switcher Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1638
xv
Color Space Adjustment Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1639
Defield Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1640
Deflicker Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1641
Depth of Field Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1643
Drop Shadow Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1646
Field Invert Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1649
Fog Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1650
Frame Average Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1652
Graphics Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1653
Optical Glow Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1656
Outsource Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1658
Source Generator Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1661
Warp Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1663
Reference
Desktop Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1681
Using the Mouse, Pen, and Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1682
Property Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1683
Toolbars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1707
Command Mapping Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1708
Edit Layout Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1714
Load Preset Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1714
Preference Management Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1714
Save Preset Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1717
User Preferences Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1718
Help Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1732
Layout Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1733
Slider Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1735
Splitter Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1736
Taskbar Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1736
Text Box Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1737
View Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1737
View Switcher Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1738
xvi
Viewer Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1739
Capture and Output Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1745
AAF/AFE View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1745
ALE (Avid Log Exchange) Import View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1749
Audio Input Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1753
Audio Output Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1754
Capture Error Log Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1754
Capture List Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1755
Capture Settings View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1756
Conform Error Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1764
Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1765
Capture File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1774
Deck Configuration View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1776
EDL View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1782
Explorer Recapture Options Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1789
Export Preferences Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1790
Export to File Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1791
External Controller Setup View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1791
Import Preferences Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1792
Insert Tape Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1793
MediaManager Setup View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1796
MediaManager View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1797
OMF (Open Media Framework) View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1798
Output Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1802
Script Editor View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1818
Tape Library View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1821
Tape Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1824
Timeline Recapture Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1829
Editing Reference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1831
Animation Controls (Global in Status Bar) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1831
Animation Key Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1832
Animation Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1833
Animation Editor Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1835
xvii
Animation Editor Preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1841
Animation Graph Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1846
Animation Tree Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1850
Edit Animation Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1851
Edit Filter Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1851
Expression Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1853
Insert Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1854
Audio Media Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1861
Audio Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1863
Avid Explorer Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1877
Avid Explorer Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1880
Bin Tools (Top). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1881
Bin Tools (Bottom) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1882
Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1883
Blend Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1886
Cache List View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1887
Clip Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1888
Clip Activeness Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1890
Clip Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1890
Clip Transition Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1893
CmdLine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1894
Container Clip Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1895
Image Transition Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1895
Locator Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1903
Locator Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1903
Locator View Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1904
Media Storage Configuration Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1905
Media Storage Information Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1907
Media Options (1/2) Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1908
Media Options (2/2) Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1909
Media Properties Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1910
Mixer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1914
Navigation Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1923
xviii
NLE Tools Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1924
Project Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1929
Slip/Slide Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1932
Surround Panner. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1934
Test Pattern. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1935
Timecode Display Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1935
Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1936
Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1956
Timeline to MC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1972
Timeline to Clip Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1975
Transport Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1978
Trim Mode Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1984
Video Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1986
Viewers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1990
Creating Media Archive Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1998
New Project Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1999
Open Sequence Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2007
New Sequence Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2007
Open Project Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2014
Processing Options Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2016
Purge Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2022
Sample Rate Conversion Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2025
Save Sequence Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2026
Save Snapshot Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2027
Sequence Preferences Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2027
Sequence View Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2035
Throttle Manager Service . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2036
Cache Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2037
Cache Node Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2039
Cache Processing Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2041
Data Management Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2042
Edit View Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2042
Edit Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2043
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File Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2044
Swift Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2046
Web Viewer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2047
Avid Event Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2048
Avid DS RP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2051
Paint & Titling Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2053
Graphics Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2053
Graphics Property Tree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2056
Graphics Combo View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2057
Graphics Object View (GOV) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2059
Graphics Toolbars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2068
Bas Relief Brush. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2074
Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2074
Chrome Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2075
Clip Holder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2076
Clone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2078
Color Blend. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2079
Cutout. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2084
Dodge and Burn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2085
Edit Shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2087
Edit Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2091
Ellipse. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2091
Erase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2092
Font . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2092
Freehand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2093
Glass Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2094
Graphics Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2095
Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2100
Magic Wand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2100
Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2102
Paint Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2103
Polyline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2106
Rectangle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2106
xx
Reshaper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2106
Reveal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2112
Smear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2112
Special Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2113
Stack Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2113
Stroke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2114
Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2114
Textured Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2115
Time Span (Graphics) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2116
Titling Body . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2118
Titling Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2119
Transformations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2121
Color Editor Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2122
Mini Color Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2124
Import Image Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2127
Import Subtitles Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2127
3D DVE and 3D Titling Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2133
3D DVE Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2133
3D DVE Combo View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2141
3D DVE Object View (3D OV). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2142
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2158
Compositing Reference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2179
Layers View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2179
Effects Tree. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2197
Compositing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2205
Image Effects Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2255
3D Warp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2255
Accented Edges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2260
Angled Strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2260
Bas Relief . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2261
Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2262
Bubble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2264
Chalk and Charcoal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2264
xxi
Channel Switcher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2265
Charcoal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2267
Chrome. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2268
Clouds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2268
Color Gradient . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2269
Color Space Adjustment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2271
Colored Pencil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2272
Conte Crayon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2273
Craquelure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2275
Crop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2275
Crosshatch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2275
Custom Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2276
Cutout. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2278
Dark Strokes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2279
Defield . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2279
Deflicker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2280
Depth of Field . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2281
Deterministic Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2283
Diffuse Glow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2285
Dip to Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2287
Drop Shadow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2288
Dry Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2289
Edge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2289
Emboss Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2290
Field Invert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2291
Film. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2291
Film Grain. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2293
Fog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2294
Fractal Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2295
Frame Average. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2300
Fresco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2302
Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2302
Glowing Edges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2303
xxii
Grain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2304
Granite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2305
Graphic Pen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2306
Halftone Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2307
Impressionist Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2308
Ink Outlines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2319
Linear Gradient . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2320
LogLin Remapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2322
Marble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2326
Morph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2326
Mosaic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2330
Motion Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2331
Negative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2332
Neon Glow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2332
Noise/Grain Remover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2334
Note Paper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2335
Optical Glow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2336
Outsource . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2340
Paint Daubs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2341
Palette Knife . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2342
Patchwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2343
Pattern. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2344
Photocopy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2345
Picture-in-Picture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2346
Plaster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2346
Plastic Wrap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2347
Polar Coordinates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2348
Poster Edges. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2349
Posterize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2350
Premultiplication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2351
Radial Blur. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2352
Radial Gradient . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2354
Reticulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2356
xxiii
Ripple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2357
RGB-YUV Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2358
Rough Pastels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2358
Scatter Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2359
Sharpen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2361
Smudge Stick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2362
Solarize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2363
Solid Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2364
Spatter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2364
Special Filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2365
Spherize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2365
Spill Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2366
Sponge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2367
Sprayed Strokes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2368
Stained Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2369
Stamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2370
Sumi-e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2371
Texturizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2372
Threshold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2373
Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2374
Torn Edges. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2375
Tracker/Stabilizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2376
Twirl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2384
Underpainting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2385
Watercolor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2386
Waterpaper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2387
Wood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2388
Color Correction Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2391
HSL Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2391
Channels Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2402
Levels Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2404
Curves Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2407
xxiv
Common Property Pages Reference . . . . . . . . . . . . . . . . . . . . . . . . . . 2413
Alpha Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2413
Border Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2415
Color Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2415
Color Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2416
Colors Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2419
Crop Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2420
DVE Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2421
External Data Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2423
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2424
Key Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2426
Key Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2428
Key Values Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2430
Masking Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2432
Matte Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2434
Matte Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2436
Options Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2438
Shapes Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2439
Source Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2442
Spill Matte 2 Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2443
Spill Replace Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2444
R1–R4 and L1–L4 Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2445
Tracker Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2448
Avid Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2451
Glossary:Numerics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2451
Glossary: A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2452
Glossary: B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2458
Glossary: C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2462
Glossary: D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2471
Glossary: E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2476
Glossary: F . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2479
Glossary: G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2482
Glossary: H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2483
xxv
Glossary: I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2486
Glossary: J . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2488
Glossary: K. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2489
Glossary: L . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2490
Glossary: M . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2493
Glossary: N. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2498
Glossary: O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2500
Glossary: P. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2503
Glossary: Q . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2509
Glossary: R. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2509
Glossary: S. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2514
Glossary: T . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2524
Glossary: U. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2530
Glossary: V. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2531
Glossary: W . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2533
Glossary: X. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2535
Glossary: Y. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2535
Glossary: Z . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2536
Keyboard Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2537
Global . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2537
Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2542
Compositing and Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2546
Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2551
3D DVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2561
Hardware Setup for the Avid Nitris System
Using the Avid Nitris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Site Planning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Rack Mounting the Avid Nitris Enclosure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Avid Nitris Front Indicators and Rear Connectors . . . . . . . . . . . . . . . . . . . . . . . . . . 12
xxvi
Workstation Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Connecting the SCSI Local Storage Systems. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Avid Unity Environment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Reference Signal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Connecting Audio and Video Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Connecting Serial and MIDI Port Devices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Installing and Removing the Avid Fan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Regulatory and Safety Notices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Technical Support Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Avid Nitris Dual Boot System Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Install the Second Hard Drive and Power Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Install the Dual-link Board . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Install the Over-the-Top Fan Assembly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Booting the System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Dual Boot Software Installation
for Avid DS and Avid Symphony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Installing the Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Recovery Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
xxvii
xxviii
Section 1
Using Help
You can get comprehensive task-oriented, background, and reference
information through your Avid DS Nitris Help system.
The following topics provide information that will help you to use Help:
•
Accessing the Help System
•
Understanding the Help System
•
Finding Information Within Help
2
Avid DS Help
The following topics provide general information about the help system:
•
Accessing the Help System
•
Understanding the Help System
•
Finding Information Within Help
Accessing the Help System
Avid DS Nitris comes with a comprehensive help system that contains
information on all the interface elements, as well as task information. If you’re
looking for information on a particular interface element or property page
parameter, or need help performing a task, the online help is the place to look.
The following topics explain how to use the Help system:
•
“Accessing the Help System” on page 3
•
“Understanding the Help System” on page 4
•
“Finding Information Within Help” on page 6
There are two ways to access the Help system:
•
From the Help menu
•
From windows and dialog boxes—see “Getting Context-Sensitive Help”
on page 4.
To open the Help system:
t
Select Help > Contents and Index or press F1.
The Help window opens, and the Help splash screen displays.
Related Topics
Getting Context-Sensitive Help
Avid DS Help
Getting Context-Sensitive Help
Help icon or button
Tooltips
Every view, property page,
dialog box, and pop-up menu
contains a Help icon or button
which displays context-sensitive information when
clicked.
Avid DS Nitris uses small pop-ups called tooltips
to display the name of desktop elements when
they have no text label.
Position the pointer over an interface
element, such as an icon, and pause
for a second. A tooltip with the name of
the element appears.
Avid DS Nitris provides you with a quick way to get Help for many views,
dialog boxes, and property pages. Within these context-sensitive topics, you
can view specific information about items, such as options and individual
buttons, and link to related topics.
To get help for a view, dialog box, or property page with a Help button:
t
Click the Help button (either a question mark or a button labeled Help, or
How To...).
The context-sensitive Help topic is displayed.
Related Topics
Understanding the Help System
Understanding the Help System
The Help system uses the following main display areas:
4
•
Help topics open in the right area of the Help window—see “Help Topics”
on page 5.
•
Buttons for controlling the Help display and for printing Help topics
appear in the top area of the Help window—see “Top Area Buttons” on
page 6.
Understanding the Help System
•
Navigation tools (Contents, Index, Search, and Favorites) open in the left
area of the Help window—see “Finding Information Within Help” on
page 6.
Once the Help window is open, it behaves in much the same way as most other
windows. You can resize it and reposition it to suit your screen layout and
workflow.
Help Topics
The information in the Help is displayed in the right area of the Help window.
All topics have the following items above the main heading:
•
Hierarchy links
These links display the location of the currently displayed topic within its
book and chapter, and let you jump to relevant higher-level topics,
including the Main Topics page.
•
Previous Topic and Next Topic buttons
Use these buttons to browse through the topics in the order in which they
appear in the Contents.
Previous Topic
Next Topic
Hierarchy links
Current topic
The Help system includes task-oriented procedures as well as background and
reference information. At the bottom of many topics are links to related topics.
Showing and Hiding Additional Information
Some Help topics include a link labeled “More Information.” Click this link or
the turn-down arrow to see conceptual or background information related to
the procedure. This information is displayed with a colored border on top and
bottom.
5
Avid DS Help
To return to the original display, click the link or arrow again.
Related Topics
Top Area Buttons
Top Area Buttons
The top area of the Help window contains four buttons that allow you to
change the Help display and print Help topics. The following table describes
these buttons.
Button
Illustration
Hide/Show
Description
Click the Hide button to hide the navigation area on the left and reduce the
width of the Help window. The button changes to the Show button.
Click the Show button to reveal the navigation area on the left and expand
the width of the Help window. The button changes to the Hide button.
Back and
Forward
These buttons work like the Back and Forward buttons in an Internet
browser, such as Microsoft Internet Explorer. Use the buttons to move
among recently visited topics.
Print
Click this button to print one or more topics.
Related Topics
Help Topics
Finding Information Within Help
The left area of the Help window displays the Help system’s main navigation
tools within a tabbed interface.
For more information, see the following topics:
6
•
Using the Contents Tab
•
Using the Index Tab
Finding Information Within Help
•
Using the Search Tab
•
Advanced Search Options
Using the Contents Tab
The Contents tab displays a complete hierarchical list of all topics in the Help
system. You can expand and collapse the contents to view the logical
organization of the Help system. Click on a topic to display the entry to the
right.
Related Topics
Using the Index Tab
Using the Search Tab
Advanced Search Options
Using the Index Tab
The Index tab provides an alphabetized list of entries similar to the index of a
printed book.
To find an index entry, type the first few letters of a keyword in the text box at
the top of the tab. As you type, the index jumps to the range of entries that
correspond to the letters you have typed.
To view the topic associated with an index entry, either click the index entry
and then click Display, or double-click the entry.
Related Topics
Using the Contents Tab
Using the Search Tab
Advanced Search Options
Using the Search Tab
The Search tab lets you search the entire text of the Help system for one or
more words and then lists the topics that include those words. The list of
results is ranked, placing the topics that the Search feature considers most
likely to be relevant at the top of the list.
7
Avid DS Help
Advanced Search Options
Advanced search options let you control how the Search feature operates. If
the Search feature does not produce useful results for a particular topic, you
can often find the specific information you need by modifying the search.
Search Syntax
The following syntax rules control search queries:
8
•
Searches are not case-sensitive, so you can type your search in uppercase
or lowercase characters.
•
You can search for any combination of letters (a-z) and numbers (0-9).
•
Punctuation marks, such as period, colon, semicolon, comma, and hyphen
are ignored.
•
Search for a literal phrase by using quotation marks.
•
If you are searching for a filename with an extension, you should group
the entire string in double quotes (“filename.ext"). Otherwise, the search
will treat the period as an OR operator.
New in this Release...
This section describes enhancements in Avid DS Nitris v8.4 and v8.0.
New in Avid DS Nitris v8.4
New in Avid DS Nitris v8.0
10
New in Avid DS Nitris v8.4
The following new features are available in Avid DS Nitris v8.4.
Hardware/Platform Enhancements
Dual-Link Implementations
Dual-Boot Systems with Avid Symphony Nitris
Avid DS Assist Station
Avid MediaNet 5.0 Compatibility
Licensing
New HP xw8400 Workstation
Avid has qualified the HP xw8400 workstation with the NVIDIA® Quadro®
FX 3500 graphics board to be used with the Avid Nitris.
Featuring quad-core Intel Core2 processors, the xw8400 workstation has
doubled its processing power since the last-released Avid Nitris hardware
platform.
Your Avid® DS NitrisTM DNATM workstation comes pre-installed with the
Microsoft Windows XP Professional x64 Edition operating system, Service
Pack 2, approved Windows Security Updates and all required Avid DS drivers.
Dual-Link Implementations
•
In addition to offering native 64-bit capability, the Avid DS Nitris v8.4
comes with an integrated dual-link HD SDI I/O card for capturing HD
material from HD RGB sources (e.g., HDCAM-SR).
New in Avid DS Nitris v8.4
•
The Dual-Link card is offered as an option for current users of the HP
xw8200 who upgrade to the 64-bit version. It supports 8 channels of AES,
or embedded audio.
•
The Dual-Link card is also supported on the Avid DS Assist Station for
realtime viewing of media—see Avid DS Assist Station.
Dual-Boot Systems with Avid Symphony Nitris
Avid DS Nitris v8.4 comes bundled with Avid Symphony Nitris dual-boot
software, so you can easily configure your system to run Avid DS Nitris or
Avid Symphony Nitris based on the project at hand. Refer to the
documentation on the Avid DS Support Center web site, for instructions on
configuring a dual-boot system.
Avid DS Assist Station
The Avid DS Assist Station now has the option to add HD-SDI and analog
RGB monitoring output which allows you to connect a broadcast monitor to
your station. This allows you to preview your media in realtime, from full
resolution up to dual-link 10bit RGB (if using a Xena 2Ke card from AJA
Video Systems).
The Xena 2Ke or LHe card can be purchased directly from your AJA reseller.
Please refer to the Avid DS Assist Station system specifications on the Avid
DS Support Center web site.
If you already have an Avid DS Assist Station license and you want to add this
monitoring capability, please contact technical support to get an updated
license.
Avid MediaNet 5.0 Compatibility
Avid DS Nitris v8.0 and v8.4 (32-bit only) are now supported on Avid
MediaNet 5.0.
The number of streams and clients supported depends on your MediaNet 5.0
configuration. Refer to the storage table on the Avid DS Support Center web
site.
12
Software Performance Enhancements
Licensing
If you are upgrading from a version prior to Avid DS v8.0, then you should
note that a new licensing scheme has been implemented for version 8.0 and
above. Dongles are no longer required, but you will be required to obtain a
new license key before installing the application.
You need a separate license for each of your Avid DS and Avid DS RP
workstations. Refer to http://www.softimage.com/avidds to obtain your
license.
Software Performance Enhancements
The following enhancements have been made to this version of Avid DS:
•
Reliability of capture on shared storage has improved.
•
There has been a data alias name change in the software that may
invalidate some of your media caches. Simply reprocess any media that
has a red highlight on your timeline ribbon.
•
Customer Support tools—Version Info Extractor and DS Project
Manager—have been updated. These updates are automatically installed
with the Avid DS software.
•
For a list of other software fixes, go to http://www.softimage.com/avidds.
13
New in Avid DS Nitris v8.4
14
New in Avid DS Nitris v8.0
The following new features are available in Avid DS Nitris v8 and subsequent
QFEs.
Hardware/Platform Enhancements
New HP xw9300 Workstation
Avid has qualified the HP® xw9300 dual-core Opteron workstation with the
NVIDIA® Quadro® FX 3450 graphics board to be used with the Avid Nitris
DNA.
Featuring two dual-core AMD Opteron processors, the xw9300 workstation
provides twice the CPU power for the fastest processing of HD-RGB and filebased 2K and 4K material.
64-bit Support
Avid DS Nitris now has a 64-bit version available for the xw8200 and xw9300
workstations. This gives you significantly more memory to facilitate HD-RGB
and high-resolutions file-based 2K and 4K workflows; or make more complex
and larger sequences on SD projects.
Dual-Link Implementations
•
In addition to offering native 64-bit capability, the new Avid DS Nitris
v8.0 comes with an integrated dual-link HD SDI I/O card for capturing
HD material from HD RGB sources (e.g., HDCAM-SR).
New in Avid DS Nitris v8.0
The Dual-Link card is offered in all new Avid DS v8.0 systems (HP
xw9300 or HP xw8200, 64-bits), or as an option for current users of the
HP xw8200 who upgrade to the 64-bit version. It supports 8 channels of
AES, or embedded audio.
•
Alpha archive implementation for HD RGB hardware.
•
Conversion from 10-bit 4:4:4 HD to 10-bit 4:2:2 HD.
•
The HD-RGB workflow has been optimized for an ITU-709 (gamma 2.2)
colorspace.
•
Enable 10/16-bit depth for 4K sequences in 64-bit.
•
Processing 4:4:4 material in 4:2:2 DNxHD 220 for proxy preview.
•
Dual-Link driver detection and installation in the Avid Nitris DNA
installer.
•
Added support for HD RGB 10:10:10 in MXF.
•
Added support for Dual-Link audio.
•
Added support for Big/Little Endian DPX file.
Dual-Boot Systems with Avid Symphony Nitris
The new Avid DS Nitris v8.0 comes bundled with Avid Symphony Nitris dual
boot software, so you can easily configure your system to run Avid DS Nitris
or Avid Symphony Nitris based on the project at hand.
Avid VideoRAID Line Launched
Avid DS Nitris now supports the 10-drive RTR320X Avid VideoRAID disk
arrays. The Avid VideoRAID line provides redundancy for media asset
protection as well as performance for high-bandwidth workflows.
The Avid VideoRAID arrays provide guaranteed real-time access for multistream SD and HD workflows, supporting up to dual stream 1:1 10-bit HD.
They support hardware parity RAID operation and provide continuous data
protection and full performance, even in the event of a drive failure or during a
drive rebuild. The arrays are available with 250GB or 500GB drives.
For Avid DS, you need a minimum of 20 drives.
16
Hardware/Platform Enhancements
For more information, check out the Avid VideoRAID product pages on
Avid.com. Go to www.avid.com/products/videoRAID.
Avid DS Assist Station
Meet the latest addition to the Avid DS Nitris family! The Avid DS Assist
Station is a new software application that can run on any standard system with
a minimal specification of:
•
Dual Intel Xeon or Opteron single core CPU or single dual core Intel or
AMD CPUs
•
1 GB of memory
•
A supported OGL card such as the Nvidia QuadroFX 3400 or FX3450
(sRefer to the Avid web site for a list of additional supported cards).
The new Avid DS Assist Station delivers the complete effect, editing and
compositing toolsets that are found in the Avid DS Nitris configuration. The
Avid DS Assist station is designed to work in a shared workgroup environment
with Avid DS Nitris and, therefore, doesn’t have any I/O capabilities of its
own for signal-based video and audio.
You can, however, capture and output from file. Since it is also capable of full
realtime playback and processing, you can use it offline for all your graphics
and effects work. This is an extremely economical way to grade and finish
features that are captured onto your central storage.
n
Processing of effects is done by the software whose capabilities are only
limited by the underlying hardware and an adequate disk subsystem on the
workstation where it is installed.
Avid DS (automatic SD to HD upgrade)
All Avid DS Equinox SD systems will automatically be upgraded to the full
HD version.
New Licensing Scheme
A new licensing scheme has been implemented for this version of Avid DS.
Dongles are no longer required, but you will be required to obtain a new
license key before installing the application.
17
New in Avid DS Nitris v8.0
You need a separate license for each of your Avid DS and Avid DS RP
workstations.
Support for Avid DMS Broker v5.0
If you are in an Avid workgroup, you MUST upgrade to version 5.0 of the
Avid DMS Broker. Note that this option is not automatically selected. To
install the broker, you need to run the DS Setup program. Under Main
Workgroups Components, select Avid DMS Broker.
Avid Unity ISIS Support
Avid DS Nitris now supports Avid Unity ISIS 1.1, the latest advanced media
network from Avid which delivers enterprise-level reliability, availability, and
scalability.
Avid strongly recommends that you use the 64-bit version of Avid DS Nitris
for best performance with ISIS.
Refer to the Avid DS Support Center web site for a list of supported
configurations.
AVX Plug-in Effects
The AVX1.0 host has been enhanced to support optional inputs—input
naming and 64-bit AVX 1.0 effects when run in 64-bit.
See http://www.avid.com/thirdparty/viewdeveloper.aspx?Type=1 for a list of
supported third-party effects.
Panasonic AJ-HD1200A Deck Template Added
Panasonic AJ-HD1200A deck template added to the supported Machine
Templates.
18
Software Performance Enhancements
Software Performance Enhancements
Over 350 fixes have been made to this version of Avid DS! Here are some of
the highlights.
Sub-Titling Tool
The Sub-titling tool is now a real-time effect.
Timeline Enhancements
Improvements in v8.0 include improved sequence loading and timeline
performance for long form editing.
Timeline to MC
Provides the ability to quickly generate an AAF and MXF file of a timeline
selection that can be later imported directly into Media Composer.
3:2 Contract and Expand Time Effects
A new option has been added in both the 3:2 Expand and 3:2 Contract time
effects:
•
New Mode dropdown list option
•
Allow you to select the pull-down phase
•
Standard: 5 options
•
Advanced: 5 options
3:2 Expand
The phase selected represents the 3:2 pull-down cadence generated by the
effect, with respect to the origin of the created container.
Available choices are:
19
New in Avid DS Nitris v8.0
Standard: AA BB BC CD DD
Standard: BB BC CD DD AA
Standard: BC CD DD AA BB
Standard: CD DD AA BB BC
Standard: DD AA BB BC CD
Advanced: AA BB BC CC DD
Advanced: BB BC CC DD AA
Advanced: BC CC DD AA BB
Advanced: CC DD AA BB BC
Advanced: DD AA BB BC CC
3:2 Contract
The phase selected represents the 3:2 pull-down cadence of the source
material, on which the 3:2 pull-down is removed. The phase is specified with
respect to the origin of the source material.
Note that the phase is automatically determined by positioning the play cursor
on the frame (or first frame of two) containing 3:2 pull-down artifacts prior to
apply the 3:2 Contract. In case of an incorrect play cursor position, this new
option can be used to select the proper phase after the 3:2 Contract effect is
applied.
Available choices are:
Standard: AA BB BC CD DD
Standard: BB BC CD DD AA
Standard: BC CD DD AA BB
Standard: CD DD AA BB BC
Standard: DD AA BB BC CD
Advanced: AA BB BC CC DD
Advanced: BB BC CC DD AA
Advanced: BC CC DD AA BB
Advanced: CC DD AA BB BC
Advanced: DD AA BB BC CC
Tiling of YUV Effects
YUV processing has been enhanced to take advantage of the hardware
capabilities of your workstation. On the new xw9300 workstation, processing
speed is doubled.
20
Software Performance Enhancements
Optimizing File Sources
The Data Management menu has a new command called Optimize File
Sources, which updates the size of the source model file. When you reload the
project, the source model file will be much smaller.
DVE Translation
When translating an image (in either X or Y), the limit has been raised to
100,000 pixels so that the image no longer gets clipped.
Also, the DS world space in 64-bit has been extended to 12K x 12K.
Importing Subtitles
The Import Subtitles tool now generates Graphics On Black clips on a new
track instead of creating Graphics timeline effects.
Expressions & Source Side Effects
Support for the Expressions feature has been enhanced and is now more robust
and easier to use.
Several fixes and enhancements to Source Side effects have also been done.
Source Viewer
You can now successfully load a clip in the Source viewer and recapture it.
This was a known problem in v7.5.
Viewing Locators
When viewing locators in the meta curve region of the animation editor, you
can switch the display between the selected function curve and all function
curves by pressing the button beside the meta curve region. When displaying
the locators of selected function curves, the button appears pressed.
21
New in Avid DS Nitris v8.0
Other Features
Optimization and Performance Improvements
•
Performance improvement when saving and exiting a sequence.
•
Optimization when using DPX linked files.
•
Performance optimization when stepping in or out of containers.
•
Performance optimization when copy/pasting objects in the timeline.
•
SSE2 - Optimize 10-bit alpha encoding/decoding to/from RGBA.
•
64-bit interactive cache size optimizing.
•
User preferences option added to process or skip missing media or effects.
•
Audio improvement: Apple QuickTime v7.0.4 is now support. You can
get QuickTime v7.0.4 from
http://www.apple.com/support/downloads/quicktime704.html.
New Formats Supported
The following is a list of new formats supported in this version of Avid DS
Nitris.
If there is no HW support, then you will see a dot in the front of the format
name in the New Sequence and New Project dialog boxes—see a format is not
A dot is seen in from of the format name in the tilte bar and UI control(in new
seq dlg and seq pref dlg) to indicate that there is no HW support
Format
Description
720p50
HD format.
There is also support of additional cross-conversion to 1080i50.
DNxHD 36
Very low bit rate DNX-HD resolutions for HD offline editing are
available in 1080psf projects.
DNX-TR (thin raster)
Support for MXF media (link, import, conform from MC).
n
22
720P 24/25/30 is not supported.
Other Features
Format
Description
DNxHD-TR for Avid
DS
This light-weight Avid compression codec is now available for Avid DS
when outputting material to file. Once outputted, you can post it online
or burn it on a DVD.
An advantage is that its size does not compromise the HD quality of the
material.
DVCPRO HD
DVCPro-HD/P2 format media in MXF format captured on Adrenaline
and Avid Xpress Pro systems may be relinked via the AFE conform
process in Avid DS Nitris.
DV 100
When working 720p or 1080i formats, you can now output material to
MXF and Gen files using the DV 100 compression codec. The file may
be relinked and played back in real-time.
n
It cannot be captured or used to create sequences.
DCI 2K
Film formats.
DCI 4K
DCI 2K is hardware supported at 24fps.
720p 23.98 fps
HD formats not HW supported.
720p 24fps
720p 25fps
720p 29.97fps
720p 30fps
Super 35mm 3 Perf
(2K)
Film formats.
Super 35mm 3 Perf
(4K)
Non Hardware Support Formats Indicator
If the format you select is not hardware supported, it will have a dot in front of
the name—see “New Project Dialog Box” in the Help.
DigiDesign ProTools Import/Export
•
OMF audio export to Avid ProTools has been rewritten and now only
exports the media effectively used in the timeline.
23
New in Avid DS Nitris v8.0
•
24
AAF/MXF import: Avid DS Nitris can now conform AAF/MXF
sequences from Avid ProTools v7.2.
Documentation & Support
Services
The following topics provide general information about documentation and
support services:
n
•
Using the Product Documentation
•
Contacting Avid Customer Support
•
Avid Training Services
The Avid DS Nitris documentation describes the features and hardware of all
models within the Avid DS family. Therefore, your system might not contain
certain features and hardware that are covered in the documentation.
26
Chapter 1
Using Avid Support and Services
The following topics provide general information about documentation and support
services:
•
Using the Product Documentation
•
Contacting Avid Customer Support
•
Avid Training Services
Using the Product Documentation
The Avid DS Nitris documentation describes the features and hardware of all models within
the Avid DS family. Therefore, your system might not contain certain features and hardware
that are covered in the documentation.
Unless noted otherwise, the material in this document applies to the Windows XP operating
system.
Follow these conventions for mouse or pen usage:
This Term
Means This with a Mouse
Means This with a Pen
Click
Quickly click and release the
left mouse button. Always use
the left mouse button unless
otherwise stated.
Tap the tablet once with the tip of
the pen, or touch the pen to the
tablet with enough pressure to click.
Double-click
Click the left mouse button
twice rapidly.
Quickly tap the tablet twice in the
same screen pixel or press the F5
key to go from single to doubleclick.
Right-click
Quickly click and release the
right mouse button.
Press the top portion of the switch
on the side of the pen or press the
F6 key to go from left to right-click.
Drag
Click and hold the left mouse
button or the wheel while you
move the mouse.
Press the pen to the tablet while
moving the pen.
1 Using Avid Support and Services
This Term
Means This with a Mouse
Means This with a Pen
Alt+key,
Ctrl+key,
Shift+key, etc.
Press and hold the first key while you press the second key. For
example, “Press Alt+F1” means to press and hold the Alt key while you
press the F1 key.
Avid DS Online Library
The Online Library contains the Avid DS Nitris documentation in a single PDF file. This
allows you to easily search through the file and print sections that you require.
If the online library was installed on your system, you can access it from the Help menu in
Avid DS Nitris. You can also access it directly from the Avid DS Software and Drivers
DVD, or download the most up-to-date PDF from the Avid DS Support Center web site at
http://www.softimage.com/avidds.
n
The PDF versions of Avid DS documentation require Adobe Reader 4.0 or later. If you need
to install Adobe Reader, you can download a free installer from Adobe's web page at
www.adobe.com.
To access the Online Library:
t
In Avid DS Nitris, select Help > Online Library,
or
t
Insert the Avid DS Software and Drivers DVD into your drive, and select Online
Library from the main menu.
How to Order Documentation
To order additional copies of the printed documentation from within the United States, call
Avid Sales at 800-949-AVID (800-949-2843). If you are placing an order from outside the
United States, contact your local Avid representative.
You can also download printable PDF versions of the documentation from the Avid DS
Support Center web site at http://www.softimage.com/avidds.
Contacting Avid Customer Support
Avid DS Customer Support offers assistance by phone, email, and the web. You are invited
to send your support requests to any of these channels. For urgent issues taht require
immediate assistance, use your local phone support channel.
If you are having trouble using your system:
28
Contacting Avid Customer Support
1. Retry the action, carefully following the instructions given for that task in this guide. It is
especially important to check each step of your workflow.
Check the Avid DS Support Center at http://www.softimage.com/avidds for the latest
information that might have become available.
E-mail Support
The e-mail address for Avid DS Customer Support is: [email protected] You can use it
for sending bug reports, usability questions, and avidds.cab audit reports for system analysis.
All e-mails are logged in the support database and assigned a case number. Send one support
request per e-mail.
n
It is mandatory that you include your SID number in the body of your e-mail message for
verification of your maintenance contract and case logging. Otherwise, response will be
delayed.
Web Support
The Avid DS Support Center at http://www.softimage.com/avidds provides quick access to a
wide range of resources from the Avid DS team—online documentation, tutorials, known
limitiations and other late-breaking information.
All software and driver updates can be downloaded from the Avid Download Center
http://www.avid.com/support/downloadcenter/index.asp.
Upload Utility
For troubleshooting purposes, you can upload your files for Avid Customer Support
personnel to examine. You can upload a project's archive, media files, or other necessary
data. Simply zip the files that you need to upload and use a short name (for easy retrieval),
such as archive.zip or Case274877.zip.
To upload your files:
1. Go to the Avid web site at http://www.softimage.com/avidds.
2. Select Support and Upload Tool from the left menu.
Avid Community Forum
Although the Avid DS community forum is frequently monitored by Avid employees, it is
not part of the official support channels.
The forum has proven to be quite useful for users, and there is a constant stream of new
subscribers.
To subscribe, join the Avid community forums on the Avid web site at http://www.avid.com.
Select Support > Forums.
29
1 Using Avid Support and Services
Avid Training Services
Avid makes lifelong learning, career advancement, and personal development easy and
convenient. Avid understands that the knowledge you need to differentiate yourself is always
changing, and Avid continually updates course content and offers new training delivery
methods that accommodate your pressured and competitive work environment.
To learn about Avid's new online learning environment, Avid Learning Excellerator
(ALEX), visit http://learn.avid.com.
For information on courses/schedules, training centers, certifications, courseware, and
books, visit www.avid.com/training or call Avid Sales at 800-949-AVID (800-949-2843).
30
Best Practices
This section provides information about capturing media, conforming
sequences created on other systems, and outputting material.
•
Assistant Editing
•
Conforming HD Sequences
•
Using Digital Intermediates for Film-based Projects
•
Conforming HDV Media
•
Conforming in an Avid Interplay Environment
32
Chapter 1
Assistant Editing
This chapter describes how to set up the Avid DS Assist station in a shared
workgroup environment:
•
Using the Avid DS Assist Station
Chapter 1 Assistant Editing
Using the Avid DS Assist Station
Avid DS Assist Station offers the full software feature set of Avid DS Nitris in
a software-only application that can be used to off-load tasks from the heavyduty editing stations—tasks such as conform checks, rotoscoping, graphics,
effects, and compositing.
The Avid DS Assist Station is designed to work in a shared workgroup
environment with Avid DS Nitris, so it doesn’t have any I/O capabilities of its
own for signal-based video and audio. You can, however, capture and output
from file.
The Avid DS Assist Station is capable of full realtime playback and
processing, so you can use it offline for all your graphics and effects work.
This is an extremely economical way to grade and finish features that are
captured onto your central storage.
n
Processing of effects is all done by the software. These capabilities are only
limited by the underlying hardware and an adequate disk subsystem on the
workstation where it is installed.
System Requirements
The Avid DS Assist Station can be run on any standard desktop system with
minimal specifications of:
•
Dual Intel Xeon or Opteron single core CPU or single dual core Intel or
AMD CPUs
•
1 GB of memory
•
A supported OGL card such as the Nvidia QuadroFX 3400 or FX3450
(Refer to the Avid web site for a list of other supported cards).
The Avid DS Assist Station is available in both 32-bit and 64-bit. The only
difference is that the 64-bit version offers better overall performance. Projects
and media from both versions can be used on either Avid DS Nitris 32-bit or
64-bit workstations.
For storage, the Avid DS Assist Station can connect to Avid Unity ISIS or
Avid Unity MediaNetwork. However, if you plan on using DNxHD media on
Avid Unity ISIS, you must use the Avid DS Assist Station 64-bit version.
34
Using the Avid DS Assist Station
The Avid DS Assist Station can also use a local storage drive for work that
does not require large amounts of storage. e.g. creating graphics or titles.
Subtopics
t
Scenario: Sharing Projects and Media with an Avid DS Assist Station
35
Chapter 1 Assistant Editing
Scenario: Sharing Projects and Media with an
Avid DS Assist Station
The Avid DS Assist Station is designed to work in a shared workgroup
environment with Avid DS Nitris.
Since it doesn’t have any I/O capabilities of its own for signal-based video and
audio, the media needs to be captured by a Nitris workstation and stored in a
shared folder that can be accessed by the Avid DS Assist Station.
You can, however, capture and output from file which is useful for importing
graphics and images for compositing and effects work.
n
Projects cannot be opened simultaneously. As with all Avid DS projects, you
must first close the project on one workstation before being able to open it on
another.
To work with projects on an Avid DS Assist Station, follow this basic
workflow:
;
Step
Refer to
†
Install the Avid DS Assist station on a workstation
that will be used by an assistant editor.
“Installing Avid DS Software
Components” in the Help.
†
Start Avid DS Assist Station, and open a project from “Opening an Existing Project”
the workgroup where it was created.
in the Help.
†
Check the storage configuration.
You will need to add a storage area to your
configuration that is also used by other workstations
in the workgroup.
n
36
“Configuring the Media
Indexing Service on your
Workstation” in the Help.
If you’re conforming a sequence from Avid
“Configuring Storages for
Media Composer, and will be using media
MXF Files” in the Help.
created by Media Composer, then you need to
configure your storage to point to the folder
where that media is located.
†
Open a sequence that you need to edit.
†
Do the necessary edits to the sequence.
“Opening Sequences” in the
Help
Scenario: Sharing Projects and Media with an Avid DS Assist Station
;
Step
Refer to
†
Process effects that require processing.
“Processing Effects” see the
Help.
n
†
The processed media caches are saved to the
common storage where any other workstations
in the workgroup can also see them.
Save the sequence and close the project.
37
Chapter 1 Assistant Editing
38
Chapter 2
Conforming HD Sequences
This chapter describes typical scenarios for conforming HD projects.
•
Conforming HD
•
Scenario: Conforming HD Sequences from SD Downconvert Sources
•
Scenario: Conforming HD Projects with DNxHD Media
•
Scenario: Transferring MXF Media from Avid DS Nitris to an Avid
Editing System
Chapter 2 Conforming HD Sequences
Conforming HD
Conforming is the process of bringing a project from an offline environment
into Avid DS Nitris, so that you can continue and finish the editing process.
This section describes how to work specifically with HD sequences. It will
explain how to load an Avid File Exchange (AFE) file into Avid DS Nitris and
recreate a sequence on which you can apply further edits and effects.
n
In this information, the general term “Avid editing system” refers to Avid
applications other than Avid DS Nitris, such as Symphony™,
Media Composer®, Film Composer®, Avid Xpress®, and NewsCutter®.
Subtopics
Converting HD Formats
Converting HD Formats
When down-converting HD sequences, you must make sure that the aspect
ratio is respected. Maintaining the proper aspect ratio ensures that all effects,
especially those that rely on X,Y locations are preserved during the downconversion and eventually, the conforming process.
HD uses the aspect ratio of 16:9. Avid editing systems such as Media
Composer or Symphony work with 4:3 or 16:9 aspect ratios. Avid DS Nitris
also supports both these ratios. There are three ways 16:9 HD material can be
down-converted for offline editing sessions.
•
16:9 Anamorphic
•
16:9 Letterbox
•
4:3 Centre Extraction
16:9 Anamorphic
The entire NTSC frame is used to store the 16:9 HD image that will appear to
be stretched vertically when viewed in an Avid editing system. In your
settings, select the Composer window to 16:9 Video to view the image in its
correct ratio. You will need to select the 16:9 setting on your client monitor.
Also, you will have to convert the 16:9 anamorphic images to a 4:3 aspect
ratio on output to tape for client screening copies. You can use the Pan & Scan
tool, an external device or order conversion as part of the dub process.
40
Conforming HD
16:9 Anamorphic is the preferred format if you will be creating complex
effects and composites in offline, because effects and repositions will translate
correctly in the Avid DS Nitris online.
Related Topics
16:9 Letterbox
4:3 Centre Extraction
16:9 Letterbox
The 16:9 HD image is placed in the center of the 4:3 NTSC frame and black
bars are added top & bottom of the image.
16:9 Letterbox is a common method for delivering HD material on an NTSC
tape to offline. The black matte can be used to contain timecode and other
“burnt in” information. This format is fine if the program contains cuts and
occasional transition effects, but effects such as repositions and composites
will not translate correctly in the HD conform. These problems may result in
added expensive because the effects will have to be adjusted in the HD online.
Related Topics
16:9 Anamorphic
4:3 Centre Extraction
4:3 Centre Extraction
The center of the 16:9 HD image is extracted and recorded on the NTSC tape
for offline.
4:3 Center Extraction is the least preferred option for offline because the editor
does not see the entire frame that will be visible in the HD master. As a result,
edit timings may not be correct when the sequence is conformed in HD
because entrances and exits will not be the same in the 16:9 master. Also, the
editor may not see undesirable action cut off in the 4:3 frame that will still be
visible in the 16:9 HD online master. Effects such as repositions and
composites will not translate correctly in the HD conform.
Related Topics
16:9 Anamorphic
16:9 Letterbox
41
Chapter 2 Conforming HD Sequences
Scenario: Conforming HD Sequences from SD
Downconvert Sources
Postproduction house are often faced with this scenario. An editor has
completed an HD project on an Avid editing system such as Media Composer
and has passed it on to a colorist, for example, who must now complete and
finish the project at high quality HD standards on Avid DS Nitris.
Downconverting the HD sequence to SD avoids high production costs and also
allows you to work more efficiently with a light-weight project.
To conform an HD project that was offlined on an Avid editing system, the
offline sequence must be edited at the proper frame rate. The following table
lists the required Avid editing project types for different HD formats and
frame rates.
HD format
Avid DS Nitris project type
Avid editing project type
1080i 50 fields/sec (25 fps)
25i PAL
1080i 60 fields/sec (30 fps) or 59.94
fields/sec (29.97 fps)
30i NTSC
1080PsF 23.97 fps
24p NTSC
23.976p NTSC a
1080PsF 24 fps
24p NTSC or 24p PAL
1080PsF 25 fps
25i PAL
1080PsF 30 fps or 29.97 fps
30i NTSC
720p 60 fps or 59.94 fps
30i NTSC
a. Requires Symphony 4.5 or later, Media Composer or Film Composer 11.5 or
later, Media Composer Adrenaline 1.0 or later, Avid Xpress 5.5 or later, or Avid
Xpress Pro 4.0 or later.
42
Scenario: Conforming HD Sequences from SD Downconvert Sources
To conform an HD project from SD downconvert sources,
follow this basic workflow:
;
Step
Refer to
†
Downconvert the HD source tapes to SD
(standard-definition) tapes, using the 16:9
anamorphic aspect ratio.
“Conforming and Transferring
Projects” in the Avid Media
Composer Help.
For 24p sources, make sure the conversion
uses non-drop-frame timecode and 2:3 pulldown, with the A frame at :00 or any frame
that ends in 0 or 5 (:05, :10, :15, and so on).
n
If you need to convert the timecode of a
sequence (for example, from 30 fps to
24 fps, you can use the EDL Processor.
On an Avid editing system:
†
Create an offline project with the proper frame “Conforming Workflow” in the Avid
rate.
Media Composer Help.
†
Capture the SD source tapes using an offline
resolution
†
Build the sequence.
†
Duplicate the finished sequence, copy the
duplicate into a new bin, and decompose the
duplicate.
“Using Decompose when
Recapturing” in the Avid Media
Composer Help.
The Avid editing system creates new master
clips that use only the media in the sequence,
plus any handles you specify. These new clips
are not linked to media, but are intended for
recapture.
n
†
Except for grouped clips, you can delete
the decomposed clips from the bin,
because Avid DS Nitris recreates the
clips during the conform process.
Export as an AFE file so that you can recreate “Exporting Frames, Clips, and
the sequence or project on Avid DS Nitris.
Sequences” in the Avid Media
Composer Help.
Depending on the version of your Avid editing
system, you can also export through
MediaLog™.
43
Chapter 2 Conforming HD Sequences
;
Step
Refer to
On the Avid DS Nitris system:
†
Create a sequence with a frame rate that
matches that of the source tapes.
“Create a Sequence and Master Clips
from an Imported AFE File” in the
Help.
†
Import the AFE file.
“Importing AFE Files” in the Help.
†
Open the AFE file from DS Explorer and drag “Create a Sequence and Master Clips
the sequence or master clips to the timeline.
from an Imported AFE File” in the
Help.
†
If you are sharing media, then Avid DS will
relink to the SD media. (This is the case
ONLY for MXF files.)
“Sharing Media” in the Help.
If you are not sharing media, then recapture
the HD media from the source tapes into
Avid DS Nitris.
†
Depending on the number and types of effects, “AFE Effects Support Table” for a
you may need to process or recreate effects.
list of supported effects in the Help.
Refer to the AAF/AFE Conform Log as you
review the sequence.
†
44
Finish and output the project.
“Outputting Media” in the Help.
Scenario: Conforming HD Projects with DNxHD Media
Scenario: Conforming HD Projects with DNxHD
Media
To conform an HDTV project that was offlined on an Avid HD editing system
with HD media, make sure the offline sequence is edited at the proper format
and frame rate. Media Composer Adrenaline HD and Avid Xpress Pro HD
support the HD project formats described in the following table. This table
also lists their equivalents in Avid DS Nitris.
HD format
Avid editing project type
HD format
Avid DS Nitris project type
720p/59.94
720p 59.94 fps
1080p/25
1080PsF 25 fps
1080p/23.976
1080PsF 23.97 fps
1080i/50
1080i 50 fields/sec
1080i/59.94
1080i 59.94 fields/sec
For a list of shared DNxHD resolutions, see Avid DNxHD Compressions.
To conform an HD project from HD sources, follow this basic
workflow:
;
Step
†
On an Avid editing system, create an offline “Conforming Workflow” in
project with the proper frame rate.
the Avid Media Composer
Help.
Refer to
“Working with HD Media
†
Capture the HD source tapes into the Avid
editing system using an uncompressed
DNxHD resolution.
“Video-based Television
Workflow” in the Avid Media
Composer Help.
†
Build the sequence.
“Editing in HD” in the Avid
Media Composer Help.
45
Chapter 2 Conforming HD Sequences
;
Step
†
(Optional if sharing media) On the Avid
“Conforming Workflow” in
editing system, duplicate the finished
the Avid Media Composer
sequence, copy the duplicate into a new bin, Help.
and decompose the duplicate.
Refer to
The Avid editing system creates new master
clips that use only the media in the
sequence, plus any handles you specify.
These new clips are not linked to media, but
are intended for recapture. You can delete
the decomposed clips from the bin, because
Avid DS Nitris recreates the clips during the
conform process.
†
Export as an AFE file so that you can
recreate the sequence or project on the
Avid DS Nitris system.
“Exporting an AFE File from
an Avid Editing System” in the
Help.
“Exporting AFE Files Using
Depending on the version of your Avid
editing system, you can also export through MediaLog” in the Help.
MediaLog.
On the Avid DS Nitris system:
†
Import the AFE file.
“Importing AFE Files” in the
Help.
†
Build your sequence from the imported
clips.
“Create a Sequence and
Master Clips from an Imported
AFE File” in the Help.
†
If sharing media, make sure the HD media “Sharing Media” and “Sharing
is placed in the appropriate folders on your MXF Media” in the Help.
storage device.
in the Help.
†
Configure the storage areas so that Avid DS “Configuring Storages for
can index the media.
MXF Files”
If you are not sharing media, then recapture
the HD material from source.
46
in the Help.
Scenario: Conforming HD Projects with DNxHD Media
;
Step
†
Depending on the number and types of
“AFE Effects Support Table”
effects, you may need to process or recreate for a list of supported effects in
effects. Refer to the AAF/AFE Conform
the Help.
Log as you review the sequence.
†
Finish and output the project.
Refer to
“Outputting Media” in the
Help.
47
Chapter 2 Conforming HD Sequences
Scenario: Transferring MXF Media from
Avid DS Nitris to an Avid Editing System
You can share MXF master clips captured on Avid DS Nitris with other Avid
editing systems. You can share MXF HD (DNxHD) media only with other
systems that support MXF HD media.
To share MXF master clips created on Avid DS Nitris, follow this basic
workflow:
1. Make sure any storage devices or Avid Unity workspaces are configured
correctly—see “Configuring Storages for MXF Files” in the Help.
2. On the Avid DS Nitris system:
a.
n
Create a project. In the New Sequence dialog box, select the proper
capture settings: MXF storages (one for audio and one for video),
desired compression, and so on. MXF storage can be shared (in an
Avid Unity environment) or local (and later transferred).
If you are going to capture audio from a multi-stream file, make sure to select
the option “Import audio into separate audio tracks” in the New Sequence
dialog box.
b.
Capture and edit the media.
c.
Export an AAF file—see “Exporting AAF Files from Avid DS Nitris”
in the Help.
3. If you are transferring media to the Avid editing system, rather than
sharing in an Avid Unity environment, do one of the following:
-
If you are transferring media over a network, copy the MXF audio
storage and the MXF video storage to the local drive.
-
If you are transferring media on a removable drive, connect the drive.
4. On the Avid editing system, open a project with a matching frame rate.
5. Import one or more AAF files.
The Avid editing system creates a master clip for each AAF file.
6. Select the new master clips and select Clip > Relink.
The Relink dialog box opens.
48
Scenario: Transferring MXF Media from Avid DS Nitris to an Avid Editing System
7. Deselect the option “Relink only to media from the current project,”
accept the other defaults, and click OK.
The master clips are relinked with the MXF media.
n
n
You can use the Media Tool to create master clips, but this method does not
always work, for example, when a clip from Avid DS Nitris includes alpha.
Media Composer Macintosh systems, and other Macintosh-based Avid editors,
cannot use MXF media created by Avid DS Nitris, due to a 31-character file
name limit. This situation occurs when an Avid DS Nitris system creates a
storage on a Unity volume to share with other Avid editing systems. This
problem does not affect Windows systems.
49
Chapter 2 Conforming HD Sequences
50
Chapter 3
Using Digital Intermediates for
Film-based Projects
This chapter describes how to work with film:
•
The Digital Intermediate Process
•
Setting up Storage and Media for Film Projects
•
Opening a Film-based Project
•
Conforming the Film Sequence from EDL and ALE
•
Capturing DPX Files
•
Editing in Film Proxy Mode
•
Outputting Film Sequences
Checklists
•
Scenario: Using HDCAM-SR Tape for Film-Originated Projects
•
Scenario: Using DPX Scans for Film-Originated Projects
Chapter 3 Using Digital Intermediates for Film-based Projects
The Digital Intermediate Process
The main stages of film production are image capture, offline editing,
finishing, and image output and distribution.
Traditionally, the intermediate stage was done manually by the film lab. This
involved the cutting and splicing of the film negatives, adding special optical
effects, and then printing of the final copy for distribution.
Advances in technology now allow the intermediate stage to be handled
digitally. It is a cleaner and more flexible alternative to the traditional
approach. It provides an easy and cost-effective way to create masters at
different resolutions and formats, and also allows more flexibility for
screening at various stages.
1
2
OFFLINE EDITING
(optional)
3
FILM CAPTURE
INTERMEDIATE EDITING
Avid Film Composer
or Media Composer
Workstation
EDL/ALE
TAPE
TELECINE
EDL/ALE
FILM
Rough edit produces
final ALE, EDL and
film pull list
IMAGE OUTPUT
& DISTRIBUTION
HD 4:4:4
HD 4:2:2
NTSC
PAL
QuickTime
HD 4:4:4
Film
Pull
List
4
Avid DS Workstation
TAPE
EDL
EDL
FILE
Film
Pull
List
EDL/ALE
SCANNER
EDL
EDL
FILE
DPX/
EDL/ALE
DPX
CINEON
(2K, 4K)
DPX
(2K, 4K)
Source material is normally shot on Super 35mm or Super 16mm 3-perf film.
The film can either be scanned to 2K or 4K DPX files, or transferred through
Telecine onto tape in a recommended digital HD format. (Note that, with the
latest digital film cameras, material can also be shot directly in HD RGB
4:4:4.)
When the source material is in digitized form it is referred to as the digital
master. This digital master in either 2K, 4K, or HD-RGB 4:4:4 format is of
superior image quality that is preserved for a much longer term than the
traditional tape format. This master can be offlined in an Avid Media
Composer system or edited directly in Avid DS Nitris.
52
The Digital Intermediate Process
The digital intermediate workflow in Avid DS Nitris allows you to either
capture the digital master into the Avid DS Nitris system, or in the case of
DPX format, simply link to the files. The process is started by building a
sequence directly in Avid DS Nitris; or by conforming a sequence via an
EDL/ALE into Avid DS Nitris.
There is no need to worry about matching source timecode or tape names
during the transfer since the common denominator is the KeyKodeTM
information on the original camera negative. Each frame of picture and sound
carries with it one or more pieces of frame-based metadata (timecode,
KeyKode, etc.), as well as overall metadata such as shoot date, camera roll,
scene, take, etc.
In Avid DS Nitris, the film sequence can be digitally enhanced through the
process of editing, visual effects, and color correction. Avid DS Nitris has
comprehensive HD and SD finishing capabilities, with a range of film and
video editing tools. The system’s special effects and compositing engine
handle special effects and last minute fixes easily and cost-efficiently. Here are
some of the ways in which Avid DS Nitris expedites the workflow:
•
An external video monitor can be used to view (in real-time) your
sequence in the format and resolution closely matching your final
distribution format.
•
Your Nitris workstation will instantly let you play back (in real-time) any
edits and effects applied to your sequence.
•
Look-up tables (LUTs) can be applied to simulate the look of projected
film.
•
You can perform color correction on file-based media the same way as
with traditional video.
•
You can read timecode from, and output timecode to, media files. The
timecode tracking display is based on the conventional time-oriented
techniques of video postproduction.
•
You can add a timecode view if you want to view the timecode of your
sequence at a different frame rate. The timecode view can display multiple
frame rates at a time.
Avid DS Nitris supports output mastering to tape for any of the original
transfer formats; and in the case of a film out, it is possible to output a final
series of DPX or Cineon images for a film recorder.
53
Chapter 3 Using Digital Intermediates for Film-based Projects
Important Considerations when Working on Film-based Projects
Before starting your project, here are some points to consider when working
on a film-quality production.
•
Know your original film format (e.g. Full Aperture, Cineon, Academy,
Super 16mm/35mm).
•
Know the quality at which your film master was scanned or transferred.
The most popular is the 10-bit format and the most frequently used
resolution is 2K.
•
Know the frame rate (fps) at which your film master was scanned or
transferred.
•
Use a limit of 8 characters for your tape/reel names as some 3rd-party
EDL converters truncate reel names over 8 characters long, and as a result
will not create the proper associations between key numbers and
timecodes.
•
Ensure that you have storage that is large and fast enough for high
throughput. (Typically, 2K data takes up over 1 TB per hour of footage.)
Also, to get realtime playback of your media, the digitized media must
reside on your local storage that is connected directly to your
Avid DS Nitris workstation.
•
If you are offlining your sequences on Avid Film Composer, set up your
storage so that you can share the media footage with Avid DS Nitris. This
is explained later in this section.
In Avid DS Nitris there are two ways to import film-originated media—by
capturing from HDCAM-SR tape, or by linking to DPX files.
Topics
54
•
Scenario: Using HDCAM-SR Tape for Film-Originated Projects
•
Scenario: Using DPX Scans for Film-Originated Projects
The Digital Intermediate Process
Scenario: Using HDCAM-SR Tape for Film-Originated Projects
HD resolutions are now used more and more for film work, especially in 4:4:4
RGB color space. Although this method does not support resolutions as high
as film-scanned DPX files (2K, 4K), HDCAM-SR does allow for fairly high
quality resolution (upto 1920 x 1080 HD). Also, Telecines now perform highquality transfer directly to HD in real-time, which is much faster and
economical than a typical film scanner.
There are two possible workflows when using HDCAM tape. You can create
your rough cut offline with an Avid Media Composer or Film Composer
system and then finish online with Avid DS Nitris or—you can do all the
editing from start to finish directly in Avid DS Nitris.
For either workflow, the film is first scanned through a telecine (one-light
pass) to generate one or more dub tapes in HD, DVCAM, or SD format.
Topics
•
Offline Film Workflow with Avid Media Composer or Film Composer
•
Online Editing and Finishing in Avid DS Nitris
Offline Film Workflow with Avid Media Composer or Film Composer
In the workflow shown here, film is run through a Telecine to create work
tapes that will be used for the offline edit on an Avid Media Composer
Adrenaline HD or Film Composer.
n
If you have a Media Composer Adrenaline HD system, you can do your offline
editing with an HD work tape. If you don’t have an HD offline system, then
you need to convert your master tape to a lower-quality SD work tape.
55
Chapter 3 Using Digital Intermediates for Film-based Projects
1
OFFLINE EDITING
(OPTIONAL)
FILM
2
TELECINE
ONLINE EDITING
Film Pull list used
to transfer only
necessary material
to HDCAM tape
TAPE
HDCAM SR 4:4:4
Transfer all material
to dub tape
Produce final
ALE, EDL and
film pull list
TAPE
Media captured/
conformed via ALE
Batch capture
via ALE file
HD 4:4:4
Rough-edit on
Avid Film Composer
or Media Composer
Workstation
Avid DS Nitris
Workstation
Avid Film Composer/Media Composer uses an ALE (also produced during the
Telecine transfer) to capture source video from the dub tape. After the rough
edit is done, the process ends with the production of an EDL of the sequence,
an ALE, and a film pull list.
The film transfer facility uses the film pull list to do a final, high-quality pass
through the telecine. This transfers only the necessary material to tape. This
minimizes costs in the telecine room and also makes for a more efficient final
online edit and finish in Avid DS Nitris.
To offline your sequence on Avid Media Composer or Avid Film
Composer, follow this basic workflow:
You should follow these steps in the order that they are listed. Each time you
link to a topic within a Step, make sure you return to the checklist after you
have completed that procedure. (When viewing this document online, use the
Previous View button in your Help browser or Adobe Reader to return to the
previous link).
56
The Digital Intermediate Process
;
Step
Refer to this section
†
Using Avid Film or Media Composer,
import the film transfer files (FLEx, Evertz,
Aaton, ALE) into the project bins, and log
the necessary clips from the dub tape using
the ALE file.
“Importing Shot Log Files” in
the Media Composer Help.
†
Batch capture the footage from the dub
tapes.
“Batch Capturing from
Logged Clips” in the Media
Composer Help.
†
Capture the audio directly in Avid Media
Composer/Film Composer via file-based
audio recorders using BWF.
“BWF Files” in the Media
Composer Help.
†
Create your sequence on the timeline, and
synchronize the audio with video.
“Preparing to Edit” in the
Media Composer Help.
†
Once the rough edit is complete, generate a “Creating a Cut List with
film pull list (cut list) of the final cut.
Previsualization Marker
Information” in the Media
Avid FilmScribe generates many
Composer Help.
types of lists; Scan is the list type to
facilitate a file-based or tape-based
workflow.
See also “Working in a Film
Project” in the Media
Composer Help.
n
†
Export your sequence to an EDL file.
†
Export your sequence to an ALE file if you
need to associate your film information
(metadata) with the tape information in the
EDL
†
Rescan or retransfer the source material
using the film pull list. Media footage will
only be pulled once, regardless of how
many times it was used in the final
sequence.
†
You can now take the EDL and/or ALE into “Online Editing and Finishing
Avid DS Nitris to do your online editing.
in Avid DS Nitris”
57
Chapter 3 Using Digital Intermediates for Film-based Projects
Online Editing and Finishing in Avid DS Nitris
Once you have transferred your film media onto the final HDCAM-SR tape,
you can use the ALE to edit or conform the project into Avid DS Nitris.
1
OFFLINE EDITING
(OPTIONAL)
2
FILM
TELECINE
ONLINE EDITING
Film Pull list used
to transfer only
necessary material
to HDCAM tape
TAPE
HDCAM SR 4:4:4
Transfer all material
to dub tape
TAPE
Produce final
ALE, EDL and
film pull list
Media captured/
conformed via ALE
Batch capture
via ALE file
HD 4:4:4
Rough-edit on
Avid Film Composer
or Media Composer
Workstation
Avid DS Nitris
Workstation
For the final finishing, you will require:
•
Your film transferred to tape.
To ensure the highest quality of the master tape, transfer to HD format in
4:4:4, which offers the best uncompressed color quality currently
available on video. The 4:4:4 refers to an encoding technique that holds
onto all of the image’s red, green, and blue color data for superior color
fidelity, unlike the traditional 4:2:2 YUV mode, which discards half of the
color data.
It is recommended that the film be transferred as 16:9 anamorphic so that
the conform process will not only be frame-accurate, but also pixelaccurate in the sense that the effects will match the same aspect ratio
(titles, shapes, etc.).
58
•
Audio tapes/data
•
ALE file containing the tape-film source correspondences. An ALE file is
provided along with the tapes to match the original Key Numbers on the
film with the timecode on tape.
The Digital Intermediate Process
To edit and finish your film project in Avid DS Nitris, follow these steps:
You should follow these steps in the order that they are listed. Each time you
link to a topic within a Step, make sure you return to the checklist after you
have completed that procedure. (When viewing this document online, use the
Previous View button in your Help browser or Adobe Reader to return to the
previous link).
;
Step
Refer to this section
†
Determine where your media will be stored.
“Setting up Storage and Media
for Film Projects”
†
Ensure that your workgroup storage areas have been “Configuring your Storage
configured accordingly.
Locations”
†
In Avid DS Nitris, open a project and set the
appropriate project preferences.
“Opening a Film-based
Project”
†
If you are conforming an offline project, use the
EDL/ALE to import your sequence.
“Conforming the Film
Sequence from EDL and
ALE”
†
Edit your sequence.
“Editing in Film Proxy Mode”
†
Recapture the media in full resolution HD format
“Batch Capturing”
with full 4:4:4 RGB color depth. (Avid DS Nitris can
capture an HDCAM tape in either HD 4:4:4 RGB or
HD 4:2:2 YCrCB.)
n
To capture HDCAM RGB 4:4:4, you require
an Avid DS Nitris workstation equipped with
the dual-link card.
†
Add special effects and do the necessary color
correction.
Refer to the Compositing &
Graphics section for relevant
topics.
†
Output your final sequence.
“Outputting Film Sequences”
59
Chapter 3 Using Digital Intermediates for Film-based Projects
Scenario: Using DPX Scans for Film-Originated Projects
To preserve your 2K or 4K film resolution, it is best to have your film scanned
to DPX files. DPX (Digital Picture eXchange) is a bitmap file format used to
store a single motion picture frame to a file.
During the scanning process, metadata is inserted into the DPX file such as
KeyKode and timecode, as well as Tape Name if desired. DPX files played in
a sequential manner can be viewed in real time in Avid DS Nitris under certain
circumstances.
DPX files are unique in many ways. Their color space is RGB, they have more
bit-depth, and they also have the possibility of using log space for representing
a wider dynamic range on the negative. This allows for the use of Look-Up
Tables in the import process. The film house where your film master was
scanned will provide you with an LUT file to use when importing your DPX.
2
Pull list/
EDL/ALE
1
OFFLINE EDITING
FILM
ONLINE EDITING
SCANNER
Film Pull list used to scan only
necessary material to DPX
TELECINE
Avid DS Nitris
Workstation
DPX
(2K, 4K)
Copy DPX files
to storage device
Conform of ALE and EDL
automatically links DPX files
into project sequences
Transfer all material
to low-quality
dub tape
Produce final
ALE, EDL and
film pull list
TAPE
Batch capture
via ALE file
Rough-edit on
Avid Film Composer
or Media Composer
Workstation
During the conform, the workstations need to know where to find the DPX
frames, and whether there was a LUT applied to any set of frames. Once this
has been done, the KeyKode to DPX file relationships allow the conform
process.
60
The Digital Intermediate Process
From the Avid DS timeline, simply select “link to file” and the sequence will
look to the DPX files. You can playback a single stream of 2K or 4K in real
time in the viewer. Using the proxy mode, you can add effects in real time for
multiple streams, and process and view the results in HD 4:2:2.
The optimal workflow when using DPX files is to create your rough cut offline
with an Avid Media Composer or Film Composer system, and then finish
online with Avid DS Nitris.
To scan your source material to DPX files, follow these steps:
Follow these steps in the order that they are listed. Each time you link to a
topic within a Step, come back to the checklist after completing the procedure.
(Use the Previous View button in your Adobe Reader to return to the previous
link).
;
Step
Refer to this section
†
Offline your project in Avid Media Composer or
Film Composer.
“Offline Film Workflow with
Avid Media Composer or Film
Composer”
n
You can also start your project directly in
Avid DS Nitris if you already have all the final
DPX files.
†
Determine where your media will be stored.
“Setting up Storage and Media
for Film Projects”
†
Copy your DPX files to your high-capacity storage.
“Placing your DPX Files on
the Storage Device”
†
Ensure that your workgroup storage areas have been “Configuring your Storage
configured accordingly.
Locations”
†
In Avid DS Nitris, open a project and set the
appropriate project preferences.
“Opening a Film-based
Project”
†
If you are conforming an offline project, use the
EDL/ALE to import your sequence.
“Conforming the Film
Sequence from EDL and
ALE”
†
Link to your DPX files.
“Conforming Sequences that
use DPX Files”
61
Chapter 3 Using Digital Intermediates for Film-based Projects
62
;
Step
Refer to this section
†
If you are using a shared storage, or if you cannot
playback your media in realtime, then capture your
DPX files into Avid DS Nitris.
“Capturing DPX Files”
†
Edit your sequence.
“Editing in Film Proxy Mode”
†
Add special effects and do the necessary color
correction.
“Linearizing Film-Based
Material”, and also the
Compositing & Graphic
section for relevant topics.
†
Output your final sequence.
“Outputting Film Sequences”
Setting up Storage and Media for Film Projects
Setting up Storage and Media for Film Projects
Since film-based media is large and requires high bandwidth and fast disk
access, you should place your digital master on a storage drive that is
connected directly to your workstation. This allows you to view your sequence
in realtime.
Before you begin, plan out your storage solutions carefully:
n
•
For a complete list of storages supported for film-based media, refer to the
Avid DS Support Center web site.
•
“Planning your Storage Locations”, provides different scenarios
depending on whether you are building your project on a single system, or
if you plan on using multiple systems where you may want to share
media.
You can share and store file-based media for offline-to-online production
between Avid systems. Sequences offlined in Avid Media Composer Adrenaline
HD can be previewed directly in Avid DS Nitris using the real-time proxy
resolution (film proxy mode).
Topics
•
Configuring your Storage Locations
•
Placing your DPX Files on the Storage Device
Placing your DPX Files on the Storage Device
Your DPX files should be placed onto a fast, high-capacity storage device
connected to your workstation. This allows you to link to the master and still
get realtime playback in Avid DS Nitris for any DPX files.
n
You can also place your master on a shared storage, such as Avid Unity,
however you will have to capture the file into Avid DS Nitris to get realtime
playback—see “Capturing DPX Files”.
t
Place your DPX files in an appropriate folder under the \VideoStorage
folder on the storage device. For example,
D:\VideoStorage\DPX\Commercial\...
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Chapter 3 Using Digital Intermediates for Film-based Projects
Opening a Film-based Project
Avid DS Nitris offers HD and 2K/4K digital intermediate capabilities,
including a large number of preset sequence types for various film resolutions
and aspect ratio.
To create a film-based project:
1. In the Open Project dialog box that displays when you start
Avid DS Nitris, click the New Project button.
2. In the New Project dialog box, give your project a name.
3. There are a number of film resolutions and apertures that you can choose
from. Select the film format at which your material was scanned or
transferred. Click the Help button to see which film formats are available.
When you select the format, the frame details are set automatically.
64
Opening a Film-based Project
4. Set the Processing Precision to a bit-depth that will give you the best
quality for your processed effects. To preserve the quality of the bit-depth
of 10-bit material, choose 16-bit. For more information on bit depth, see
“About Video Quality” and “About Bit Depth”.
c
Although Avid DS Nitris can support higher bit depths during processing,
the caches may be stored at a lower bit depth depending on your
resolution and color space settings. Note that, using a higher precision bit
depth generates smoother effects during processing, and still produces
better quality output for lower bit depth outputs.
Optionally, you could set the Precision bit depth to the same setting as the
Storage bit-depth. Then, if you want to process a specific effect at a
higher-quality bit depth, you can change the Precision bit depth within the
Processing dialog box.
5. For the Storage Settings:
-
Set the Resolution for capturing/linking video media to Full.
-
Set the Color Space to RGB 4:4:4.
-
Set the Bit Depth to the format at which the film was scanned
(typically 10-bit).
6. Select Use the closest media available, to allow Avid DS Nitris to
display media of mixed resolutions and frame rates in your sequence.
7. For the Audio Settings, set the Sample Rate and Bit Depth at which you
will output your audio media.
8. Leave the Downconversion settings at default.
9. Click OK to save project preferences.
Avid DS Nitris displays the timeline where you can now begin working on
a sequence.
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Chapter 3 Using Digital Intermediates for Film-based Projects
Conforming the Film Sequence from EDL and ALE
Typically, the digital intermediate is created by conforming a sequence via an
EDL into Avid DS Nitris. The EDL and/or ALE files are used to create the
necessary source associations between the original tapes and final digital
master. (The ALE file actually contains the film source to tape source
correspondence.) Hence, there is no need to worry about matching source
timecode or tape names during the transfer since the common denominator is
the KeyKodeTM information on the original camera negative.
When conforming your EDL, you have the choice of logging the events in the
Avid Explorer, recreating the list of events on the timeline, or both. As the files
are logged, the media files are automatically linked in Avid DS Nitris. You can
capture the media at any time from either the Avid Explorer or the timeline.
During the capture process, the HDCAM tape frames or the DPX frames are
transferred to the Avid DS Nitris’ local storage. When the conform is
complete, the clips point automatically point to the HD 4:4:4 media on your
local storage.
Before conforming your EDL, you should check if there are any layers to be
composited. Offline editors often create multiple EDLs because the
convention is to put separate layers into separate EDLs. Any audio or video
events in the list are automatically loaded onto the appropriate tracks.
During the conform process, you can set up the appropriate heads and tails
values for each clip. This is important if you need additional material at the
beginning and end of each clip to do minor changes during the final stage of
the edit. You can also configure the audio channel patching for each tape.
If you recreate your sequence on the timeline, you may want to process a
rough cut and proof it against the original EDL. You can do this by reloading
the rough cut onto a new video track, adding a fade or crop effect to the video
track and processing it, and then playing the sequence to make sure that the
cuts and transitions on the two tracks occur in sync.
If the proofing session is successful, you can then remove the video track you
added and continue to add effects and finishing touches to the original
sequence.
66
Conforming the Film Sequence from EDL and ALE
To open an EDL:
1. In the view switcher, click the EDL button.
2. In the EDL view, click the Load EDL button to load a new EDL.
3. In the Open dialog box, select an EDL. If you know the system from
which the EDL was generated, select the appropriate file type.
4. Click the Open button.
The selected EDL is displayed in the EDL view. The EDL view lets you
import an EDL file produced on any external system, and capture material
based on the edits in that EDL. For more information about the EDL view,
click the Help button or see EDL View.
Conform EDL
Record in-point
67
Chapter 3 Using Digital Intermediates for Film-based Projects
If you selected the wrong file type, you are prompted to convert the file to
the appropriate type.
5. Click the Conform EDL button.
6. In the EDL Conform dialog box, select whether you want to create Logs
and/or Timeline Clips.
7. If your digital master is in DPX file format, select Use Alternate Video
Sources, and see “Conforming Sequences that use DPX Files”.
If your master is in HDCAM-SR tape format, then continue with this
procedure.
8. If all the necessary information is contained in your EDL, click the
Conform button. The clips are logged in the Explorer or on the timeline
for you to capture—see “Batch Capturing”. After the clips are captured,
they automatically point to the HD 4:4:4 media on your local storage.
68
Conforming the Film Sequence from EDL and ALE
Conforming Sequences that use DPX Files
Once you have loaded your EDL (as described in “Conforming the Film
Sequence from EDL and ALE”), you can proceed with the following steps to
link to your DPX files.
1. In the EDL Conform dialog, click on the Configure button.
The Choose Alternate Video Sources dialog displays.
2. In the Image Files Root Folder, enter the path for your DPX files.
Once the folder is selected, it is immediately scanned.
This process scans each DPX file on the video storage, collecting the
metadata that it contains, so that Avid DS Nitris can associate each DPX
file to each “tape” frame referenced in the EDL.
In addition, the appropriate correspondence is made between the DPXtape frames so that the tape name, timecodes and/or key numbers are
retained.
n
When trying to associate the EDL tape frames to the DPX frames, the
following situations may occur:
•
the DPX files contain the tape source information (i.e. tape name and
timecode). In this case a direct association can be made between the DPX
files and the EDL tapes.
•
the DPX files only contain film source info (i.e. key number). In this case,
you must also specify an ALE file to allow Avid DS Nitris to create the
association between the DPX files and the EDL tapes, going through the
ALE film sources.
•
the DPX files only contain timecodes. In this case, the folder in which the
DPX file is located is used as the EDL “tape name”.
After the scan is complete, the source information associated to each
image file is displayed.
If at least one file has a reference to a film source, the ALE File field is
activated.
3. If you are conforming DPX files from a filmhouse (i.e. digitized from a
Telecine), then you will need the corresponding ALE file to associate the
DPX frames to timecodes.
Under ALE File, enter the path where the ALE file is located.
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Chapter 3 Using Digital Intermediates for Film-based Projects
n
In the example shown above, you will notice that there is an * before the name
ROGER. This is to indicate that the folder name is being used as the tape
name.
4. Click the Match with EDL button.
The bottom view will display a mapping of DPX frames to tape and
corresponding timecode.
5. To view any missing/unmatched DPX frames, select Only View Missing
Frames.
70
Conforming the Film Sequence from EDL and ALE
If the bottom view is empty, then all frames in the EDL were found. If not,
locate the necessary DPX files, place them in the same folder, and click
Match with EDL again.
Shows
missing
frames
This process scans each DPX file, collecting the metadata that it contains,
so that the software can associate each DPX file to each “tape” frame
referenced in the EDL. In addition, the appropriate correspondence is
made between the DPX tape frames so that the tape name, timecodes,
and/or key numbers are retained.
6. Click OK to return to the Conform dialog.
7. Click the Conform button.
The log files are created with the appropriate links to the DPX files.
n
Audio is ignored when digitizing DPX files from HDCAM-SR.
If your DPX files are on a storage device connected to your Avid DS Nitris
workstation, you will get realtime playback simply by being linked to the files.
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Chapter 3 Using Digital Intermediates for Film-based Projects
If your files are on a shared storage, such as Avid Unity, you will have to
capture the file into Avid DS Nitris to get realtime playback—see “Capturing
DPX Files”.
72
Capturing DPX Files
Capturing DPX Files
DPX (Digital Picture eXchange) is an industry-standard, SMPTE file format
that is used to transfer film-originated images to a series of digital files (also
called scanned image files). The Cineon image file format is a subset of the
DPX format.
In Avid DS Nitris, the digital intermediate workflow allows you to either
capture (import) or link to your DPX digital master and edit and add effects in
realtime.
Instead of importing the digital master into Avid DS Nitris, you can link
directly to the file on your local storage and still get real-time playback.
Linking to the file also allows you to mix resolutions and frame rates of
different clips on your timeline while keeping the original pixels.
n
If you have linked to the DPX files, they will be real-time for all HD and film
formats if:
•
The DPX files are on your local videostorage, that is large and fast
enough to support high throughput.
•
The format of the DPX files exactly match the format of the current
sequence.
•
The current sequence storage bit-depth is set to 8 or 10.
•
The data in the DPX files are correctly aligned. This should almost always
be the case. If not, the FixDPX utility can fix any misaligned data DPX
files—see “Aligning your DPX Files”.
If you cannot get realtime playback, you can capture (import) the files into
Avid DS Nitris.
To import the DPX files:
1. In the Avid Explorer, navigate to the storage folder where you have your
DPX files.
2. Select the DPX group folder or individual DPX files that you want to
link/capture.
n
The scanned image files, which are consecutively numbered, are usually
included by default in one or more Avid DS Nitris Group folders.
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Chapter 3 Using Digital Intermediates for Film-based Projects
You can capture all the DPX files to a single clip. The tape name and timecode
will be in encrypted in the header of each DPX file.
3. Right-click either on the group folder or the selected files, and select
Capture Settings.
4. In the Capture Settings dialog box, select the settings that apply to the
files to which you want to capture/link, including the following:
n
-
Input Levels: Graphics
-
Pixel Ratio: Auto
Since captured files are brought into Avid DS Nitris at their original
resolutions, there is no need to convert them to the current sequence’s
resolution. This also means that the Media Conversion modes are not
applicable if you link the file.
5. Close the Capture Settings dialog box.
6. Right-click the selected files and select either Link or Capture.
n
If you selected a sequential list of still files of the same type (such as all .jpg or
all .bmp), you are given the choice of combining the files into one master clip
or capturing individual still frames. Choose Yes if you want to combine them.
The DPX Import dialog box displays and the first file (first frame of the
transfer) is displayed in the viewer.
74
Capturing DPX Files
DPX and Cineon files usually store pixel values using a log
representation. To be able to apply effects or simply visualize these
images, a linearization pass using a look-up table (LUT) is usually
preferable. This look-up table can be applied at time of capture, or you
could apply it later directly to the clips on the timeline.
You need to determine what LUT should be used. Your film house should
provide you with the LUT for your digital master. You can import this
LUT, or use a standard LUT provided by Avid DS Nitris. For more
information on creating your own LUT, see “Linearizing Film-Based
Material”.
7. To adjust the color values in the file, you can select one of the following
for LUT Type:
t
If you do not want to apply an LUT at this time, select Linear and
click the Reset button to ensure that Avid DS Nitris takes your color
values exactly the way they are.
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Chapter 3 Using Digital Intermediates for Film-based Projects
t
If you want to apply a specific LUT that was provided with your DPX
file, select From file. From the dialog box that opens, select the .lut
file, and click Open. The name of the selected file will display in the
box beneath.
t
If you want to apply industry-standard LUT settings, select Linear or
Log -> Linear. Avid DS Nitris will apply either a linear
transformation or a log-to-linear transformation. You can then adjust
these values and save them in your own LUT file.
a.
By default, R, G, and B values are locked, even if you adjust one.
If you want to adjust an individual R, G, or B value, clear the box
in the Lock column for the parameter.
b.
Type the new values or use the sliders. The result of the new
values are shown in the viewer and the respective curve displays.
For a linear LUT, you can adjust only the White Point and the Black Point.
For a log LUT, you can also adjust Gamma, Film Gamma, and Softclip.
To return to the default values, click the Reset button.
To save your values in a file, click the Export LUT button. A dialog box
opens for you to name and save your file.
n
The inverse of your LUT is saved as well so that you can use it later when
exporting your DPX file.
8. You can also choose to Import Timecode if you want to preserve the
timecode from the digital master.
When importing a DPX or Cineon file, 24-fps SMPTE timecode may be
included in the clip information. If you import the timecode, the
information is inserted in the header of each frame, and will be read and
saved for later use in Avid DS Nitris.
9. When you are satisfied with your settings, click OK.
As the material is linked/captured, the clip(s) appear in the target bin that
you specified in the Capture Settings. For linked clips, the clip icons are
underlined in red to indicate that no media has actually been captured.
10. Drag the master clips from the Avid Explorer to the timeline to build your
sequence.
76
Capturing DPX Files
Aligning your DPX Files
If Avid DS Nitris gives you a message that your DPX files cannot be read, it
may be due to misaligned sectors in the DPX files. This can easily be
realigned using the FixDPX utility.
To align your DPX files:
n
If the sequence using the DPX files is currently open, exit Avid DS Nitris, or
switch to another project.
1. Click the Start button and select Programs > Avid Products > Avid DS >
Tools > FixDPX.
2. In the FixDPX dialog, click the File... button to browse for a specific file
that you want to fix.
If you want to fix several files, then click the Folder... button to select the
folder name.
3. Click Fix it! to begin.
The FixDPX utility will display a summary of the files that were or were
not fixed.
4. Click Done to exit.
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Chapter 3 Using Digital Intermediates for Film-based Projects
Editing in Film Proxy Mode
When editing the digital intermediate in film resolution sequences, you have a
choice of displaying and processing either in full resolution or real-time proxy
resolution. The proxy is a lower-sized resolution (actually HD resolution) that
still provides excellent visual quality for editing and previewing your sequence
in a video monitor.
With proxy resolution, the correct aspect ratio is preserved in the Avid DS
viewer as well as in the external HD monitor. Even an SD monitor can be used
when working with 23.97, 29.97 and 25-fps sequences. In addition, color
space is automatically taken into account by Avid DS Nitris to make the use of
these proxies as transparent as possible.
To work more quickly and efficiently, you can apply effects in the lower, realtime proxy resolution. In this mode, real-time effects do not need to be
processed. If any effects do require processing, the resulting caches are also
generated in real-time proxy resolution to save disk space.
n
If any effects were previously processed in full resolution, then Avid DS Nitris
will use these caches instead of the proxy 4:2:2 caches.
When in a shared collaborative environment using an Avid Unity, the Avid
DNxHD proxies can easily be shared between Media Composer Adrenaline
HD and Avid DS Nitris systems. Avid DNxHD compression ratios are also
available to you when you use proxy mode. For a description of these ratios,
see “Avid DNxHD Compressions”.
When you are ready to output your final sequence, you can switch back to full
resolution to process your effects. Processing in full resolution has the
advantage of highly accurate processing using 4:4:4 RGB values.
n
When working in full resolution, the results of the processing can only be seen
in the Avid DS Nitris viewer, as the external monitor is disabled.
To set your sequence preferences to work in proxy mode:
1. Select File > Sequence Preferences.
2. Set the Resolution to Real-time Proxy so that you can edit and add effects
in real-time.
78
Editing in Film Proxy Mode
n
Real-time proxy mode is only available on an Avid DS Nitris workstation. On
other Avid DS systems, you can work in Full resolution. This still gives you
real-time playback of your media in the viewer, but not the external monitor.
3. On Avid DS Nitris workstation, you can change the Compression to one
of the Avid DNxHD compression formats.
This will save you space on your storage device while you are editing
your sequence.
4. Set Downconversion of HD/SD output to the appropriate setting so that
you can feed your output to an external monitor and view the results.
In the Avid DS Nitris viewer, the real-time proxy mode compensates for
change in aspect ratio. For the external monitor output, you have the
flexibility to either see a cropped version of the frames, or a centered and
padded version. Internally, Avid DS Nitris still holds the entire frame.
5. Click OK to set the preferences.
6. Perform the necessary edits, color correction, and addition of effects to
your sequence.
n
You can toggle from Proxy to full resolution to create mattes or keys and view
them at the final resolution. Use the button with the green dot above the viewer
to switch modes.
7. Any effects that you apply to your sequence will have to be processed in
full resolution.
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Chapter 3 Using Digital Intermediates for Film-based Projects
Outputting Film Sequences
Avid DS Nitris supports output mastering of film-based projects to any of the
original transfer formats.
When you’ve finalized all your edits, make sure that:
•
your sequence preferences are set to the quality settings (resolution,
compression, bit-depth) required for output.
•
although the maximum bit depth for output is 10-bit, you should process
your sequence at a resolution higher than 10-bit to get the best quality for
your processed effects.
Topics
Outputting DPX Files
Outputting Film Sequences to Tape
Outputting DPX Files
In the case of a film out, it is possible to output a final series of DPX images
for film recorder compatibility with the proper LUT (look up table).
To output a sequence to file:
1. Select View > Single-Instance Views > Output Tool.
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Outputting Film Sequences
2. Select the material to output.
3. Click the To File button.
4. Select the file format to which you want to export (DPX or Cineon if it’s
the final for film mastering).
The Still Image Export dialog box opens.
5. For DPX or Cineon formats only. If you want to apply an LUT to match
the appropriate film settings, select Linear, Lin>Log or use a specific
LUT file. If you don’t want to apply a LUT, then set the LUT Type to
Linear and click the Reset button.
n
If you are using a specific LUT file, the settings should be the opposite of what
was used when you imported the file into Avid DS Nitris. Use the inverted LUT
file that was automatically created when you originally saved your custom
LUT file. Otherwise, click the Invert LUT button.
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Chapter 3 Using Digital Intermediates for Film-based Projects
6. For DPX or Cineon formats only. If you want to save a timecode on each
frame in the file, select Export Timecode, and set the appropriate
timecode start time.
7. Click OK to save the settings.
8. Keep the frame size to the default.
9. For the Output Settings, select the appropriate Codec (if applicable).
10. Select the Preserve Alpha option if the sequence includes an alpha
channel that you want to keep in the output file.
This is useful if you plan to reuse the matte information in future
compositing or graphics projects. Not all file formats support alpha
channels.
11. Click the Output button to begin the export.
12. Select a folder in which to save your material, enter a name for the file,
and click Save.
The material is processed, if necessary, exported to file, and placed in the
selected folder.
13. Close the Output Tool dialog box.
Outputting Film Sequences to Tape
The process for outputting a film sequence to tape is similar to the
conventional output process.
Topics
Preparing for Output
Outputting to Tape
If you would like to use your final master for broadcast or to create tape copies
for distribution, you need to first downconvert your film sequence to HD or
SD—see “Downconverting a Film Sequence to HD or SD Format”.
Downconverting a Film Sequence to HD or SD Format
When working in real-time proxy resolution on Avid Nitris DNA
workstations, the Output Tool lets you downconvert a film sequence into one
of several high-definition (HD) or standard-definition (SD) formats.
82
Outputting Film Sequences
To output to tape in SD or HD:
1. Select View > Single-Instance Views > Output Tool.
2. Select all/portions of the timeline that you want to output.
3. Click the To Tape button.
4. Set the appropriate tape and deck settings.
For more information click the Help button.
5. Click the Downconvert button.
6. Select the required output formats.
The options that are available depend on the current video format. For a
list of the available formats, see “Downconverted Output Formats and
Sync Sources”.
7. Click the Insert button to begin the output process.
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Chapter 3 Using Digital Intermediates for Film-based Projects
84
Chapter 4
Conforming HDV Media
This chapter describes how to do an offline edit with HDV media on an Avid
editing system, such as Avid Media Composer, and how to finally conform an
HDV sequence on an Avid DS workstation.
•
What is HDV Media?
•
Scenario: Conforming an HDV Sequence
Chapter 4 Conforming HDV Media
What is HDV Media?
HDV is a low-cost prosumer format that allows you to record HD video onto
standard DV videocassettes. This is achieved through the use of interframe
compression, where a given frame in the video stream can be composed of
information from adjacent frames. Frames are grouped into a sequence called
a “Group of Pictures,” or GOP. Long-GOP (also known as IPB encoding)
refers to the structure of HDV media.
A GOP contains several different types of compressed frames:
•
I frames, which are compressed frames that do not depend on any frames
around them. I frames anchor the beginning of the GOP.
•
P (predictive) frames and B (bidirectional) frames, which depend on the
frames around them.
Interframe compression is more efficient than frame-based schemes (such as
DV 25), allowing high-bandwidth HD images to be contained on media
designed for standard definition (SD). However, HDV is more difficult to edit
since frames are not independent of one another. Avid provides a workflow
that allows you to edit natively with HDV-compressed video without requiring
a transcode to frame-based media, and without limiting where you make your
cuts.
The Avid editing system uses a technique called long-GOP splicing when
encoding an HDV MPEG-2 sequence for export. For more information, see
“Long-GOP Splicing for HDV Encoding”.
HDV uses MPEG-2 video encoding and MPEG-1 audio encoding. 1080i
records at about 25Mbps and 720p records at about 19Mbps. Sony provides
HDV cameras that record at 1080i/59.94 and 1080i/50. JVC cameras record at
720p/29.97 and 720p/23.976.
In the 1080i formats, the data rate of the video is reduced before compression
by horizontally resizing the video display (raster) from 1920 x 1080 pixels to
1440 x 1080 pixels. In contrast, 720p HDV uses the standard raster size of
1280 x 720. A special resolution, DNxHD-TR (for Thin Raster), improves the
performance of 1080i HDV editing. This resolution matches the 1080i HDV
raster size, reducing artifacts that would come from repeated compressions
when rendering effects and graphics.
86
What is HDV Media?
Long-GOP Splicing for HDV Encoding
The Avid editing system uses a technique called long-GOP splicing when
encoding an HDV MPEG-2 sequence for export. When you export to an HDV
device, the application uses splicing to reconstruct only the edited sections of
the media, such as cut points, transitions, and segments that contain effects.
Other areas of the sequence are copied intact. The result is faster encoding at
higher quality.
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Chapter 4 Conforming HDV Media
Scenario: Conforming an HDV Sequence
After HD material is captured and edited on Avid editing system, it can be
exported to an Avid DS Nitris workstation for the post-production finishing.
The following is a basic workflow for conforming an HDV sequence.
;
Step
Refer to
On an Avid editing system:
†
Create an offline project with the proper frame rate. “Conforming Workflow” in the
Avid Media Composer Help.
Select one of the following Avid project types
depending on the format in which your HDV
camera records:
•
1080i/59.94 HDV
•
1080i/50 HDV
•
720p/29.97 HDV
†
Capture HDV media.
“Capturing and Importing
HDV” in the Avid Media
Composer Help.
†
Build the sequence.
“Conforming Workflow” in the
Avid Media Composer Help.
†
Transcode the media. This step will create new
metadata and media.
“Using the Transcode
Command” in the Avid Media
Composer Help.
Select a video format that is valid for Avid DS
Nitris:
•
DNxHD-TR 145
•
DNxHD 220
•
DNxHD 145
n
88
When offlining your project, transcoding to
DNXHD-TR may lead to much better
performance.
Scenario: Conforming an HDV Sequence
;
Step
Refer to
†
Export as an AFE file so that you can recreate the
newly transcoded sequence on Avid DS Nitris.
“Exporting Frames, Clips, and
Sequences” in the Avid Media
Composer Help.
If you are sharing media, be sure to save it on a
workspace that can be accessed by the Avid DS
Nitris workstation.
Depending on the version of your Avid editing
system, you can also export your sequence through
Avid MediaLog.
On the Avid DS Nitris system:
†
Create a sequence with a frame rate that matches
that of the source tapes and is compatible with the
AFE format.
“Create a Sequence and Master
Clips from an Imported AFE
File” in the Help.
†
Import the AFE file.
“Importing AFE Files” in the
Help.
†
Open the AFE file from the DS Explorer and drag
the sequence or master clips to the timeline.
“Create a Sequence and Master
Clips from an Imported AFE
File” in the Help.
n
†
Avid DS will relink to the HDV media. (This
is the case ONLY for MXF files.)
Also refer to “Sharing Media” in
the Help.
Depending on the number and types of effects, you “AFE Effects Support Table” for
may need to process or recreate effects.
a list of supported effects.
Also refer to the AAF/AFE
Conform Log as you review the
sequence.
†
Finish and output the project.
“Outputting Media” in the Help.
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Chapter 4 Conforming HDV Media
90
Chapter 5
Conforming in an Avid Interplay
Environment
A workgroup that contains different Avid hardware and software applications
is better managed by integrating it into the Avid Interplay environment.
Avid Interplay Access is the component that allows you to manage, search,
and browse captured material, AFE sequences, and AAF files in a shared
storage environment. It must be installed on the Avid DS or the Avid DS
Assist workstation. You can choose to install it on the Avid editing system or
use the Interplay Window, which is a built-in lighter version of the Avid
Interplay Access that allows you to work with clips and sequences in a shared
storage environment. For more information on the Interplay Window, see
“Working with the Interplay Window” in Avid Media Composer Help.
This chapter provides a basic workflow for transferring and conforming media
when Avid DS participates in an Avid Interplay workgroup environment.
•
Scenario: Conforming Projects with Avid DS in an Interplay Environment
Chapter 5 Conforming in an Avid Interplay Environment
Scenario: Conforming Projects with Avid DS in an
Interplay Environment
A typical scenario that would warrant the use of Avid DS in an Interplay
environment is when media is captured by Avid AirSpeed, offlined and edited
on an Avid editing system such as Avid Media Composer, and then finished on
Avid DS. The finished sequence is finally sent to Avid AirSpeed for broadcast
or playback. This last step requires the Avid Interplay Transfer application.
The Avid Interplay Transfer server must be running on the Avid Unity ISIS,
while the Avid Interplay Transfer client must be running on Avid Media
Composer.
This workflow assumes that the Avid Interplay database is set up properly and
that Avid Unity ISIS has been configured with the necessary workspaces. It
also assumes that all required media has been captured or ingested from Avid
AirSpeed, and stored on Avid Unity ISIS so that it is available for offline
editing and finishing.
Finished media sent
out for broadcast
Avid AirSpeed
Media files captured and stored
on Avid Unity ISIS
Avid Media Composer
workstation
Avid DS workstation
Avid DS Media Indexer only
indexes media in the
DS workspace
Avid Interplay Media Indexer
indexes media in the
Interplay and DS workspaces
Avid Unity ISIS
94
Scenario: Conforming Media in an Interplay Environment
You should follow these steps in the order that they are listed. Each time you
link to a topic within a Step, make sure you return to the checklist after you
have completed that procedure. (Use the Previous View button in your Adobe
Reader to return to the previous link).
;
Step
Refer to
†
Configure Avid DS in an Avid Interplay
Environment.
“Setting up Avid DS in an
Interplay Environment”
On the Avid Media Composer system:
†
Offline edit your project.
“Conforming Workflow” in the
Avid Media Composer Help.
†
Consolidate the sequence to the Avid DS
workspace on the Avid Unity ISIS.
“Consolidating a Sequence to an
Avid DS Workspace”
†
Export the AFE sequence to Avid DS
“Exporting the Finished
Sequence to Avid DS”
On the Avid DS system:
†
Import the AFE sequence and finish.
“Opening the AFE and Finishing
the Sequence”
†
Export the AAF sequence to Avid Media
Composer.
“Exporting the AAF Sequence
back to the Avid Editing System”
On the Avid Media Composer system:
†
Import the AAF sequence.
“Importing the AAF in the Avid
Editing System”
†
Send the finished sequence to Avid AirSpeed for
broadcast.
“Sending Media to Avid
AirSpeed”
Subtopics
Setting up Avid DS in an Interplay Environment
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Chapter 5 Conforming in an Avid Interplay Environment
Setting up Avid DS in an Interplay Environment
For successful conforming and transfer of media between the different
workstations, the administrator configuring the hardware and software
components in the Interplay environment must follow these steps.
Each time you link to a topic within a Step, make sure you return to the
checklist after you have completed that procedure. (Use the Previous View
button in your Adobe Reader to return to the previous link).
;
Step
†
On the Avid Unity ISIS system, create a dedicated “Managing Workspaces” in the
Avid DS workspace. This will ensure that the DS
Avid Unity ISIS Help.
media indexer only indexes files that are pertinent
to Avid DS. This includes media consolidated from
other Avid Editors as well as media captured and
processed with Avid DS.
†
Connect to the Avid Unity ISIS system.
“Connecting to the Avid Unity
ISIS Media Network” in the
Avid Unity ISIS Help.
†
Mount the workspace that you created.
“Mounting and Unmounting
Workspaces” in the Avid Unity
ISIS Help.
†
In the dedicated Avid DS workspace, organize your “Sharing MXF Media”
Create one for each of the following media types:
Refer to
•
DS generic audio
•
DS generic video
•
MXF audio (purgeable) — Read Only
•
MXF video (purgeable) — Read Only
•
MXF audio (non-purgeable)
•
MXF video (non-purgeable)
Name each folder appropriately, e.g.
DS_gen_video.
n
94
The NON-purgeable folders do not need to
be on the dedicated DS workspace. As long
as they are indexed by the DS indexer, they
can be stored on another workspace.
Scenario: Conforming Media in an Interplay Environment
;
Step
†
Make sure that the Interplay Media Indexer has
“Configuring a Media Indexer to
been properly configured. It must be set up to index Monitor Shared Storage” in the
the following:
Avid Interplay Software
Installation and Configuration
• //Avid MediaFiles folder in the DS workspace
Guide.
• MXF audio (non-purgeable)
•
Refer to
MXF video (non-purgeable)
†
On Avid AirSpeed, define the destination for the
captured media.
“Send Tab” in the Avid AirSpeed
Help.
†
Install Avid Interplay Access on the Avid DS
workstation.
Avid Interplay Engine and Avid
Interplay Installation Guide.
†
Install Avid Interplay Access on the Avid Media
Composer workstation.
Avid Interplay Engine and Avid
Interplay Installation Guide.
†
Make sure that Avid Interplay Transfer server is
running on a dedicated Transfer server machine.
Avid Interplay Transfer Setup
and User’s Guide.
†
Make sure that Avid Interplay Transfer client is
installed and running on Avid Media Composer.
Avid Interplay Transfer Setup
and User’s Guide.
†
Connect the Avid editing system and the Avid DS
workstation to the Interplay database.
“Connecting to the Interplay
Database” in the Avid Interplay
Access Help.
†
On Avid DS, make sure the DS Indexer has been
properly configured. It must be set up to index the
following:
“Configuring the Avid DS Media
Indexer in an Interplay
Environment”.
•
//Avid MediaFiles folder in the DS workspace
•
DS generic audio folder
•
DS generic video folder
•
DS MXF audio folder
•
DS MXF video folder
Subtopics
Configuring the Avid DS Media Indexer in an Interplay Environment
Related Topics
Purging Media
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Chapter 5 Conforming in an Avid Interplay Environment
Configuring the Avid DS Media Indexer in an Interplay Environment
The storage areas that hold your Avid DS media must be configured within
your Avid DS workstation’s media indexing service. This service will index
only the Avid DS storage areas rather than the entire Avid Unity ISIS storage.
n
By default, the media indexer sets any new storage areas to automatically have
full read/write access by any user on the network. To restrict access to your
media, you can change the share permissions through Windows—see “Sharing
Folders and Setting Permissions”.
To configure your media indexing service:
1. In Avid DS Nitris, select Data Management > Configure Storages.
The Media Storage Configuration - Current Project dialog box displays
the media indexing services that are configured for your workstation.
Your workstation’s
media indexing
service is indicated by
the computer name
2. Select your workstation’s media indexing service, and click the
Change button.
94
Scenario: Conforming Media in an Interplay Environment
The Media Indexing Service dialog box displays.
3. Leave the workstation name as it is and click the Change button.
4. To add a new storage, click the Add button.
If you need to modify or delete a storage, click the Help button for
instructions.
5. The Available Storage Types dialog box, select Avid Media Storage and
click OK.
You will need to add each of the folders that were created on the DS
workspace on the Avid Unity ISIS for the different media types: generic
audio, generic video, MXF audio, MXF video, and non-purgeable MXF
audio and video.
6. Use the Browse (...) button to locate each folder.
For example, \\Unity\allocation\workspace\folder_name.
Do NOT use a drive letter.
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Chapter 5 Conforming in an Avid Interplay Environment
Make sure you select
the correct media type
for each storage folder
7. Select the media type that you will store in this folder.
You will need to repeat steps 7 to 10 for each of the folders until you
specify the information for the last media storage.
For this storage folder
Select these options
DS generic audio
Avid DS generic audio (.wav)
DS generic video
Avid DS generic video (.gen)
MXF audio (purgeable) —
Read Only
MXF audio files (.mxf)
MXF video (purgeable) —
Read Only
MXF video files (.mxf)
MXF audio (non-purgeable)
•
MXF audio files (.mxf)
•
Prevent purge of media on this storage
•
MXF video files (.mxf)
•
Prevent purge of media on this storage
MXF video (non-purgeable)
When you select Prevent purge of media on this storage, then the media
will not be purged when media from other Avid DS projects are purged.
94
Scenario: Conforming Media in an Interplay Environment
8. From the Disk Controller Type list, select the card that is installed in
your workstation.
9. From the Disk Storage Type list, select Avid Unity ISIS.
10. Click OK.
The storage area is added to the Media Storage Configuration list.
Avid DS shared
storage name
Storage areas will
be listed here as
they get added
Each storage area is uniquely identified by the workstation name and
folder on which the media resides. These storages are accessed and
indexed in the order in which they are listed. Use the Move Up or Move
Down buttons to change the order of priority.
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Chapter 5 Conforming in an Avid Interplay Environment
11. Click Close and then OK to return to the Media Storage Configuration Workstation dialog box.
Avid DS shared
storage name
12. Click the Close button to save the configuration for the media indexing
service.
The first time that you configure your storage, the media indexer will need to
index the media on your storage device. This may take a while depending on
the amount of media that is already on your storage.
Consolidating a Sequence to an Avid DS Workspace
After you’ve done the offline editing on the Avid editing system, you must
consolidate the sequence. This step copies only the portions of media files
edited into the sequence and creates new master clips for each clip in the
sequence. The file name extension .new is attached to the master clips, along
with incremental numbering beginning with .01. The sequence is not renamed
but is automatically relinked to the new media files.
Consolidating the finished sequence will also gather any dispersed media and
transfer it from the main Avid Unity worskpace to the Avid DS workspace.
To consolidate the sequence:
1. On the Avid editing system, open the bin and select the finished sequence.
2. From the Clip menu, select Consolidate/Transcode.
94
Scenario: Conforming Media in an Interplay Environment
The Consolidate/Transcode window opens.
3. Do the following:
-
Select the Consolidate option
-
Select Video and audio on the same drives
-
Select the DS Workspace.
4. Click Consolidate.
A progress bar is displayed showing the status of the process.
93
Chapter 5 Conforming in an Avid Interplay Environment
Exporting the Finished Sequence to Avid DS
Avid DS cannot directly open projects from Media Composer or other Avid
editing systems. To use the sequence in Avid DS, you must export it in an
intermediate file format known as AFE.
AFE files are based on the AAF (Advanced Authoring Format) technology
and are designed especially for sharing information among Avid applications.
AFE files let you transfer one or more bins, their contents, and information
about the contents, including master clips, subclips, and sequences.
AFE export
Avid Media Composer
workstation
Interplay
Database
AFE import
Use Avid Interplay Access
to check in
the AFE to the Interplay database
Avid DS
workstation
To export the sequence as an AFE:
1. Select the finished sequence.
2. From the File menu, select Export.
3. In the Export window, navigate to the location where you want to save the
AFE.
4. Select Avid DS for the Export Setting.
5. Click Save.
94
Scenario: Conforming Media in an Interplay Environment
6. Go to File > Export and select the AFE in the Export dialog box.
7. Launch Avid Interplay Access and drag the AFE to the appropriate
destination folder.
8. Click OK. You can enter a comment for the file.
The AFE is now checked in to the Access database.
Opening the AFE and Finishing the Sequence
After you have exported your AFE and media to a location where it can be
accessed by Avid DS, you can import the AFE into your project.
AFE export
Avid Media Composer
workstation
Interplay
Database
AFE import
Use Avid Interplay Access
to check out
the AFE from the Interplay database
Avid DS
workstation
To import the AFE sequence:
1. Open an Avid DS project with the proper frame rate.
2. Launch Avid Interplay Access and navigate to the location of the AFE
file.
3. Right-click the file and select Check out.
4. Click OK.
5. Drag the file from the Avid Interplay Access to the DS Explorer.
6. In the DS Explorer, double-click the AFE to open the bin.
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Chapter 5 Conforming in an Avid Interplay Environment
7. Double-click the bin to display its contents.
Master clips
Sequence
The contents will include master clips, subclips, and sequences.
For a description of Avid editing system icons, see “AAF/AFE List”.
8. Drag the sequence to the first track of the timeline.
Avid DS creates master clips in your project folder, and the sequence
automatically links to the media on your storage device. All cuts, edits,
and effects applied in the Avid editing system are visible on the timeline.
9. You can now finish the sequence in Avid DS.
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Scenario: Conforming Media in an Interplay Environment
Exporting the AAF Sequence back to the Avid Editing System
Once you have finished the sequence, you must export the sequence to the
Avid Media Composer using the Timeline to MC feature. It allows you to
quickly generate an AAF and MXF file of a timeline selection that can be later
imported directly into Avid Media Composer.
All effects applied in Avid DS will automatically be processed during the
export.
AAF import
Avid Media Composer
workstation
Interplay
Database
AAF export
Use Avid Interplay Access
to check in
the AAE to the Interplay database
Avid DS
workstation
To export a Avid DS sequence to the Avid editing system:
1. Select the timeline ribbon of the entire timeline. This way, all video and
audio tracks including any timeline and track effects are included.
Any unprocessed
area in the timeline
will be processed as
the AAF is generated
Timeline ribbon
2. From the NLE toolbar, select Generate > Timeline to MC.
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Chapter 5 Conforming in an Avid Interplay Environment
n
When you export the sequence, the processed media will be stored in the
non-purgeable MXF storage folder. You must have your MXF storage
correctly configured to access this option—see “Configuring Storages for
MXF Files”.
The Timeline to Media Composer Options window is displayed.
3. In the Locations box, do the following:
-
Directory: Browse to the directory where the AAF will be export to
and stored.
If you save it to your project, then it will be archived when archiving
your project.
-
94
Filename: Enter a name for the AAF
Scenario: Conforming Media in an Interplay Environment
-
AAF Export: Browse to the location where you want the AAF to be
exported to and stored.
-
Make sure that the Video Storage and Audio Storage are pointing to
the correct path on the Avid Unity ISIS.
For more information on the options, see “Timeline to MC”.
4. Click OK.
The AAF is displayed in the DS Explorer.
5. Launch Avid Interplay Access.
6. Check in the AAF file by dragging it from the DS Explorer to the
designated folder on Avid Interplay Access
7. Click OK. You can enter a comment for the file.
Importing the AAF in the Avid Editing System
Now you must import the AAF back to Avid Media Composer so that you can
send it to Avid Airspeed.
AAF import
Interplay
Database
AAF export
Use Avid Interplay Access
to check out
the AAE from the Interplay database
Avid Media Composer
workstation
Avid DS
workstation
To import the AAF:
1. On the Avid Media Composer workstation, launch Avid Interplay Access
and navigate to the folder where you checked in the AAF file.
2. Right-click the file, and select Check Out.
93
Chapter 5 Conforming in an Avid Interplay Environment
3. Click OK.
4. Drag the file from Avid Interplay Access to the bin in Avid Media
Composer.
You are now ready to send the media for broadcast.
94
Scenario: Conforming Media in an Interplay Environment
Sending Media to Avid AirSpeed
When sequences are completed and ready for broadcast, they can be sent to
Avid AirSpeed for broadcast.
To send finished sequence to Avid AirSpeed:
1. On the Avid Media Composer, select the finished sequence.
2. Go to Transfer > Send to Playback.
3. Choose the Avid Airspeed device where you want to send the media.
The sequence and associated media files are sent to the Avid Airpseed
device ready for broadcast. A copy of these are also stored on the Avid
Unity ISIS.
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Chapter 5 Conforming in an Avid Interplay Environment
94
Getting Started
This section includes information to help you get started with
Avid DS Nitris.
•
Prerequisites
•
Starting a Project
•
Working on the Desktop
•
Capturing Material
•
Getting Ready to Edit
•
Creating a First Cut
•
Refining the Edit
•
Applying Effects
•
Working with Effects
•
Processing
•
Adding Graphics and 2D Titles
•
Compositing
•
Outputting a Sequence
•
Conforming
112
Prerequisites
The Avid DS Nitris system lets you create broadcast-quality output, incorporating every
possible production element—from full-speed, high-resolution footage, to multimedia
artwork and animation, to computer-generated effects and titling.
n
The Avid DS Nitris documentation describes the features and hardware of all models.
Therefore, your system might not contain certain features and hardware that are covered in
the documentation.
The Getting Started Guide consists of 13 chapters of the basic information you’ll need to get
working in Avid DS Nitris. The following table lists the approximate amount of time needed
to complete each chapter.
Chapter
Time to complete
Chapter 1: Starting a Projectt
15 minutes
Chapter 2: Working on the Desktop
30 minutes
Chapter 3: Capturing Materiall
60 minutes
Chapter 4: Getting Ready to Edit
30 minutes
Chapter 5: Creating a First Cut
45 minutes
Chapter 6: Refining the Edit
30 minutes
Chapter 7: Applying Effects
90 minutes
Chapter 8: Working with Effects
30 minutes
Chapter 9: Processing
15 minutes
Chapter 10: Adding Graphics and 2D Titles
30 minutes
Prerequisites
Chapter
Time to complete
Chapter 11: Compositing
60 minutes
Chapter 12: Outputting a Sequence
20 minutes
Chapter 13: Conforming
45 minutes
Before you begin...
Before using the Avid DS Nitris Getting Started Guide, your Avid DS Nitris system should
be properly configured with the appropriate hardware. You should also have a working
knowledge of your computer and its operating system. You must know how to use the mouse
or pen, standard menus and commands, as well as how to open, save, and close files. If you
need to review these techniques, refer to Windows online help.
Subtopics
Installing the DivX Codec and QuickTime
Installing the DivX Codec and QuickTime
Before you can view or capture the media files for this guide, you will need to install the
DivX codec and Apple QuickTime (if you do not already have them).
•
DivX codec: Install the free standard codec from: www.divx.com/divx/
•
QuickTime: Install the latest version of QuickTime from www.apple.com/quicktime/
Using the Avid DS Training Edition
If you are using the software-only Avid DS Training Edition, you should know that although
it functions just like the software running on Avid DS Nitris systems, there are some notable
exceptions:
114
•
A license or hardware key (dongle) is not needed to run the Avid DS Training Edition.
•
You won’t be able to output to tape or file, nor export OMF, EDL, or AAF files.
•
There are no indexing services.
•
Any archives created within Avid DS Training Edition can only be used on other
Avid DS Training Editions.
•
Archiving is limited to project data (media cannot be included).
•
Remote processing is not available.
Accessing the Media
•
Captured and processed media, sequences, clips, and presets use a different format than
the standard Avid DS Nitris software.
Accessing the Media
The media files that you’ll be using in this guide were installed along with the
Avid DS Nitris software. You can find the media in the C:\Program
Files\Avid\DS_vX\Media_GetStarted folder. In addition, you’ll need a videotape with some
material on it to practice capturing material from tape and outputting to tape.
Logging on to Your Workstation
Before you start Avid DS Nitris, you must log on to your workstation with your Windows
user name and password. Since many users can work on the same workstation at different
times, Windows gives you security and a unique user profile, so as not to conflict with the
settings of other users.
Your Avid DS Nitris environment can be customized. If you set any personal or project
preferences while logged on, Avid DS Nitris saves them to your user profile. The next time
you log on to that workstation, it recalls your previous settings.
To log on to your workstation:
1. When the Welcome to Windows dialog box is displayed, press Ctrl+Alt+Delete.
2. In the Log On to Windows dialog box, enter your user name and password.
3. Click OK.
Once you have logged on to Windows, you can access your applications and files.
Avid DS button
To start Avid DS Nitris, do one of the following:
t
Double-click the Avid DS vX icon on the Windows desktop.
t
Select Start > Programs > Avid Products > Avid DS vX> Avid DS vX.
The Open Project dialog box displays.
115
Prerequisites
Later on, when you have created a project, here’s how you can exit Avid DS Nitris. For now,
do not exit Avid DS Nitris.
To exit Avid DS Nitris, do one of the following:
t
Select File > Exit.
t
Click the X (close) button at the top-right corner of the title bar.
t
Press Alt+F4.
When you exit Avid DS Nitris, any changes that you made to the desktop layout or user
preferences are saved with your user profile and recalled the next time you log on to the
workstation.
Accessing the Help System
Avid DS Nitris comes with a comprehensive help system that contains information on all the
interface elements, as well as task information. If you’re looking for information on a
particular interface element or property page parameter, or need help performing a task, the
online help is the place to look.
The following topics explain how to use the Help system:
•
“Understanding the Help System” on page 117
•
“Finding Information Within Help” on page 119
•
“Printing Help Topics” on page 122
There are two ways to access the Help system:
•
From the Help menu
•
From windows and dialog boxes—see “Getting Context-Sensitive Help” on page 117.
To open the Help system:
t
Select Help > Contents and Index or press F1.
The Help window opens, and the Help splash screen displays.
Related Topics
Getting Context-Sensitive Help
116
Understanding the Help System
Getting Context-Sensitive Help
Help icon or button
Tooltips
Every view, property page,
dialog box, and pop-up menu
contains a Help icon or button
which displays context-sensitive information when
clicked.
Avid DS Nitris uses small pop-ups called tooltips
to display the name of desktop elements when
they have no text label.
Position the pointer over an interface
element, such as an icon, and pause
for a second. A tooltip with the name of
the element appears.
Avid DS Nitris provides you with a quick way to get Help for many views, dialog boxes, and
property pages. Within these context-sensitive topics, you can view specific information
about items, such as options and individual buttons, and link to related topics.
To get help for a view, dialog box, or property page with a Help button:
t
Click the Help button (either a question mark or a button labeled Help, or How To...).
The context-sensitive Help topic is displayed.
Related Topics
Understanding the Help System
Understanding the Help System
The Help system uses the following main display areas:
•
Help topics open in the right area of the Help window—see “Help Topics” on page 118.
•
Buttons for controlling the Help display and for printing Help topics appear in the top
area of the Help window—see “Top Area Buttons” on page 118.
•
Navigation tools (Contents, Index, Search, and Favorites) open in the left area of the
Help window—see “Finding Information Within Help” on page 119.
Once the Help window is open, it behaves in much the same way as most other windows.
You can resize it and reposition it to suit your screen layout and workflow.
117
Prerequisites
Help Topics
The information in the Help is displayed in the right area of the Help window. All topics
have the following items above the main heading:
•
Hierarchy links
These links display the location of the currently displayed topic within its book and
chapter, and let you jump to relevant higher-level topics, including the Main Topics
page.
•
Previous Topic and Next Topic buttons
Use these buttons to browse through the topics in the order in which they appear in the
Contents.
Previous Topic
Next Topic
Hierarchy links
Current topic
The Help system includes task-oriented procedures as well as background and reference
information. At the bottom of many topics are links to related topics.
Showing and Hiding Additional Information
Some Help topics include a link labeled “More Information.” Click this link or the turndown arrow to see conceptual or background information related to the procedure. This
information is displayed with a colored border on top and bottom.
To return to the original display, click the link or arrow again.
Related Topics
Top Area Buttons
Top Area Buttons
The top area of the Help window contains four buttons that allow you to change the Help
display and print Help topics. The following table describes these buttons.
118
Finding Information Within Help
Button
Illustration
Hide/Show
Description
Click the Hide button to hide the navigation area on the left and reduce the
width of the Help window. The button changes to the Show button.
Click the Show button to reveal the navigation area on the left and expand
the width of the Help window. The button changes to the Hide button.
Back and
Forward
These buttons work like the Back and Forward buttons in an Internet
browser, such as Microsoft Internet Explorer. Use the buttons to move
among recently visited topics.
Print
Click this button to print one or more topics—see “Printing Help Topics”
on page 122.
Related Topics
Help Topics
Finding Information Within Help
The left area of the Help window displays the Help system’s main navigation tools within a
tabbed interface.
For more information, see the following topics:
•
Using the Contents Tab
•
Using the Index Tab
•
Using the Search Tab
•
Advanced Search Options
•
Using the Favorites Tab
Using the Contents Tab
The Contents tab displays a complete hierarchical list of all topics in the Help system. You
can expand and collapse the contents to view the logical organization of the Help system.
Click on a topic to display the entry to the right.
119
Prerequisites
Related Topics
Using the Index Tab
Using the Search Tab
Advanced Search Options
Using the Favorites Tab
Using the Index Tab
The Index tab provides an alphabetized list of entries similar to the index of a printed book.
To find an index entry, type the first few letters of a keyword in the text box at the top of the
tab. As you type, the index jumps to the range of entries that correspond to the letters you
have typed.
To view the topic associated with an index entry, either click the index entry and then click
Display, or double-click the entry.
Related Topics
Using the Contents Tab
Using the Search Tab
Advanced Search Options
Using the Favorites Tab
Using the Search Tab
The Search tab lets you search the entire text of the Help system for one or more words and
then lists the topics that include those words. The list of results is ranked, placing the topics
that the Search feature considers most likely to be relevant at the top of the list.
Advanced Search Options
Advanced search options let you control how the Search feature operates. If the Search
feature does not produce useful results for a particular topic, you can often find the specific
information you need by modifying the search.
Search Syntax
The following syntax rules control search queries:
•
120
Searches are not case-sensitive, so you can type your search in uppercase or lowercase
characters.
Finding Information Within Help
•
You can search for any combination of letters (a-z) and numbers (0-9).
•
Punctuation marks, such as period, colon, semicolon, comma, and hyphen are ignored.
•
Search for a literal phrase by using quotation marks.
•
If you are searching for a filename with an extension, you should group the entire string
in double quotes (“filename.ext"). Otherwise, the search will treat the period as an OR
operator.
•
You can use wildcards such as ? or *.
•
You can use Boolean operators of AND, OR, and NOT.
Searching Within Previous Search Results
To narrow down a search that has produced too many results, select Search previous results
to limit a search to the results of the previous search.
Including Similar Words in Searches
By default, searches include words similar to those you have typed. For example, if you type
“light,” the search will also look for occurrences of the word “lights.” You can narrow a
search by deselecting this option.
Searching Topic Titles Only
To limit your search to the words in topic titles only, select Search titles only.
Related Topics
Using the Contents Tab
Using the Index Tab
Using the Favorites Tab
Using the Favorites Tab
The Favorites tab allows you to keep a list of topics you want to access frequently.
To add the currently displayed topic to your list:
t
Click Add.
The topic name appears in the Topics list.
To display a favorite topic, do one of the following:
t
In the Topics list, click the name of the topic, and then click Display.
t
In the Topics list, double-click the name of the topic.
121
Prerequisites
The topic appears in the right area of the Help window.
To remove a topic from the list of favorites:
t
In the Topics list, click the name of the topic, and then click Remove.
Related Topics
Using the Contents Tab
Using the Index Tab
Using the Search Tab
Printing Help Topics
The Help system gives you the option of printing either the currently displayed topic or all of
the topics within the current chapter.
Print button
To print the currently displayed topic:
1. In the top button area, click Print.
2. In the Print Topics dialog box, select Print the selected topic, and then click OK.
3. In the Print dialog box, select any print options you want, and then click Print.
n
The printed version of the topic shows only the text that is currently displayed on screen. If
the topic includes additional information and you want that information to appear in the
printed version, make sure that the additional information appears onscreen.
To print all topics in the current chapter:
1. In the top button area, click Print.
2. In the Print Topics dialog box, select Print the selected heading and all subtopics, and
then click OK.
3. In the Print dialog box, select any print options you want, and then click Print.
n
122
Topics that you print from the Help have limited page layout and formatting features. For a
higher quality version of the information, print from the PDF version of the manuals
included on the Avid DS Nitris Software and Drivers DVD.
Finding Other Resources
Finding Other Resources
The Help is your one-stop source for answers to your questions. There are web links to the
Avid DS community forums, training resources, Customer Service, and the Knowledge
Center.
We’re always looking for ways to provide you with better information. The Support Center
web site has a feedback form, where you can send us requests for more information.
Contacting Avid Customer Support
Avid DS Customer Support offers assistance by phone, email, and the web. You are invited
to send your support requests to any of these channels. For urgent issues that require
immediate assistance, use your local phone support channel.
If you are having trouble using your system:
1. Retry the action, carefully following the instructions given for that task in this guide. It is
especially important to check each step of your workflow.
2. Check the Avid DS Support Center at http://www.softimage.com/avidds for the latest
information that might have become available.
E-mail Support
The e-mail address for Avid DS Customer Support is: [email protected] You can use it
for sending bug reports, usability questions, and avidds.cab audit reports for system analysis.
All e-mails are logged in the support database and assigned a case number. Send one support
request per e-mail.
n
It is mandatory that you include your SID number in the body of your email message for
verification of your maintenance contract and case logging. Otherwise, response will be
delayed.
Web Support
The Avid DS Support Center at http://www.softimage.com/avidds provides quick access to a
wide range of resources from the Avid DS team—online documentation, tutorials, known
limitations and other late-breaking information.
All software and driver updates can be downloaded from the Avid Download Center
http://www.avid.com/support/downloadcenter/index.asp.
123
Prerequisites
Upload Utility
For troubleshooting purposes, you can upload your files for Avid Customer Support
personnel to examine. You can upload a project's archive, media files, or other necessary
data. Simply zip the files that you need to upload and use a short name (for easy retrieval),
such as archive.zip or Case274877.zip.
To upload your files:
1. Go to the Avid web site at http://www.softimage.com/avidds.
2. Select Support and Upload Tool from the left menu.
Avid Community Forum
Although the Avid DS community forum is frequently monitored by Avid employees, it is
not part of the official support channels.
The forum has proven to be quite useful for users, and there is a constant stream of new
subscribers.
To subscribe, join the Avid community forums on the Avid web site at http://www.avid.com.
Select Support > Forums.
Avid Training Services
Avid makes lifelong learning, career advancement, and personal development easy and
convenient. Avid understands that the knowledge that you need to differentiate yourself is
always changing, and Avid continually updates course content and offers new training
delivery methods that accommodate your pressured and competitive work environment.
To learn more about Avid’s new online learning environment, Avid Learning Excellerator
(ALEX), visit http://learn.avid.com.
For information on courses/schedules, training centers, certifications, courseware, and
books, visit www.avid.com/training or call Avid Sales at 800-949-AVID (800-949-2843).
124
Chapter 2
Starting a Project
This chapter introduces you to the Avid DS Nitris post-production process. You will learn
how to create a project in Avid DS Nitris.
This chapter takes approximately 15 minutes to complete.
•
The Digital Post-Production Process
•
Working with Project Files and Media
•
Creating a New Project
Chapter 2 Starting a Project
The Digital Post-Production Process
The Avid DS Nitris system is a digital post-production environment. Once you’ve acquired
your footage in a digital format and put it on a storage device, Avid DS Nitris gives you
complete, random access to the media with instant retrieval of clips and sequences. You also
have quick, nonlinear access to any part of your sequence, as well as the ability to apply a
wide variety of digital effects at any stage of your production.
You can use the different tools and techniques available in Avid DS Nitris to complete your
projects. You can build a production from start to finish, or you can import sequences
“offlined” on other systems and proceed with your finishing tasks in Avid DS Nitris.
After a project is complete, you can archive the media and files, making space for your next
project. If you need to go back and re-edit a project, you can restore it at any time.
The following illustration gives you an overview of the Avid DS Nitris production cycle.
126
The Digital Post-Production Process
2
“Offline” edit
Create a rough cut of clips and
decide on timing of cuts and
transitions.
If offlined externally, load *AAF, AFE,
OMF files or EDLs, and digitize
material from file, tape, or audio.
Redigitize source
material in full,
uncompressed
resolution from file
or tape.
1
3
Capture material
Fine-tune edit
Digitize source material at
low resolution directly from
file or tape.
Fine-tune timing of cuts,
transitions, and other effects.
4
Apply effects
- Create composites.
- Add 2D and 3D effects.
- Mix and sweeten audio.
- Add titles and graphics.
- Perform dust/scratch
removal and color correction.
7
Archive the project
- Archive project and/or media to tape.
- Project and media can be restored at
any time.
Repeat if necessary
5
Process
6
Output media
Output sequence to tape or
file, such as .avi.
Process all effects applied to
clips and create new media
files (source media remains
untouched).
*AAF: Advanced Authoring Format, AFE: Avid File Exchange,
OMF: Open Media Framework, and EDL: Edit Decision List.
127
Chapter 2 Starting a Project
Working with Project Files and Media
It is important to understand how Avid DS Nitris handles your data, so that you can work
efficiently when using large sizes of digitized video and audio files.
When you capture material, the digitized media is placed on an external storage device, and
the project files representing this media are stored in the DS Projects folder on your
workstation’s local disk drive. The project files point Avid DS Nitris to the location of the
corresponding digitized media on the storage device.
Source material
Clips refer to
media on
storage
device.
Captured video and/or audio are
represented as master clips in
Avid DS Nitris.
Subtopics
What is a Project?
128
Actual digitized material
(media) is on storage device.
Working with Project Files and Media
What is a Project?
A project contains all the clips and sequences required for your work in Avid DS Nitris. In
Avid Explorer, which is a file browser similar to Windows Explorer, a project is represented
as a folder that can contain many subfolders to organize all the elements related to your
project.
Projects contain
master clips,
sequences, and any
special presets and/or
scripts you create.
Master clips are
representations of the
digitized source media.
Sequences contain
information about the
edit decisions,
composites, and
effects you’ve applied
to your clips.
Master clips can be
shared between
sequences in the
same project.
A project also links and tracks master clips and sequences with their associated media,
making file management easier.
When you place clips on the timeline to build your sequence, they maintain pointers to the
source media on the storage device. Any edits or effects that you apply to the clips are noted
in the sequence when you save it. Clips, sequences, and presets (a customized set of
properties saved for reuse on other projects) are all considered project files, and must be
stored in the project folder. That way, you can easily archive, restore, and/or purge all files
related to a project.
When you archive a project, a copy of the media is saved to tape or disk and the project files
are saved in the DS Archives folder on your local workstation. With the archived project
files and associated media, you can reconstruct everything in your project when necessary.
129
Chapter 2 Starting a Project
Creating a New Project
As soon as you start Avid DS Nitris, you are prompted to open or create a project and
sequence. When you create a project, you define the format for each sequence that you
create in that particular project.
You can change the video and audio quality settings during the course of your work
according to the amount of storage space available. For example, if you want to conserve
disk space, do a rough cut on material captured at low resolution or in compressed form.
When the sequence is ready for finishing, redigitize the material you need, so you can work
at the quality at which you will be outputting.
n
To change the default location of your project, select Add Project Root and follow the
onscreen prompts.
n
Media Composer comparison: All sequences in a Media Composer project must use the
same format. In Avid DS Nitris, a project can contain sequences with different formats.
To create a project:
1
When you start Avid DS Nitris, the Open Project dialog box displays.
Select the Local Projects Only option at the bottom-left.
2 Click the New Project button.
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Creating a New Project
3 Give your project a name. We named ours My First Project.
4 Select the
NTSC 4/3
video format.
5 Set the
resolution,
bit depth, and
compression for
capturing the
video media.
The frame
details are
usually set
automatically.
6 Set the sample
rate and bit
depth for the
audio media.
8 Save project preferences.
7 Get more information on each
setting in this dialog box.
A new sequence is opened and the Editing layout is
displayed for you to start building a sequence.
9 Select File > Save. In the Save Sequence dialog
box, name it Sequence1 and click OK.
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Chapter 2 Starting a Project
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Chapter 3
Working on the Desktop
In this chapter, you will be familiarizing yourself with some of the basic elements in
Avid DS Nitris, such as the layouts, toolbars, dialog boxes, and menus.
This chapter takes approximately 30 minutes to complete.
•
Restoring the Default Layout
•
Title Bar
•
Layouts
•
Using the Menus
•
Undoing and Redoing Actions
•
Status Bar
•
Accessing the Views
•
Using the Toolbars
•
Dialog Boxes
•
Entering Values
•
Using Keyboard Shortcuts
Chapter 3 Working on the Desktop
Restoring the Default Layout
If your system was previously used by a different user, then you might not be viewing the
default Editing layout. Before you start exploring the Avid DS Nitris desktop, you should
restore the layout to its defaults.
To restore the layout:
1. Select Layout > Restore Default Layout.
A message window displays.
2. Click OK.
3. Close and restart Avid DS Nitris.
In the Open Project dialog box, the name of your project is already highlighted.
4. Select Sequence1 and click the Open Sequence button on the right side of the dialog
box.
Name of last opened
project is highlighted.
Sequences available
in this project.
The layout is restored to its default settings. For more information, see “Layouts” on
page 136 to see how the Editing layout should display.
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Title Bar
Title Bar
The title bar at the top of the Avid DS Nitris window displays the name of the project and
sequence, sequence video format, and buttons for minimizing, maximizing and closing the
application window.
Project name
Sequence name
Sequence settings
Close/exit window
Minimize window
Maximize window
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Chapter 3 Working on the Desktop
Layouts
A layout contains tools for performing specialized tasks. Whether you’re digitizing media,
editing, compositing, painting, or titling, there’s a corresponding layout for the job. The
default layouts in Avid DS Nitris include: Editing, Effects, Graphics, Compositing, and
3D DVE.
n
n
Tip: You can maximize any part of the desktop by selecting the section, for example, the
Timeline or the Viewer, and hitting F12. If you want to maximize the viewer from anywhere
on the desktop, hold down the Ctrl key and press F12.
Media Composer comparison: Layouts are similar to Toolsets and Workspaces in Media
Composer. Layouts contain views; some views are similar to tools, but others are collections
of tools with options for customization.
Layouts are customizable; you can add, remove, reposition, and resize most of the elements
in a layout. You can also create custom layouts from scratch. You can rearrange the views on
the desktop, or add new views and toolbars.
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Layouts
Toolbar contains commonly used tools grouped together to
make certain tasks quicker and easier. All toolbars can be
customized to accommodate your style of working.
Menu bar contains
commands, such as
opening and saving
projects and
sequences, editing
your layouts, and
getting help.
View is an area that contains a
group of tools that are specific to the
tasks you’ll perform in a layout. The
Editing layout below shows the Avid
Explorer view, a file management
tool that is useful when handling files
and editing.
Taskbar is a navigational aid that
lets you move between layouts that
are optimized for particular tasks:
editing, effects, graphics,
compositing, or 3D DVE.
Viewers display the output
of your sequence at the
position indicator. During a
graphics session, they
serve as an area to create
and arrange titles and
graphics objects.
Status bar displays the
timecodes of selected objects
on the timeline, and provides
toolbar, warning, error, and
active command information.
Transport controls
let you preview media
in the viewer or play
sequences that have
been edited on the
timeline.
Timeline is where you place
and edit clips to build a
sequence. It graphically
displays the position of video
and audio clips, transitions, and
effects over time.
View switcher lets you access
different toolsets or views.
Subtopics
Accessing the Default Layouts
Creating a New Layout
Copying Layouts
Saving Layouts
Editing Existing Layouts
Restoring Default Layouts
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Chapter 3 Working on the Desktop
Importing a Layout
Related Topics
Avid Explorer
Using the Menus
Status Bar
The Timeline
Using the Toolbars
Transport Controls
Source and Record Viewers
Accessing the Default Layouts
Switching between the different layouts lets you access tools for particular tasks, such as
editing, creating effects and graphics, compositing, and adding 3D DVE elements. When
you click one of these buttons in the taskbar, its corresponding layout, views, and tools are
displayed.
n
Tip: If you hover over active buttons on the desktop, such as the taskbar or transport
controls, tooltips will appear to help you identify icons and provide keyboard shortcuts.
Editing layout
Taskbar
Effects layout
Graphics layout
Compositing layout
3D DVE layout
Compositing button
Go to Top Timeline button
Editing button
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Layouts
To switch layouts:
1. In the taskbar, click the Compositing button.
The Compositing layout displays. Notice that the timeline and view have changed. You
are now in a nested clip called a composite container clip. You’ll learn more about this
later in “Compositing” on page 277.
n
Some of the layouts can’t be accessed unless a clip is selected on the timeline.
2. Return to the main timeline by clicking the Go to Top Timeline button at the lower end
of the taskbar.
A clip called Composite is created on the B1 background track on the timeline. This clip
was automatically created when you switched to the Compositing layout. Background
tracks are usually used for compositing.
3. Switch back to the Editing layout when you’re done.
Creating a New Layout
You can redesign the default layouts to best suit the tasks that you perform. You can create a
completely new layout from scratch or base your layout on an existing one.
To create a new layout:
1. In the taskbar, switch to the layout on which you want to base your blank one.
2. Select Layout > New Layout > Blank.
3. In the New Layout Name dialog box, enter a name for your layout and click OK.
A new layout button is added to the taskbar.
4. Switch to the new layout by selecting the new layout button in the taskbar.
The new, blank layout is displayed.
5. Select Layout > Edit Layout.
To split the new layout into different sections, right-click and select one of the
following:
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Chapter 3 Working on the Desktop
Split Horizontally to split the layout
horizontally.
Split Vertically to split
the layout vertically.
Split Both Ways to
split the layout
horizontally and
vertically.
6. Drag the split lines to the desired location and click to set the lines in place.
7. To add a view switcher, right-click the desired area of the new layout and select Add
View Switcher.
An empty view switcher is added to your layout.
8. To add a view, toolbar, or property editor, right-click and select Set View and one of the
options from the menu.
In this example, the animation editor is added to the layout. Its button appears in the
view switcher.
9. Continue adding elements to your layout. When you’re done, turn off the Edit Layout
mode by selecting Layout > Edit Layout.
You are prompted to save your layout.
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Layouts
10. Click the Save button.
The changes are stored in your user profile. Each time you start Avid DS Nitris, these
layouts are available.
Copying Layouts
Instead of creating a new, blank layout, it is sometimes more convenient to copy an existing
layout from either the taskbar or the Layout menu, and then modify it to your liking.
To copy a layout from the taskbar:
1. On the taskbar, right-click the button of the layout you want to copy and select Copy
Layout.
2. In the New Layout Name dialog box, enter a name for your layout and click OK.
A copy of the layout is displayed and a button is added to the taskbar.
To copy a layout from the Layout menu:
1. From the Layout menu, select one of the following:
t
New Layout > Copy Layout and select a layout to copy.
t
New Layout > Copy Current Layout.
2. In the New Layout Name dialog box, enter a name for the layout.
A copy of the layout you chose is displayed on the desktop. A button for the layout is
added to the taskbar.
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Chapter 3 Working on the Desktop
Saving Layouts
When you save the changes you made to the layouts, they are stored in your user profile.
Each time you start Avid DS Nitris, these layouts become available.
To save a layout:
1. From the Layout menu, do one of the following:
t
Select Save Layouts.
or
t
Deselect Edit Layout.
A dialog box indicating the modified layouts is displayed.
2. To save changes to the layouts for future sessions, click Save.
Editing Existing Layouts
You can modify existing layouts by adding new tools or views, or resizing areas.
To edit a layout:
1. Use the taskbar to switch to the layout that you want to modify.
2. Select Layout > Edit Layout.
You can now edit your layout.
3. Deselect Layout > Edit Layout again to turn off the Edit Layout mode.
Restoring Default Layouts
If necessary, you can easily remove any modifications that you made to a specific layout by
restoring its default settings. You can only restore the layout that you are currently in. So if
you're in the Editing layout and restore it, only the Editing layout will be reverted to the
default. You could, for example, revert the 3DDVE layout while keeping any customization
for the Editing and Graphics layouts.
To restore a layout:
1. Switch to the layout that you want to restore.
2. Select Layout > Restore Default Layout.
You are prompted to restart Avid DS Nitris.
3. Exit and restart Avid DS Nitris.
The layout is restored to its default settings.
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Layouts
Importing a Layout
You can easily load an existing layout from another user or version of Avid DS Nitris. To use
a personalized layout, you first have to export it before applying the following procedure.
To import a layout:
1. Select Layout > Import/Export Preferences.
2. In the Preference Management dialog box, select the Import Preferences tab.
3. Do one of the following:
-
In the File Name text box, enter the name and location of the layout (preference set)
that you want to import and press Enter.
-
Click Browse. In the Import Preferences file chooser, select a .AvidPrefs file to
import and click OK.
4. Select the layout(s) that you want to import and click the Import button.
You will be prompted to restart Avid DS Nitris when the import is complete. If you
created your own layout, additional buttons appear in the taskbar.
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Chapter 3 Working on the Desktop
Using the Menus
Menus appear in different places to make it easy for you to access commands.
•
n
The menu bar is displayed across the top of the desktop directly below the title bar. The
commands in the menu bar include general operations related to opening and saving
projects, as well as setting project preferences, customizing layouts, and accessing Help.
When you open a menu, you will notice keyboard shortcuts to the right of some commands.
Instead of opening a menu, you can use the keyboard shortcut. For example, to save a
sequence, press Ctrl+S on the keyboard.
Arrows indicate that additional
commands are available.
Keyboard shortcut
•
Pop-up menus are displayed by right-clicking individual elements or specific areas of
the interface, such as the timeline, viewers, or tracks. These menus provide commands
that are specific to the particular interface element you’ve chosen.
Right-click an area of the desktop,
such as the timeline. A pop-up menu
displays with a list of commands that
are related to that area.
Click the Help button for detailed information
on each command on this menu.
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Undoing and Redoing Actions
Undoing and Redoing Actions
To correct errors while you’re working, you can undo and redo most operations. For
example, you can recover the properties of an object that you recently edited by undoing the
commands that you just applied to the object.
You can undo commands as far back as the system memory can recall. This is limited by the
number of undo levels that you have specified in your user preferences, and by the
complexity of the operation you want to undo. An operation, such as purging media from a
project, cannot be undone. For more information, see “User Preferences Dialog Box”.
To undo a command or operation:
t
Select Edit > Undo or press Ctrl+Z.
The command or operation is undone. You can keep using the Undo command until you
recover the desired properties.
To redo a command or operation:
t
Select Edit > Redo or press Ctrl+Y.
The command or operation is redone.
Status Bar
The status bar at the bottom-right of the desktop displays the timecodes of selected objects
on the timeline and provides status, warning, error, toolbar, and active command
information, as well as the global animation controls.
Avid DS Nitris Workgroup Status indicator shows
the workgroup to which your workstation belongs.
Timecode boxes display the timecodes of
selected objects on the timeline.
Hardware Sync Status indicator shows when
external video and audio devices are synced.
Audio Scrubbing
button turns audio
output on/off while
scrubbing timeline.
Viewer button
turns viewer
on/off.
Global animation controls for
recording keyframes and navigating
between keyframes.
Related Topics
Animation Controls (Global in Status Bar)
Timecode Boxes (Timeline Status Bar)
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Chapter 3 Working on the Desktop
Accessing the Views
Views contain groups of tools for creating, managing, and editing media. Clicking a button
on the view switcher at the bottom-center of the desktop lets you switch to the different
toolsets within a layout. In the Editing layout, Avid Explorer is the main view displayed on
the left side of the desktop.
View switcher
Avid Explorer button
To switch views:
1. Click any of the buttons in the view switcher to see each view.
2. Switch back to Avid Explorer view when you’re done.
Subtopics
Customizing the View Switcher
Splitting Views
Combo Views
Customizing the View Switcher
You can customize the view switcher by adding and removing views, as well as
repositioning and resizing the buttons. You can also add a new customized view switcher to
a layout.
To add a view to the view switcher:
1. select Layout > Edit Layout.
2. Right-click the view switcher and select Add View.
An empty button is added to the view switcher.
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Accessing the Views
3. Right-click the area on the desktop where the new view will be located and select
Set View. From the list, select a view, toolbar, or property editor for your new view.
t
To change the button in the view switcher, right-click a button in the view switcher and
select Icon.
4. In the Change Icon dialog box, select an icon.
5. In the Name text box, enter a name for your icon and click OK.
To customize the size and type of buttons in the view switcher:
t
Right-click the view switcher and select Text Buttons, Small Buttons, or Big Buttons.
Text buttons
Small buttons
Big buttons
To reposition the view switcher on the desktop:
t
Right-click the view switcher and select Position:Top, Position:Right,
Position:Bottom, or Position:Left.
The view switcher is repositioned at the top, right, bottom, or left of the view.
To align the buttons:
1. Right-click the view switcher and select Align:Top, Align:Center, or Align:Bottom.
2. Select Layout > Edit Layout to exit the Edit Layout mode.
3. Save your new layout if desired.
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Chapter 3 Working on the Desktop
To remove a view button from the view switcher:
1. Select Layout > Edit Layout.
You are now in Edit Layout mode.
2. On the view switcher, right-click a button and select Remove View.
To hide the view switcher:
1. Select Layout > Edit Layout.
You are now in Edit Layout mode.
2. Right-click the view switcher and select Hide.
3. Select Layout > Edit Layout again to exit the Edit Layout mode.
The view switcher is hidden.
To add a view switcher to a view:
1. Select Layout > Edit Layout.
2. Right-click the area on the desktop where the new view switcher will be located and
select Add View Switcher.
An empty view is added to the layout.
3. Resize the view switcher by dragging the splitter bar to the desired position and click.
To adjust the position of the splitter bar, drag it to a new position.
4. Select Layout > Edit Layout to exit the Edit Layout mode.
5. Save your new layout if desired.
Splitting Views
You can further customize your desktop by splitting a view. You can split views horizontally,
vertically, or in both directions.
To split a view:
1. Select Layout > Edit Layout.
2. In the area that you want to split (boundaries are highlighted in red), right-click and
select one of the following:
148
-
Split Horizontally
-
Split Vertically
-
Split Both Ways
Accessing the Views
Split Horizontally to split the view horizontally.
Split Vertically to split
the view vertically.
Split Both Ways to split
the view horizontally and
vertically.
3. Select Layout > Edit Layout to exit the Edit Layout mode.
You can display a view that’s not part of the current layout by opening it in a floating
window. You can move floating views anywhere on the screen. If you switch layouts before
closing a floating view, the view is hidden until you return to the layout in which you opened
it.
To open a view in a floating window:
t
Select View > Multi-Instance Views > view.
If the view is not part of the current layout, it is displayed in a floating window. When
you select a view that is part of the current layout, the view switcher updates and
displays the tools of the view.
Combo Views
A combo view contains a group of tools for a particular task, such as the Graphics combo
view. Unlike the fixed layouts, you can move the combo views around on the desktop.
To open a combo view:
1. Select View > Default Combo Views > Graphics from the menu bar at the top of the
application.
The Graphics combo view displays.
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Chapter 3 Working on the Desktop
This may be different
than what you see in
your version of
Avid DS Nitris.
It depends on what was
last displayed.
2. Some of the tools in the Graphics combo view are dimmed for the moment. For now,
move the combo view around on the desktop by dragging it by the title bar.
3. Close the combo view by clicking the close (X) button at the top-right corner. Later,
you’ll learn more about the tools in this view—see “Adding Graphics and 2D Titles” on
page 259.
150
Using the Toolbars
Using the Toolbars
The toolbars contain commonly used tools and effects. The buttons on the toolbar let you
activate tools or commands, and apply effects. You’ll see one or more different types of
toolbars in the layouts. The most common type of toolbar looks like this:
NLE Tools toolbar
Click a button to see
additional commands.
Other types of toolbars include the buttons above, beside, and below the viewers.
Toolbars
Subtopics
Closing Toolbars Automatically
Customizing Toolbars
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Chapter 3 Working on the Desktop
Closing Toolbars Automatically
Automatic closing of a toolbar lets you execute commands from any floating toolbar and
then automatically closes the toolbar. This streamlines your desktop.
n
You can only auto-close floating toolbars.
To set a toolbar to close automatically:
t
Right-click a floating toolbar and select Auto-Close Toolbar.
To execute a command on a toolbar:
1. Select a clip, track, region, or node in an Effects Tree, and do one of the following:
t
Drag a preset from the floating toolbar to the timeline or an Effects Tree.
t
Click a preset button on the floating toolbar.
The command is executed and the toolbar is automatically closed.
To reopen a toolbar that closes automatically:
t
n
Select View > Default Toolbar or User Toolbars, or use its keyboard shortcut.
Tip: For quick access to a floating toolbar, assign a keyboard shortcut to it in the Command
Mapping dialog box.
Related Topics
Command Mapping Dialog Box
Customizing Toolbars
Customizing the toolbars lets you personalize a toolbar with your favorite commands. You
can also create a new toolbar and add commands, presets, and scripts to it.
To show/hide the title bar:
t
Right-click a toolbar button and select or deselect Display Title bar.
To customize the look of a toolbar:
t
To change the look of a toolbar, right-click a toolbar button, and select Button Theme >
theme. There are eight different themes.
To manipulate a toolbar:
152
t
To copy a toolbar, right-click a toolbar and select Copy Toolbar.
t
To delete a toolbar, right-click a toolbar and select Delete Toolbar.
Using the Toolbars
To add presets to a toolbar:
Presets let you preserve definitions for effects, transitions, graphics tools, etc. for later use.
The default presets shipped with Avid DS are stored in the \DSPresets folder. Avid DS also
creates a \DSPresets folder within each project folder, which lets you store presets specific to
a particular project.
1. Drag or select a preset(s) from one of the following areas:
-
Avid Explorer or Windows Explorer.
-
A preset button on a toolbar.
-
The preset thumbnail in a property page.
2. Drop the preset(s) on one of the following:
-
An empty area of a toolbar.
Buttons are created for each preset added to the toolbar.
-
A menu button on a toolbar.
Each preset is added to the menu list.
n
Tip: A name is automatically given to the presets you add to a toolbar. To give the preset a
name, press Shift while dropping the preset on a toolbar. In the Save Preset dialog box, type
a name and description.
To display hidden characters in a toolbar:
t
Right-click a button on a toolbar and select Show Hidden Items.
The hidden characters in a toolbar are displayed in red.
Subtopics
Creating New Toolbars
Customizing Toolbar Buttons
Related Topics
Saving Effects
Creating New Toolbars
To create a new toolbar:
1. To create a new toolbar, select Layout > New Toolbar.
2. Type in a name for the toolbar.
3. To add commands to your new toolbar, right-click the toolbar and select Customize
Toolbar.
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Chapter 3 Working on the Desktop
a.
To add commands to the toolbar, select a category from the Command Categories
list.
b.
From the Available Commands list, select a command and drag it to your toolbar.
or
a.
To add a menu button to the toolbar, select Menu Button from the Available
Commands list and drag it to your toolbar. You can add multiple commands to the
menu button.
or
a.
To add a preset to toolbar, open a property editor whose values you want to save as
a preset. Drag the thumbnail from the property editor to a toolbar.
b.
In the Save Preset As dialog box, enter a name for the preset and add any comments.
or
a.
To add a script to a toolbar, select View > Single-Instance Views > Script Editor.
Drag a script from the Script Editor to a toolbar.
Customizing Toolbar Buttons
You can easily customize the size and look of toolbar buttons. To save space on the desktop,
you can display them as long, thin buttons or display them larger for better visibility. You
can also display the buttons in icon or text form, as well as choose from eight different
“themes”.
To customize toolbar buttons:
t
To change the buttons from text to icons or vice versa, right-click a toolbar and select
Button Mode > mode.
t
To change the theme of the buttons, right-click a toolbar and select Button Theme >
theme.
t
To change the size of the buttons, right-click a toolbar and select Button Size > size.
t
To move a button from one toolbar to another, press Shift and drag the button.
t
To copy a button, press Ctrl and drag the button to another toolbar.
t
To delete a button from a toolbar, right-click a button and select Remove Button.
To add a button to a toolbar:
t
154
Drag a button from another toolbar, the transport controls, or the viewer area to the
desired toolbar and do one of the following:
t
Place the button on an empty area of a toolbar.
t
Place the button on a preset list button, which is indicated by a small triangle at the
bottom-right of the button.
Using the Toolbars
The button is highlighted to indicate that you can add it to the list.
To add a button to a toolbar using the Customize Toolbars window:
1. Right-click an empty area of a toolbar and select Customize Toolbars.
2. From the Command Categories, make a selection.
3. From the Available Commands list, select a command and drag it to the toolbar.
To rearrange the items on a menu button:
1. Right-click a menu button (it has a small triangle at the bottom-right) and select
Customize Menu Button.
2. Select an item on the left and use the Move Up, Move Down, and Remove Buttons.
To rearrange toolbar buttons:
1. Right-click the toolbar and select Show Hidden Items to display all the hidden marks
and line separators on the toolbar. This makes it easier to rearrange buttons.
2. Right-click and select Customize Toolbars.
The Customize Toolbars windows is displayed.
3. From the Command Categories, select Toolbar.
4. From the Available Commands, drag any of the following to the toolbar, placing it
where desired:
Option
Description
Menu Button
Creates a button from which you can access a pop-up menu
Menu Separator
Adds a line to the bottom of a pop-up menu. Drag it to a
menu button.
Preset List Button
Creates a button from which you can access all the default
effects
Toolbar Empty Line
Inserts a blank, horizontal space between buttons
Toolbar Group Label
Adds a label for a group of buttons
Toolbar Horizontal Line Separator
Inserts a horizontal line between buttons
Toolbar Horizontal Space Separator
Inserts an empty, horizontal space between buttons
Toolbar Line Break
Inserts a line break in a toolbar
5. When you’re done, right-click the toolbar and deselect Show Hidden Items.
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Chapter 3 Working on the Desktop
Dialog Boxes
A dialog box lets you set options and parameters. When you select a command in Avid DS
Nitris, it often opens a dialog box, requiring you to provide input before the command can be
executed. You cannot proceed with further operations while a dialog box is open.
To open a dialog box:
1. Select File > User Preferences.
To exit without applying
changes, select the
Cancel button or the
close (X) button, or
press the Esc or Alt+F4
keys.
The changes you made
are cancelled and the
dialog box is closed.
To apply any changes you made in
this dialog box, click OK.
2. Keep the dialog box open for the next section on entering values.
Entering Values
The following example serves to illustrate one of several ways to enter numerical values in
text boxes. You can choose the method that is the most convenient for you. There are also
keyboard shortcuts available that let you quickly enter values and timecodes.
To enter values in a text box:
(The following example shows how to set the number of undo levels and the auto-save
frequency.)
1. In the User Preferences dialog box (General property page), click in the Number of
Undo Levels text box.
156
Dialog Boxes
The contents of the text box is highlighted in blue.
2. Type in a new value for the number of times you can undo a task in Avid DS Nitris. The
default is 50 and the maximum is 1000.
3. In the Autosave box, enter a new length of time to automatically save your sequence at
regular intervals.
4. Click the Help button for detailed information on each parameter. You’ll find Help
buttons or Help icons on all dialog boxes and property editors.
5. Click OK to apply the values and close the User Preferences dialog box.
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Chapter 3 Working on the Desktop
Using Keyboard Shortcuts
Keyboard shortcuts let you quickly execute commands and access tools and views using a
key or combination of keys on your keyboard. In Avid DS Nitris, you can define your own
keyboard shortcuts.
To customize keyboard shortcuts:
1 Select File > Command Mapping.
In the Command Mapping dialog box, click
2 the New button.
3 Enter a name for the new template.
A copy of the existing template is created and saved under
the new name. You can customize it to optimize your work.
4 Select an item,
depending on the
shortcut you want
to customize.
5 Select the
command whose
keyboard shortcut
you want to
change. Drag the
command to a key
on the onscreen
keyboard. The key
that you highlight
will be your new
shortcut.
Tip: Press the
Shift, Ctrl, or Alt
keys to use them
in a shortcut.
158
6 Click the Help button for detailed information on keyboard shortcuts.
7 Click OK when you’re done.
Chapter 4
Capturing Material
Capturing material is the process of creating media files from video or audio source
material. This chapter describes how to capture material from different sources, such as
videotape and file.
This chapter takes approximately 60 minutes to complete.
•
Capturing Source Material
•
Configuring the External Device
•
Capturing from Tape
•
Capturing from File
Chapter 4 Capturing Material
Capturing Source Material
Source material is the original, unaltered material from videotapes or digital recordings. This
source material may come from a variety of sources, such as video, audio, animated
sequences, graphics, and still images. When you capture material with Avid DS Nitris, you
digitally transfer the source material to a format and storage disk that Avid DS Nitris can
work with.
During capture, Avid DS Nitris creates media files (in the form of master clips) based on
parameters you set, such as in-points, out-points, and compression. Master clips contain
information about the location of the media on your storage disk, the source data’s tape
name, and the original in and out timecodes. With this information, you can recapture the
material at any time. Master clips also include information about the video format,
resolution, compression, audio format, and so on.
Subtopics
Avid Explorer
Organizing your Project Files
Changing the View Mode
Identifying File Types in a Folder
Avid Explorer
Avid Explorer displays the hierarchical structure of files, folders, and drives on your
workstation. When you select a project folder in Avid Explorer, it displays the related project
files (clips, sequences, effects) in a window. This window is similar to the bin view in other
Avid products like Media Composer and Film Composer.
From Avid Explorer, you can capture clips, as well as organize sequences, clips and effects
within your project.
Avid Explorer (Main) button
To access a bin:
1. Use the view switcher to switch to Avid Explorer if you are in a different view.
2. In the Project panel, double-click your project folder named My First Project. The
contents of the folder are displayed on the right.
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Capturing Source Material
Avid Explorer tools let you control the
content and arrangement of the folders
and windows, and perform tasks.
Windows display the contents of
folders. You can display multiple
windows. When a project is selected,
this window displays master clips,
sequences, and other project files.
Panels display the
contents of your
system in a tree
structure. Each panel
can display one of
three views: My
System, Project, or
Shortcuts.
View modes include large icons, list,
details, thumbnail, and script views.
Folders usually contain source clips and other objects for use in your sequence. At the
moment, the folders are empty because nothing has been captured. Avid Explorer tools let
you navigate through and manage the contents of folders.
The tools at the top of Avid Explorer let you navigate to different folders and change the
display of information in a window.
Show/Hide
Panel 1
Cascade Capture Settings
Show/Hide Panel 2 Tile
Path
Help
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Chapter 4 Capturing Material
Subtopics
Organizing your Project Files
Changing the View Mode
Identifying File Types in a Folder
Related Topics
Avid Explorer Tools
Bin Tools (Top)
Organizing your Project Files
Before capturing any material, you will create additional folders in your project folder to
hold master clips. You may want to create separate folders for your video clips, audio clips,
still images, and even one for custom presets. By organizing your project using a system of
folders, you can locate files quickly and easily.
To create a folder:
1. Make sure your project folder is selected in Avid Explorer.
2. Right-click an empty area of the window on the right and select New > Folder.
A new folder is created within the project folder.
3. Type in a new name and press Enter. We created a folder called Master Clips for storing
the master clips.
4. Continue adding as many folders as you need. You can create additional folders inside
the new folders.
Although it’s not necessary right now, here’s how you can delete any extra folders that are
not needed.
To delete a folder:
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Right-click a folder and select Delete.
Capturing Source Material
Changing the View Mode
In a window, there are several views to help you locate clips for a sequence. The tools at the
bottom of the window let you change the way the contents of the window are displayed. Go
ahead and click any of the icons to see the various views.
Large Icons view displays clips as large icons.
List view displays clips as a list without details.
List lets you select a
customized view.
Details view displays
clips as a list with details.
Script view displays both pictorial
icons and clip information.
Thumbnail view displays clips
with pictorial icons.
Related Topics
Working with Bins
Identifying File Types in a Folder
Avid DS Nitris media files have their own icons, which appear on or beside clips. When an
icon is highlighted in red, it means that Avid DS Nitris could not find any media associated
with a clip. This clip must be recaptured before you can work with it.
Icon
File type
Icon
File type
Audio clip
Background or composite
container clip
Video clip
Sequence
Combined audio and video clip
Still image
Audio container clip
Linked still image
You may find it useful to see the extensions of file names.
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Chapter 4 Capturing Material
To see file name extensions on your system:
1. Open Windows Explorer.
2. Select Tools > Folder Options.
3. Select the View tab.
Deselect this option.
4. Deselect the Hide extensions for known file types option and click OK.
Configuring the External Device
You’ll probably capture material from videotape or audiotape most of time. First, you’ll
need to configure the device from which you will be capturing. To specify the settings for an
external device, such as a videotape recorder (VTR) or deck, you’ll be using the Deck
Configuration view.
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Media Composer comparison: The Deck Configuration view combines the Deck
Configuration and Deck Preference settings.
Avid DS Nitris includes templates for many different types of devices. You can use the
settings in the templates, or adjust them to suit your own requirements.
You can also save the settings for your device as a preset, so that you don’t have to
reconfigure the device each time you use it for capture or output. A preset is a customized
set of properties that you save for reuse later on or for other projects.
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For the following procedure, you will need access to videotape material and a deck.
Configuring the External Device
To configure your tape deck:
1 Open the Deck Configuration view by selecting
View > Multi-Instance Views > Deck Configuration.
2 Click the Fast
Menu button and
select Add New
Deck Preset.
Give the new
preset a name.
3 Select the
Thumbnails view.
4 Double-click the preset you created.
A green checkmark indicates that
it’s active.
6 Click the Help button
for details on each
parameter.
7 Click the Check
Machine button.
5 Set the options
for your device.
8 Click the Save button to
save your deck preset.
9 Close the Deck
Configuration view.
Related Topics
Configuring the External Device
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Chapter 4 Capturing Material
Capturing from Tape
Although there are several ways to capture from tape, you’ll be using the Capture Tool to log
and capture clips, so that you can later recapture them using frame-accurate timecode.
To log and capture clips:
1 Open the Capture view by selecting View > Single-Instance Views > Capture Tool.
2 Click the Tape button.
3 Set the Log/Capture button to Capture.
4 Select your deck
preset and click
the Check button.
5
7 Enter number of extra
frames to record before
the in-point and after the
out-point.
Select a tape or
name a new one.
6 Click the Target
button and select a
folder to hold the
captured clips. If you
created a folder for
master clips, set this
as the target folder.
9
Enter a base clip
name to prefix all
captured clips.
The capture settings
are displayed. Set the
relevant options for
your system. Do the
same for the other four
settings:
Specify a storage
location.
Input
Monitor
166
Select the channels you
want to capture.
10 Click the Capture
Settings button.
11 Set a compression
level.
12
8
Audio
Input
Video
Input
Sync
Source
Capturing from Tape
13 On the transport controls in the Capture Tool, click the Play button to play the source material.
Mark In
In timecode
Out timecode
Play
Duration
timecode
Mark Out
Position indicator
timecode
14 Click the Mark In button at the point at which you want to start the capture.
The timecode of the in-point you selected is displayed in the In timecode box.
15 Use the transport controls in the Capture Tool to play or shuttle the tape to advance to the point
at which you want to end the capture and click the Mark Out button.
Tip: If you already know the in and out timecodes, you can type them in the In or Out timecode
boxes. You can also enter a value for the duration and Avid DS Nitris will calculate the
out-point, which is displayed in the Out timecode box. The Duration timecode box displays
the length of material to be captured.
16 Click the Start Capture button in the upper-right corner of the Capture Tool.
The clip appears in the folder you specified, according to the in and out times you set.
Continue to capture clips.
17 In the Project panel of Avid Explorer, double-click your project name. A bin opens and displays
its contents.
18 Double-click a clip in the bin. Click the Play button under the Source viewer (left side).
The clip plays in the viewer, but is not loaded on the timeline.
19 Close the Capture Tool.
Related Topics
Logging and Capturing Material
Capture Tool
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Chapter 4 Capturing Material
Capturing from File
Avid DS Nitris lets you capture various file formats. Besides video, you can capture still and
animated graphics files, and audio files. To capture from file, you will be using Avid
Explorer in Avid DS Nitris.
Logging and capturing from file is like capturing material from tape. That is, you can log the
material without capturing, or log and capture at the same time. Logging creates information
about the source material and in/out timecodes in a clip, so that you can perform a batch
capture later on. Before you capture the files, you’ll need to specify the capture settings.
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Capturing from File
To log and capture from file:
1 At the top of Avid Explorer, click the Capture Settings button.
Media Composer
comparison: The
Capture Settings view
is similar to Import
Options. There is no
Import or Batch Import
dialog box.
2 Set the video quality at
which you want to
capture material. You
can choose a lower
resolution, or use
compression to save
space on your storage
device while you do a
rough cut.
3 Click the Help button for
more information on each
parameter.
4 Select the storage folder for
the media.
5 Keep the default setting for
the audio quality.
6 Select the storage folder for
the audio media.
7 Click the browse button
(it has three dots) to select a
folder to hold the master
clips. We selected the
Master Clips folder we
created earlier.
8 Keep the default conversion
settings.
9
Keep the default settings for
the source files.
10 Close the Capture Settings
view.
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Chapter 4 Capturing Material
After choosing your setup, go to Avid Explorer to capture the files.
11 In Avid Explorer, both Show/Hide Panel buttons should be highlighted. If
they’re not, click both to make sure the two panels are displayed.
12 Click the arrow next to
the first Show/Hide Panel
button and select My
System.
The panel updates to
display the folders on
your system.
13 Click the arrow next to the second Show/Hide Panel button and set the second
panel to Project.
The Project panel updates to display the folders for the factory presets and the
project folder.
14 Select your project folder to open the project bin
15 Type the following in the Address line: C:\Program Files\Avid\DS_vX\Media_GetStarted.
Make sure to type in the exact path.
The contents of the
folder is displayed.
16 Click the Details button to see the details of the files.
17 Press Ctrl and select these file types: PICT images (.pic files), QuickTime movies (.mov files), .avi
files and TIFF images (.tif files). Do not select the MXF folder or the Avid File Exchange (.afe) file.
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Capturing from File
18 Right-click one of the selected files and select Capture.
A progress bar appears to show you the status of the capture. Captured files
are placed in the folder you specified in the Capture Settings view.
19 Repeat step 16 and capture the .wav file.
20 In the Project panel, click the name of your project: My First Project. Then click
the folder that you created for the master clips.
The clips you captured are displayed in the bin.
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Chapter 4 Capturing Material
172
Chapter 5
Getting Ready to Edit
Before starting an editing session, it’s important to understand how to organize and
manipulate your clips.
This chapter takes approximately 30 minutes to complete.
•
Editing Layout
•
Previewing Clips
Chapter 5 Getting Ready to Edit
Editing Layout
The Editing layout is where you perform most editing tasks. Once you place clips on the
timeline, you can apply transitions and effects, trim, move, slide, slip, and synchronize clips.
The Editing layout consists of the Source and Record viewers, transport controls, timeline,
NLE Tools toolbar, and timeline navigation bar. The buttons in the view switcher let you
access Avid Explorer and several other views that are handy in the Editing layout.
Editing button
To access the Editing layout:
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174
If you are not in the Editing layout, click the Editing button in the taskbar.
Editing Layout
NLE Tools toolbar lets you perform general editing tasks, apply
transitions and effects, find and add locators, navigate the timeline,
work with container clips and reference clips, and process and
purge material from the timeline.
Taskbar lets you switch
between layouts.
Avid Explorer lets you explore and
organize clips, sequences, and custom
effects.
Transport controls let you mark in/out-points,
add locators, and control playback of sequences.
Source Viewer
displays the current
source clip.
Record Viewer displays the
frame of the sequence at the
position indicator.
Timeline lets you build
and edit a sequence.
Timeline navigation bar lets you pan the timeline,
zoom in and out on the timeline, step into and out of
container clips, switch between the Source and Record
timelines, select Source/Record, Color Correction,
Trim, or Slip/Slide modes.
Status bar displays the timecode of
selected objects on the timeline and
provides status, warning, error, toolbar,
and active command information, as
well as the global animation controls.
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Chapter 5 Getting Ready to Edit
Related Topics
Working with the Avid Explorer
Source and Record Viewers
Timeline
Transport Controls
Timeline Navigation Bar
Status Bar
Accessing the Default Layouts
NLE Tools Toolbar
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Previewing Clips
Previewing Clips
The Source viewer lets you view and mark source clips before including them in your
sequence. With a clip loaded in the Source viewer, you can review the clip to find and mark
footage for use in your sequence. You can move through the clip using the navigation keys
on the keyboard or use the transport controls below the Source viewer.
n
n
If you have not yet captured the clips needed for the lessons, see Capturing from File.
Media Composer comparison: If you are using the Media Composer keyboard template, you
will not be able to move the video and audio separately. You must break the sync lock by
pressing the Editing > Sync Lock button on the NLE Tools toolbar.
To preview clips:
1. Drag the Man_Front clip from the bin to the Source viewer (left).
2. Drag the green position indicator under the Source viewer back and forth to preview the
clip.
Position indicator
3. Press Enter to begin playing the clip.
4. Press Enter again to stop playback.
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Tip: Go to the start of the clip or sequence by pressing the Home key.
You can use the Home, End, and arrow keys on the keyboard to move through footage when
a clip is loaded in a viewer.
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Chapter 5 Getting Ready to Edit
Press this key
To
Home
Go the beginning of a clip or sequence.
End
Go to the end of a sequence.
Left Arrow
Move the footage one frame backward.
Right Arrow
Move the footage one frame forward.
Use the Step buttons under the viewer to play the clip backward or forward in 1-frame or 10frame increments.
1 frame backward
1 frame forward
10 frames backward
10 frames forward
Related Topics
Transport Controls
Using J-K-L Keys for Three-Button Play
The J-K-L keys on the keyboard let you play, step, and shuttle through footage at varying
speeds. This feature, also referred to as three-button or variable-speed play, lets you use
three fingers to manipulate the speed of playback for greater control.
To shuttle through footage using the J-K-L keys:
1. Use the following keys to shuttle at varying speeds:
-
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Press the L key to move forward through the footage at normal speed.
Press the L
key
To play footage at
NTSC rate
PAL rate
24p rate
2 times
2x normal speed
60 fps
50 fps
48 fps
3 times
3x normal speed
90 fps
75 fps
72 fps
4 times
5x normal speed
150 fps
125 fps
120 fps
5 times
8x normal speed
240 fps
200 fps
192 fps
-
Press the J key to move backward at the same shuttle speed increments as the L key.
-
Hold down the K+L keys for slow forward.
Previewing Clips
-
Hold down the J+K keys for slow backward.
2. To stop shuttling, press the space bar.
Marking In and Out-Points in the Source Viewer
Marking the in and out-points of clips in the Source viewer gives you several advantages:
•
You can play back and mark clips in the bin before loading a single clip, saving several
steps.
•
You can quickly build a sequence by splicing the marked clips into place one after
another.
•
You can use the process of rough-cut or storyboard editing, which allows you to
instantly splice several prepared clips into a sequence—see “Placing Multiple Clips on
the Timeline”.
Even if your marks are not accurate now, you can later trim the edit points and fine-tune the
sequence on the timeline.
Use the transport controls under the Source viewer to mark your clips:
Position bar In-point
Out-point
In
timecode
Mark In
Out
timecode
Mark Out
Position indicator (green)
Duration
timecode
Position
timecode
To mark a clip for use in your sequence:
1. Move the green position indicator under the Source viewer to the desired in-point.
2. Click the Mark In button.
3. An alternate method to move the position indicator to the desired out-point is by
entering the timecode in the P (position) timecode box.
4. Click the Mark Out button.
An in-point and out-point appear in the position bar. If you need to adjust these points,
simply drag them to a new location.
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Chapter 5 Getting Ready to Edit
Creating Subclips
Subclips break up longer master clips into smaller segments of selected footage. When you
mark footage with in and out-points, you can either save over the existing clip along with the
new marks, or you can create new subclips between the in and out-points that you set. The
master clip maintains its original in and out-points.
Unlike master clips, subclips do not directly reference the original media. Subclips remain
linked to the master clips from which they were created.
Instead of placing the marked clip on the timeline, you can first create a subclip from it. This
leaves the original length of the master clip untouched, while a copy of the original clip with
new in and out-points is saved.
Update Thumbnail
Create Subclip
Create Subclip button
To create a subclip:
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Tip: Before creating a subclip, you may want to place the subclip you’re about to create in a
different file window. To do this, click the Capture Settings button in Avid Explorer toolbar.
In the Capture Settings dialog box, change the Capture Target (Media Capture section)
settings.
1. After you’ve previewed a clip in the Source viewer and marked the in and out-points,
click the Create Subclip button.
2. In the Create Subclip dialog box, type a name for the subclip.
n
You can use the default name, which is the original clip name appended with a number, such
as Man_Front - 001.
3. Click OK.
The new clip is created and saved in the same folder as the original clip.
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Previewing Clips
Related Topics
Media Capture Settings
Changing the Thumbnail of a Clip
It is easier to identify clips in Avid Explorer if you set the thumbnail to display a particular
frame in that clip.
Thumbnails
Update Thumbnail button
To change a clip’s thumbnail frame in the bin:
1. At the bottom of the bin in Avid Explorer, click the Thumbnails button to display your
files as thumbnails.
2. Move the green position indicator to the frame you want to display as the thumbnail
frame.
3. Under the Source viewer, click the Update Thumbnail button to change the thumbnail
frame of the clip.
The thumbnail view of the master clip in the bin updates.
4. Save your sequence. Select File > Save.
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Chapter 5 Getting Ready to Edit
182
Chapter 6
Creating a First Cut
There are several ways to build a sequence. This chapter describes how to place clips on the
timeline to create a sequence.
This chapter takes approximately 45 minutes to complete.
•
The Timeline
•
Working with Tracks
•
Navigating the Timeline
•
Selecting Objects on the Timeline
•
Placing Clips on the Timeline
Chapter 6 Creating a First Cut
The Timeline
The timeline is where you place and edit clips to build your sequence. The timeline displays
all the elements that make up your sequence, such as video and audio clips, transitions, and
effects.
In-point indicates the
starting point when adding
clips to a sequence.
Clip indicates the
location of a clip in the
sequence.
Out-point indicates the
ending point when adding
clips to a sequence.
Timeline ribbon
displays locators,
in/out-points, and
loop markers.
Activeness bar
indicates the
sections of the clip
that will be used in
the final sequence.
Tracks contain the
components of the
sequence.
Edit point lets you
trim the clip.
Position indicator
(blue) shows your
place in the sequence.
Timeline navigation bar lets you pan the timeline, zoom in
and out on the timeline, step into and out of container clips,
switch between the Source and Record timelines, and select
modes (Source/Record, Color Correction, Trim, or Slip/Slide).
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Media Composer comparison: The concept of activeness is unique to Avid DS Nitris.
Activeness refers to the sections of a clip used in the final sequence. Active frames are
indicated by an activeness bar below a clip.
Related Topics
Timeline
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Working with Tracks
Working with Tracks
There are three types of tracks on the timeline:
•
Audio tracks contain the audio clips and audio container clips of a sequence.
•
Video tracks contain the video clips and container clips that are composited over clips
on the video and background tracks.
•
Background tracks contain the video clips and background/composite container clips
of a sequence.
Timeline controls
Overview area: The white bar (called visible time
span) can be shortened, lengthened, or moved.
Ruler
Timeline ribbon
Timeline effect track
Track
selector
Track
button
Audio track
Video track
Background track
While working with multiple tracks, you can use the Track selector to select, manipulate,
delete, ripple, and patch tracks, as well as scroll and adjust the heights of tracks. You can use
multiple tracks to layer audio effects and sound, or to add video titles and other effects.
n
Media Composer comparison: The ripple feature is unique to Avid DS Nitris. You’ll learn
more about it later on when trimming clips.
You can change track properties, such as the track name or the level of detail at which the
clips are displayed on a track. By default, tracks are numbered sequentially (V1, V2, A1, A2,
and so on) as they are created on the timeline.
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Chapter 6 Creating a First Cut
To show or hide the Track selector:
1. Right-click the overview area and select Display > Display Control Area.
The Track selector is hidden.
2. Make sure to turn the display of the Track selector back on.
Subtopics
Selecting Tracks and Regions of Tracks
Adding, Reordering and Deleting Tracks
Setting the Track Height
Muting Audio and Video Tracks
Setting Tracks to Solo
Related Topics
Track Selector
Selecting Tracks and Regions of Tracks
You can select one or more tracks at the same time. When you select a track, you can
perform editing operations on the entire track. For example, you can select two tracks and
apply a track-based effect by clicking Video Effect from the NLE Tools toolbar and
choosing an effect from the pop-up menu. This effect will be applied over all the clips on the
selected tracks. When you select a region, you can apply edits to a portion of a track.
Track button
To select a track:
t
Click the Track button of a track.
The Track button for the selected track is highlighted.
To deselect a track:
t
Click the Track button of a selected track.
The unselected track button is dimmed.
To select a region on a single track:
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186
On a video or audio track, drag right or left to select a region.
Working with Tracks
Selected region is highlighted
To select a region on multiple tracks:
1. Drag over a section of the track to select a region.
2. Hold down the Ctrl key and click another track.
The region is highlighted on all selected tracks.
Adding, Reordering and Deleting Tracks
You can add any number of audio, video, or background tracks to the timeline. Video tracks
are grouped at the top of the timeline, and audio tracks are grouped at the bottom of the
timeline. Background tracks are inserted between the audio and video tracks.
You can change the order of the video, audio, and background tracks. You cannot, however,
place a video track below a background track. Also, you can delete any tracks that are no
longer required in the sequence.
To insert a track on the timeline:
t
Right-click the overview area and select Create Video Track, Create Background
Track, or Create Audio Track.
An empty track is added to the timeline.
n
Tip: You can automatically insert a track when dragging a clip from the viewer or Avid
Explorer to the timeline. Simply drag the clip to the timeline ribbon.
Timeline ribbon
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Chapter 6 Creating a First Cut
Track button
To reorder tracks:
t
Drag one Track button over another Track button.
To remove a track from the timeline:
t
Right-click an empty area of a track and select Delete Track.
The selected track is deleted from the timeline.
Setting the Track Height
You can enlarge or reduce the height of the tracks to improve visibility and display more
information within the tracks. You can reduce the track height if you need more space on the
timeline to view other tracks. Increasing the height of the video tracks lets you see larger
thumbnails of your clips.
n
Reducing the track height may hide any effects you have applied on the timeline.
To enlarge or reduce the height of tracks:
t
Press Ctrl and drag the bottom of a Track button to change the height of the track.
Place pointer here
Muting Audio and Video Tracks
If there are several tracks on the timeline and you need to exclude clips from the preview,
you can turn off the audio on selected audio tracks or turn off the video on a selected video
track. When the sequence is played, any video or audio on the tracks that are ‘muted’ are not
displayed or heard.
The settings of the Mute and Solo buttons on each track are saved along with the sequence.
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188
Muted tracks do not contribute to the final sequence.
Working with Tracks
Mute
button
To mute a track:
t
Click the Mute button on an audio track to turn off the audio.
t
Click the Mute button on a video track to turn off the video.
The Mute button turns red.
Setting Tracks to Solo
When you solo a track, it plays the contents of that track during the preview. Both active and
inactive video clips are displayed in the viewer. With video, you can only solo one track at a
time. With audio, however, you can solo more than one track. Any tracks that do not have the
Solo button activated are not displayed or heard.
Solo button
To solo a track:
t
Click the Solo button of the tracks that you want to preview.
The Solo button turns green.
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Chapter 6 Creating a First Cut
Navigating the Timeline
The timeline has various controls to quickly move through a sequence and adjust your view
of the tracks while editing. The position indicator (the vertical blue line) in the timeline
shows your place in the sequence. Also, the Record viewer displays the frame of the
sequence on which the position indicator is parked.
Selection Mode button
To view the timecode of a clip:
1. To select items on the timeline, you must be in Selection mode.
Click the Selection Mode button just above the status bar. The button should be
highlighted.
2. Drag the Composite clip towards the right on the timeline. Let go of the clip.
The Start and End timecodes boxes on the status bar update.
Position indicator
End
Start
Duration
In timecode
Out timecode
Duration between
in and out
3. Right-click the Track button of the background track (B1) and select Delete Track.
Track button
Subtopics
Using the Scale and Scroll Bars
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Navigating the Timeline
Using the Scale and Scroll Bars
Depending on the length of your sequence, you might not be able to see the entire sequence
on your timeline. Using the scale and scroll bars at the bottom of the timeline, you can pan
the timeline, or zoom in and out to view the entire timeline.
To scale or scroll the timeline:
1 Drag the scale bar to zoom in and
out around the position indicator on
the timeline.
2 Click the arrows or drag the timeline scroll bar to
pan back and forth along the timeline.
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Chapter 6 Creating a First Cut
Selecting Objects on the Timeline
By selecting objects on the timeline, you can move clips to different tracks, view the
properties of a clip, and select a region of a track. The objects you can select include: clips,
effect bars, edit points, regions, markers, and more. But before you can select anything from
the timeline, you must be in Selection mode. If you’re not already in Selection mode, make
sure to turn it on now.
To turn on the Selection mode:
t
Click the Selection Mode button on the timeline navigation bar.
The button is highlighted to indicate that you’re in Selection mode.
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Placing Clips on the Timeline
Placing Clips on the Timeline
You can build a rough cut of your sequence by dragging, inserting, overwriting, and
replacing clips on the timeline. You can only place video clips on video or background
tracks, and audio clips on audio tracks.
Subtopics
Dragging and Dropping Clips
Inserting Clips
Overwriting Clips
Replacing Clips
Related Topics
Workflow: Working with Sequences
Dragging and Dropping Clips
An easy way to place create a rough cut of your sequence is to simply drag clips from the
Source viewer and drop them on an open area in a track on the timeline. If you drop a clip on
the ribbon area, a new track is automatically created to accommodate the clip.
n
If you have not yet captured the clips needed for the lessons, see “Capturing from File”.
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Chapter 6 Creating a First Cut
To drag and drop a clip to the timeline:
1 From Avid Explorer, select the Basket clip and drag it to the Source viewer for
previewing.
2 Mark appropriate in-point and out-points on the clip.
3 Drag the Basket clip from the Source viewer to the V1 video track on the timeline,
and drop it at the beginning of the timeline.
Name of clip
Activeness bar
Edit point
4 Repeat steps 1 to 3 using the Smell clip. Place the Smell clip beside the Basket
clip on the timeline.
5
From the Most Recently Used Items list in the upper-left corner of the Source viewer,
select the Man_Front clip. The clip is displayed in the Source viewer. Mark the in and
out-points and then place the clip on the timeline.
Most Recently-Used Items list
Recent clips
Visible time span (white area)
6
194
Drag the right edge of the visible time span
towards the right to display more of the
timeline.
Placing Clips on the Timeline
Inserting Clips
You can also insert clips on the timeline between other clips. When you insert clips, it
pushes forward any existing clips on the timeline.
n
If you have not yet captured the clips needed for the lessons, see Capturing from File.
Insert Clip button
To insert a clip:
1. Make sure that none of the clips are selected. If one or more clips are selected, a red
border surrounds each clip. Click an empty area of the track to deselect clips on the
video track.
2. Drag the Wake-Up clip to the Source viewer.
3. On the timeline, place the pointer over the ruler and drag the position indicator over the
Smell clip.
4. Using the transport controls under the Record viewer (right), click the Mark In button or
press I to set an in-point.
An in-point maker is displayed on the timeline ribbon.
5. On the transport controls, click the yellow Insert Clip button.
The Wake_Up clip is inserted on the timeline at the location of the in-point marker.
n
Tip: Adjust the visible time span or use the scale and scroll bars at the bottom of the desktop
to adjust your view of the clips on the video track.
Inserted clip
n
In-point
Tip: To undo an insert or any other operation, press Ctrl+Z.
The main Ripple button is deactivated by default. For more information, see “Rippling
Clips”.
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Chapter 6 Creating a First Cut
Overwriting Clips
You can place a clip on the timeline and overwrite a portion of an existing clip on the
timeline using the Overwrite Clip button. This method is more precise than dragging and
dropping clips on the timeline.
Overwrite Clip button
To overwrite a clip on the timeline:
1. On the timeline, drag the in-point marker to the middle of the Man_Front clip.
2. Click the red Overwrite Clip button to place the clip at the in-point and overwrite any
existing clips over the section that it covers.
A section of the Man_Front clip is overwritten by the Wake-Up clip.
In-point
Wake-Up clip
overwrites a portion of
the Man_Front clip.
Replacing Clips
Replacing is a way to place a clip on the timeline and delete a selected clip at the same time.
Replace Clip button
To replace a clip on the timeline:
1. Drag the Clouds clip to the Source viewer.
2. On the timeline, select the first Wake-Up clip.
A red border surrounds the clip.
3. Click the blue Replace Clip button to overwrite the selected clip with the one that is
currently in the Source viewer.
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Placing Clips on the Timeline
A gap is left because the Clouds clip is
shorter than the clip it replaced.
Clouds clip replaces Wake-Up clip.
4. Delete the Wake-Up clip as it is not needed.
5. Select File > Save to save your sequence.
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Chapter 6 Creating a First Cut
198
Chapter 7
Refining the Edit
After you create a rough sequence on the timeline, you can refine your edits to sharpen the
look and improve the relationship between pictures and sound. This chapter describes how
to rearrange, overwrite, and remove material in a sequence. You can also trim the edit points
between clips to fine-tune transitions.
This chapter takes approximately 30 minutes to complete.
•
Rearranging Clips
•
Trimming Clips
Chapter 7 Refining the Edit
Rearranging Clips
After selecting one or more clips, you can rearrange them on the timeline by moving them
along the same track or to a different track. When you move a clip to a new location, blank
space or silence remains in the previous position.
n
If you have not yet captured the clips needed for the lessons, see Capturing from File.
To rearrange clips on the same track:
1. Open Sequence1 if it is not already open.
2. Select the Clouds clip on the timeline. Drag it above the other clips on the timeline and
drop it into its new position between the two Man_Front clips. You should see a gray
shadow representing the clip as you move it.
The Clouds clip is moved
further in time on the
same track.
3. To close the gap between the clips, select the second Smell clip, and drag left until the
gap is closed. Do the same for the remaining clips.
4. Save your sequence.
If Ripple mode is active on the track before you move the clip, then the selected clip is
removed from its previous position and the gap is closed.
Synchronized video and audio clips always move together. If you need to move them
independently, you must unlock them first.
Subtopics
Copying Clips
Removing Clips from the Timeline
200
Rearranging Clips
Rippling Clips
Synchronizing Clips
Copying Clips
You can easily make copies of clips on the timeline. When you copy a clip, you do not
duplicate the media on the storage device. Both clips refer to the original media.
To copy a clip:
1. Select one or more clips to copy.
2. Right-click one of the selected clips and select Copy Clip.
3. On the same track, move the position indicator to where you want to paste the clips.
Right-click the track and select Paste.
A copy of the clip appears at the location of the position indicator. The name of the copy
is prefixed by “Copy of...”.
4. To paste the clips on a different track, right-click the desired track and select Paste.
5. To rename the clip, right-click the clip and select Properties.
A property editor displays the properties of the clip.
6. In the Name text box, enter a new name for the clip and close the property editor by
clicking the Close (X) button at the top-right corner.
n
You can use the standard cut (Ctrl+X), copy (Ctrl+C), and paste (Ctrl+V) shortcuts in
Avid DS Nitris.
Removing Clips from the Timeline
You can remove any clip on the timeline. The master clip in Avid Explorer and its media are
not deleted.
To remove a clip:
t
Select one or more clips and press Delete.
The clip(s) are removed from the timeline.
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Chapter 7 Refining the Edit
Trimming Clips
Trimming is the process of fine-tuning the move from one clip to another. Each clip has two
elements that you can select and edit: the trim handles and the edit points. Edit points are
located at the ends of the activeness bar of a clip, or where it transitions to another clip.
There are two ways to trim clips: by directly manipulating the clips on the timeline or by
using the Trim mode.
Trim-in handle
changes the incoming
frame on clip B
Trim-out handle
changes the outgoing
frame on clip A
Activeness bar
Edit points
change edit time without moving clips
To trim a clip on the timeline:
1. Select the edit point between two clips on the timeline.
2. Select a trim handle and drag left or right.
The clip is trimmed.
3. Select and then drag an edit point left or right to see the difference between showing the
trim handle versus its edit point.
The trim handles affect only the selected clip. The edit points affect the point of transition
between the two clips. In either case, you cannot extend the trim or edit points beyond the
length of the actual clip.
Subtopics
Using the Trim Mode
Using Ripple Mode When Trimming Clips
Using the Trim Mode
The Trim mode provides a close-up view of a clip, so you can trim the clip on a frame-byframe basis. The results are the same as if you were dragging the clip’s trim handles or edit
points on the timeline, except there are more tools to work with in Trim mode.
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Trimming Clips
Trim Mode button
To enter Trim mode:
1. Select an edit point between two clips. If you do not select an edit point before entering
Trim mode, the edit point closest to the position indicator is selected for trimming.
2. On the timeline navigation bar at the bottom of the timeline, click the Trim Mode
button.
The Source/Record viewers are replaced with the Outgoing and Incoming viewers and
trim controls.
Outgoing frame
Trim Nudge buttons
Incoming frame
Transition buttons
Frame Offset counters
Transition Alignment button
Transport controls
Transition Duration timecode box
To trim the edit point of a clip:
t
With the edit point selected, use the trim nudge buttons to move the edit point forward or
backward, and trim frames at the selected edit point. As you trim the edit point, the
frames of the clip are hidden or revealed to reflect the new incoming or outgoing frame.
Nudge left 10 frames
Nudge left 1 frame
Nudge right 10 frames
Nudge right 1 frame
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Chapter 7 Refining the Edit
These buttons appear dimmed when there are no more frames available at the head or
tail of the clip.
To review the most recent trim edit:
t
Click the Play Preview button below the Outgoing frame.
A playback loop begins playing in the Incoming viewer. The loop begins several frames
before the transition and ends several frames after, pausing briefly before beginning
playback again.
3. Click the Play Preview button again to stop playing.
To exit the Trim mode:
t
Click the Trim Mode button again.
Related Topics
Entering and Exiting Trim Mode
Trimming Clips in Trim Mode
Understanding Trim Mode
Using Ripple Mode When Trimming Clips
The Ripple mode lets you preserve the integrity of previous edits on the timeline as you
continue making other edits. As you trim clips on the timeline, the Ripple mode allows clips
that follow the edit point to move to accommodate the change.
The following illustrations show how clips are affected when you trim an
in-point with and without the Ripple mode.
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Trimming Clips
Trimming an in-point to the left
Before
Trimming to the left
Ripple mode off
After
Edit point remains
fixed on timeline
Ripple mode on
The following clip(s)
ripple
Edit point moves
n
When trimming a clip with the trim handles, to preserve the integrity of edit points on
subsequent clips, activate the Ripple mode on the timeline.
To enter the Ripple mode:
Ripple button
1 Click the Ripple button to activate the Ripple mode.
The main Ripple button and the Ripple buttons for each track are
activated. You can deactivate the Ripple mode on individual
tracks that you do not want to be affected.
3 Drag the trim handle to the right
or left to trim the clip.
2 Select an edit point to trim.
The trim handle can only be moved
as far as there is extra material
available on the clip.
4 Turn the Ripple mode off.
5 Do NOT save this sequence.
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Chapter 7 Refining the Edit
Related Topics
Rippling Clips
Trimming with the Trim Handles
206
Chapter 8
Applying Effects
Avid DS Nitris offers a wide variety of effects that you can apply to media. This chapter
describes the effects library, the different ways to apply effects, the Effects layout, and
property editors.
This chapter takes approximately 90 minutes to complete.
•
The Effects Library
•
Applying Effects
•
The Effects Layout
Chapter 8 Applying Effects
The Effects Library
The term effect refers to a range of filters, DVEs, keyers, and transitions. Each effect has
several properties that allow for unlimited variations. You can save custom property settings
and use them on other projects.
The effects are grouped into these categories:
Effect categories
Description
3D DVE
Effects that let you create 2D/3D titles, as well as 3D
DVEs.You can apply these effects to clips, tracks, or
trees.
Audio
Effects that let you adjust the output signal of your
audio clip. You can apply these effects to audio clips,
tracks, or mixer strips in the Mixer view.
DVE
Effects that are either a transition from one clip to
another clip or a 3D transformation between layers
in a composite. You can apply these effects to clips,
tracks, layers, or trees.
Image filter
Effects with single inputs that encompass a wide
variety of effects that you can apply to video clips,
tracks, layers, and trees. These include blur, fade-in,
fade-out, and noise, to name a few.
Image transition
Effects with two inputs that let you transition from
one clip to another, such as the dissolve, wipe, fade,
DVE, or crossfade effects. You can apply these
effects between two clips or to trees.
Source generator
Effects that create a clip for you, such as solid or
gradient colors, 3D Warp effects, or patterns. This new
clip is useful as the background for a compositing
session or to create a fade-to-color transition.
Subtopics
Effect Bar Colors
Using the Property Editors
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The Effects Library
Effect Bar Colors
When you apply an effect, an effect bar appears on the timeline in various colors depending
on the type of effect. This makes it easy to identify the different types of effects on the
timeline.
These are the colors you’ll see on the effect bars:
Color
Effect
Blue
Keyer
Gray
Color Correction Classic
Green
Edge and Blur
Light blue
Fade
Light green
Color Correction
Orange
AVX Host
Purple
Graphics
Red
Image and audio
Yellow
DVE and Picture-in-Picture
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Chapter 8 Applying Effects
Applying Effects
There are basically two ways to apply effects:
•
On the timeline: All effects applied on the timeline are based on what you’ve currently
selected, including clips, tracks, or portions of the timeline (called regions), transitions
between clips, as well as the layers and the Effects Tree in the Compositing layout.
•
In the Effects layout: By switching to the Effects layout, you can begin an effects
session with all the tools available in this layout. Although this layout is optimized for
color correction, you can use it for all kinds of video effects.
The following illustration shows the timeline with different effects on clips:
Process button
Track effects
Transition effect
Clip effect
Generated effect
After applying or creating effects, you might have to process an effect to play it in real time.
When the Process button on the timeline turns red, it means that one or more effects on a
section of the timeline require processing. The region that requires processing is highlighted
on the timeline ribbon. For more information, see “Processing Overview” on page 254.
n
Tip: Press Ctrl-click to select multiple effect bars on the timeline.
Subtopics
Applying Effects to Clips
Applying Effects to Tracks
Applying Transition Effects
Applying Audio Effects
Creating a Stack of Effects
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Applying Effects
Related Topics
Understanding Processing
Working with Real-Time Effects
Applying Effects to Clips
Effects applied to individual clips are called clip effects. They are useful when you want to
apply an effect only to one clip on the timeline. Clip effects are attached to the clip, so when
you move or edit it, the effects travel with it.
You can apply an unlimited number of clip effects to a clip; this is called a stack of effects.
You can build complex effects by editing and stacking simple effects. As effects are added,
effect bars are placed on top of one another on the timeline. The effect at the bottom is
processed first, followed by each effect directly above it.
To apply a clip effect:
1. Open Sequence1.
2. Select the first Man_Front clip on the timeline.
You should still be in Selection mode. On the timeline navigation bar, click the
Selection Mode button so you can select objects on the timeline.
3. From the NLE Tools toolbar beside the timeline, click Video Effects > Wipe.
n
Media Composer comparison: When applying effects in Media Composer, you must use the
Effects Palette. In Avid DS Nitris, you can apply effects from different places, such as the
toolbars, pop-up menus, or Avid Explorer.
Alternatively, you can:
t
Drag an effect from a toolbar to the selected clip(s).
t
Drag an effect from Avid Explorer to the selected clip(s).
or
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Chapter 8 Applying Effects
t
Right-click the selected clip and select Add Clip Effect.
The Load Preset dialog box displays the effects in the \Image Effects folder. Select
the Wipe effect and click OK.
n
The address line in the dialog box should be: C:\Program
Files\Avid\DS_vX\DSPresets\Image Effects. If it is not, navigate to the correct folder.
Wipe effect
The Wipe effect is applied to the clip you selected, an effect bar appears over the entire
length of the clip, and the property editor displays.
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Applying Effects
Global controls
Property pages contain
additional properties.
List of options.
Click to turn an option on.
If the box is already
checked, click to turn it off.
Dimmed options
are not available.
Click to display the
calculator.
Drag the scroll bars to view
additional parameters on
the property page.
Animate a specific
parameter.
Text box
Slider area
Subtopics
Using the Property Editors
Using the Property Editors
Whenever you use an effect, you’ll encounter its property editor. The property editor
displays the properties of a selected object or tool, and can have one or more pages of
properties. You can adjust these properties to achieve a desired effect using the text boxes,
lists, options, and sliders. Any values that you change are immediately applied.
There are also global controls for loading, saving, and viewing presets, processing,
animating properties, and previewing clips. Different property editors have different global
controls.
To edit the effect:
1. To see how the Wipe effect looks on your clip, drag the position indicator slowly back
and forth (scrub) on the timeline.
2. In the property editor, adjust the values of the effect by doing any of the following:
t
Click anywhere in the slider area and drag to the right to increase values, or to the
left to decrease them.
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Chapter 8 Applying Effects
t
Press Shift and drag the slider to adjust values slowly.
t
Press Ctrl and drag the slider to adjust values quickly.
t
Click in a numerical text box and circle clockwise with your mouse to increase
values or circle counterclockwise to decrease values.
Drag clockwise or counterclockwise to
increase or decrease values.
3. Click the calculator next to a slider to make calculations.
4. Go ahead and adjust any of the parameters. Click the Help button for detailed
information on each parameter. When you’re done, close the property editor to save the
settings.
5. Save your sequence.
Related Topics
Property Editors
Applying Effects to Tracks
Effects applied to tracks on the timeline, such as the video and audio tracks, are known as
track effects. Track effects are useful when you want to apply the same effect to several clips
on the same track.
You can apply effects to one or more tracks, or to a specific area of a track called a region.
The region of the track that you select can be empty or it can contain one or more clips.
Like clip effects, you can apply an unlimited number of track effects to a track or build a
stack of effects one on top of another to create more complex effects.
To apply an effect to a track:
1. Make sure that no clips are selected on the timeline.
2. Right-click the upper area of the V1 video track.
The entire track is highlighted.
3. Select Add Track Effect from the menu.
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Applying Effects
Upper area of track
The Load Preset dialog box displays the effects in the \Image Effects folder.
4. Select any effect, such as Blur, and click OK.
The effect, in this case Blur, is applied to all the clips on the track and its property editor
displays.
Track effect
5. Close the property editor.
n
Tip: As you add multiple effects, you can insert a cache bar at any point. This lets you
process all effects below the cache bar, so you don’t have to reprocess them as you add more
effects. For more information, see “Creating Caches at Any Level”.
Tip: When you want to change an effect within a stack of effects, be sure to bypass the effects
that are above the effect on which you want to work. This will ensure that the changes are
added before the other effects are applied. For more information, see “Bypassing Effects”
To apply an effect to a portion (region) of a track:
1. Hold down the left mouse button and drag towards the right to select the region of the
track on which you want the effect to be placed.
Selected region
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Chapter 8 Applying Effects
2. Do one of the following:
t
From the NLE Tools toolbar beside the timeline, click Video Effects > any effect.
t
Drag an effect from a toolbar to the selected region.
t
Drag an effect from Avid Explorer to the selected region.
t
Right-click the white selected region and select Add Track Effect. In the Load
Preset dialog box, select an effect and click OK.
An effect bar is applied to the region and its property editor displays.
Effect applied to region
3. Close the property editor and save your sequence.
Subtopics
Applying Effects to the Timeline Effect Track
Creating Clips with Source Generator Effects
Applying Effects to the Timeline Effect Track
The timeline effect track is a track that appears above all the other tracks on the timeline; this
track can only accept track effects. When you apply an effect to the timeline effect track, it
modifies the clips on all the tracks below it. This lets you, for example, place a graphics
effect (such as a title) on the timeline effect track, so that it will be displayed over the
resulting video sequence. You can apply effects to the timeline effect track in the same way
that you apply track effects.
Track effects
216
FX track
Applying Effects
To apply an effect on the timeline effect track:
1. On the timeline effect track, drag to select a region.
Region highlighted for effect
Timeline effect track
2. Do one of the following:
t
From the toolbar, click Video Effects > effect.
t
Drag an effect from a toolbar to the selected region.
t
Drag an effect from the Avid Explorer to the selected region.
t
Right-click the timeline effect track and select Add Timeline Effect. In the Load
Preset dialog box, browse through the folders and select an effect.
The effect is applied to the selected region. The effect’s property editor is displayed
for you to make any adjustments.
Effect bar
n
Tip: If you want the effect to move with the clips below it, click the Ripple button on the
timeline effect track. For more information, see “Rippling Clips”.
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Chapter 8 Applying Effects
Creating Clips with Source Generator Effects
You can create new clips based on a selected region of a track. When you create a new clip,
you can choose from a list of effects (called source generator effects), such as the Solid
Color or Wood Grain effect. These types of clips are useful as the background for a
compositing session or to create a fade-to-color transition.
To create a clip with effects:
1. Add a new video track to the timeline by right-clicking the overview area (directly
above the ruler) and selecting Create Video Track.
Overview area
A new track, labeled V2, appears above the V1 track.
2. On the new track, drag to select a region at the end of the sequence.
Selected region
3. From the NLE Tools toolbar, click Generate > Source Generator Clip.
The Load Preset dialog box displays the available source generator effects.
4. Select an effect. We chose the Marble effect for our example.
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Applying Effects
A clip is created on the track and given the name of the effect, which is appended with
the term “Generated”. The effect’s property editor displays.
A clip created with
the Marble effect.
5. Close the property editor.
6. Save your sequence.
Applying Transition Effects
Transition effects include dissolves, wipes, fades, Digital Video Effects (DVEs), or cuts that
you can apply to or between clips on the timeline. You can apply transitions to the beginning
or end of a single clip, or between two clips.
Transitions on the timeline can be created only when there is extra material available on one
of the clips to accommodate the transition.
To apply a transition effect between two clips:
1. Start a new sequence by selecting File > New > DS Sequence.
2. Drag the Basket and Clouds clips to the video track on the timeline. Leave some space
between the clips.
n
Tip: Use the overview area at the top of the timeline or the scroll bar at the bottom of the
timeline to adjust the view of your clips.
Edit point
3. Select the edit point at the end of the Basket clip.
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Chapter 8 Applying Effects
Trim-out handle
4. Drag the trim-out handle left to trim in by a few frames. Now you’ll have extra material
for the transition.
5. Move the Clouds clip beside the Basket clip.
6. Select the edit point between the two clips.
Edit point
7. From the NLE Tools toolbar, select Transition Effects > effect. We chose the Wipe
effect.
The transition’s property editor displays. The transition is represented as a gradient
below the clip.
Transition
8. Close the property editor.
9. Drag the position indicator back and forth (scrub) on the timeline to preview the
transition.
Related Topics
Applying Transitions
Applying Audio Effects
There is a range of audio effects that you can apply to clips or tracks on the timeline, as well
as on the mixer input strips in the Mixer view.
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Applying Effects
To apply an audio effect on the timeline:
1. Place the FinalMix clip on the audio track.
2. From the NLE Tools toolbar, click Audio Effects > effect. The Dynamics effect is a
good one to try.
3. To view the effect’s waveform, place the pointer at the bottom of the Track button and
press Ctrl. The pointer should now look like a double-pointed arrow. Drag downwards.
The farther you drag, the larger the waveform becomes. It will take a second or two for
Avid DS Nitris to generate the waveform.
n
Tip: You can also Ctrl-drag on the video tracks to see thumbnails of your clips.
Place pointer here
The clip’s waveform
4. Scrub the timeline or click the Play button to hear the result.
5. Close the property editor.
Subtopics
Applying Audio Effects in the Mixer
Applying Audio Effects in the Mixer
The mixer combines the audio signals coming from the audio tracks and routes them to the
mixer output strips. You can assign the channels of an audio track to a specific output strip.
When you add an effect to a mixer input strip, the effect is applied to an entire audio track.
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Chapter 8 Applying Effects
Master Mute button
Solo indicator
Routing View button
Standard View button
Mixer Configuration
Animation controls
Mixer input strips
control volume
from audio tracks.
Mixer output strips
control volume of
sound being output.
Mixer button
To access the mixer:
t
From the view switcher, click the Mixer button.
To add an effect to a mixer input strip:
1. Right-click the effects box of a mixer input strip and select Add Effect.
The Load Preset dialog box displays.
Effects box
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Applying Effects
2. Select an effect from the \Audio Effects folder, such as the Reverb effect.
The effect is applied to the input strip.
3. Double-click on the effect to open the property editor and experiment with the
properties. Play the clip to hear the result. You can also add more audio effects. Click
the Help button for details on all the parameters.
4. Close the property editor when you’re done.
5. Switch back to the viewer by clicking its button on the view switcher.
6. Save your sequence as Sequence2.
Related Topics
Mixer
Creating a Stack of Effects
A stack of effects is simply one effect piled on top of another, which altogether creates a
more complex effect. You can apply an unlimited number of effects to individual clips, the
timeline effect track, and regions on the timeline. Simply keep adding effects and
experimenting with them until you’re satisfied. In the example below, there are stacks of
effects on the video clip and audio clip, as well as on the timeline effect track and on regions
of the video track.
Video and audio clips
Regions of timeline
Audio track
Timeline effect track
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Chapter 8 Applying Effects
The Effects Layout
The Effects layout provides an efficient way of working with video effects. This layout is
optimized for color correction and will automatically load the Color Correction effect when
you first switch to the layout. You can easily change the Color Correction effect for another
effect.
Transport controls let you preview media in the viewer
or play sequences that have been edited on the timeline.
Avid Explorer lets you explore
and organize clips, sequences,
and custom effects within a
hierarchy of folders.
n
View switcher let
you access
different toolsets
or views.
Viewers display three consecutive clips on the
timeline at the location of the position indicator.
Large property editor lets you
adjust the properties of the
selected effect.
Timeline is where you
place, edit, and apply
effects.
If you have not yet captured the clips needed for the lessons, see Capturing from File.
Effects button
To access the Effects layout:
1. Start a new sequence.
2. Place the following clips side-by-side on the video track on the timeline: Smell,
Wake_Up, Clouds, and Basket.
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The Effects Layout
n
Tip: Adjust the overview area so that all the clips are visible on the timeline.
3. Place the position indicator over the Wake_Up clip.
4. From the taskbar, select the Effects button.
By default, the Color Correction effect, with its large property editor, is displayed. A
gray effect bar above the Wake-Up clip on the timeline indicates that the Color
Correction effect is loaded, but inactive. When you edit the values on the property
editor, the effect bar changes to a light-green (active) color.
n
Tip: If there was already a video effect on the timeline that you wanted to edit, select the
effect bar before switching to the Effects layout. Instead of the default Color Correction
effect, the Effects layout will display the property editor of the selected effect.
5. Place the position indicator over the next clip, so you can view sequential clips in the
viewers.
6. Save your sequence as Sequence3.
7. Now is a good time to restore the layout to ensure that you’re using the default settings
in the Effects layout—see “Restoring the Default Layout” on page 134.
8. Restart Avid DS Nitris and open Sequence3.
9. Click the green effects bar to switch to open the effects property editor.
Subtopics
Using the Viewers
Related Topics
Property Editors
Working with the Avid Explorer
Timeline
Transport Controls
Using the Viewers
By default, the viewers in the Effects layout let you see three consecutive clips on the
timeline, making it easy to compare clips. The middle viewer displays the clip that the
position indicator is on in the timeline. The transport controls beneath the viewers let you
preview media in the viewer and play the clips.
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Chapter 8 Applying Effects
Previous clip
Current clip
Next clip
Position indicator
Next Clip
1 Frame Backward
Previous Clip
10 Frames Backward
Loop
10 Frames Forward
1 Frame Forward
Play
Editing button
To configure the display in a viewer:
1. Move the position indicator over a clip on the timeline.
The middle viewer updates, displaying the clip on which your position indicator is
located. The other viewers also update to maintain the relationship between the
displayed clips.
2. You can change the clip that is displayed on these viewers by selecting an option from
the Source menu.
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The Effects Layout
Source menu
3. Save your sequence.
4. Switch to the Editing layout.
Related Topics
Configure Viewer Display Menu
Transport Controls
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Chapter 8 Applying Effects
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Chapter 9
Working with Effects
Now that you’ve experimented with applying effects and editing the parameters, you will
learn how to select effects from the timeline, open the property editors of effects, and
bypass, view, and animate effects.
This chapter takes approximately 30 minutes to complete.
•
Editing Effects
•
Animating Effects
•
Mix Parameter for Effects
Chapter 9 Working with Effects
Editing Effects
After you’ve applied an effect to a clip or track, you can manipulate it in many ways. You
can copy, move, delete, and trim effects. You can also select multiple effect bars on the
timeline to simultaneously perform such functions as cut, copy, paste, or delete.
To select effect bars:
1. Select File > Open > Sequence and open Sequence1.
2. Click an effect bar.
The selected effect becomes highlighted.
3. To select additional effect bars, hold down the Ctrl key and click the effect bars (if an
effect was already selected, it becomes deselected).
The selected effect becomes highlighted.
4. Copy the effects by pressing Ctrl+C.
5. To paste the effects, select a clip or region on the timeline and press Ctrl+V.
6. Cut the effects by pressing Ctrl+X.
7. To undo, press Ctrl+Z.
8. To deselect effect bars, click anywhere on the timeline.
9. Return to the original sequence by reopening Sequence1. Press Ctrl+O and select
Sequence1.
Opening an Effect’s Property Editor
An effect’s property editor automatically opens when you first apply an effect. By default,
you can only view one property editor at a time, but if you need to, you can view multiple
property editors simultaneously.
To access an effect’s property editor:
1. Do one of the following:
t
Double-click an effect bar.
t
Right-click an effect bar and select Effect Properties.
The property editor of the effect displays.
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Editing Effects
2. To view multiple property editors, click the Lock button at the top-right corner of the
property editor.
Lock button
The property editor of the effect you opened will now stay open when you open other
property editors. As you open each property editor, it appears on top of the previous
property editor.
3. Move the property editor to a different location, so you can see all of them. Placing the
property editors side-by-side lets you compare the values of each effect.
4. Open and “lock” each property editor that you want to view.
n
Tip: You can open the property editor of a transition effect by double-clicking the transition
beneath a clip.
5. Click the Help button for detailed information on the parameters of each effect.
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Chapter 9 Working with Effects
6. Close the property editors when you’re done.
n
If you were switched to a different layout when you opened an effect, then switch back to the
Editing layout.
Related Topics
Title Bar Controls
Moving Effects
You can easily move effect bars to another location on the same clip or track. However,
when you move a clip effect, the movement is restricted to the length of the clip.
To move an effect on the timeline:
1. On the timeline, select a clip or track effect bar.
2. When you see the double-headed arrow, drag left or right along the track.
Double-headed arrow
Copying Effects
If you like a certain effect and want to replicate it, you can copy and paste it to any track or
clip on the timeline.
Subtopics
Copying Effects to Another Clip or Track
Copying Effects to a Section of a Track
Copying Multiple Effects
Copying Effects to Another Clip or Track
To copy an effect to another clip or track on the timeline:
1. On the timeline, select an effect bar and press Ctrl+C.
The effect is copied to the Clipboard.
2. Do one of the following:
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Editing Effects
t
Select a clip to paste the effect on the entire clip (clip effect).
t
Select a track to paste the effect at the location of the position indicator (track
effect).
t
Select a region to paste the effect on the selected region (track effect).
3. Press Ctrl+V.
The effect is pasted on the clip or at the selected point on the track.
Copying Effects to a Section of a Track
To copy an effect to a section of a track:
1. On the timeline, select an effect bar and press Ctrl+C.
The effect is copied to the Clipboard.
2. On the timeline, drag to select a region.
The selected region is highlighted.
3. Press Ctrl+V.
The effect is pasted into the region you selected on the track.
n
When you paste an animated effect into a region that is shorter or longer than the original
effect, the animation is either cropped or scaled depending on the Crop Curves option in the
effect’s property editor.
Related Topics
Trimming Animation
Copying Multiple Effects
To copy and paste multiple effects on the timeline:
1. On the timeline, press and hold down Ctrl and click on each effect bar.
The effect is copied to the Clipboard.
2. Do one of the following:
t
Select a clip to paste the effect on the entire clip (clip effect).
t
Select a region to paste the effect on the selected region (track effect).
3. Press Ctrl+V.
The effects are pasted on the clip or at the selected point on the track.
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Chapter 9 Working with Effects
Reordering Effects
As you add effects, effect bars are placed on top of one another. You can rearrange the order
of clip, track, or timeline effects by using the commands from the pop-up menu of the effect.
The effect at the bottom of the stack is processed first.
n
You can also reorder effects by using the Cut (Ctrl+X) and Paste commands (Ctrl+V).
To change the order of an effect:
1. Right-click a clip or track effect bar, or an effect in the effects box of the mixer input
strip.
2. From the menu, select one of the following:
Command
To
Bring to Top
Move the selected effect to the top of the stack.
Raise
Move the selected effect up one position in the stack.
Lower
Move the selected effect one position lower in the stack.
Push to Bottom
Move the selected effect to the bottom of the stack.
Viewing Effects
Outputting a selected effect to a viewer is useful for seeing how different effects look at the
different stages of production.
You can also use the floating viewer. You can open an unlimited number of floating viewers
to see each effect—see Opening a Floating Viewer.
Reconnect Viewer button (highlighted when selected)
To view effects:
1. Select an effect bar on the timeline.
2. Click the Reconnect Viewer button above the Record viewer (right viewer) to turn on
the view mode.
3. Right-click the Reconnect Viewer button and select an output mode. We chose Current
Selection for our example.
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Editing Effects
4. Move the position indicator to the frame you want to view.
5. Select an effect bar above the clip that you are viewing.
The viewer displays the results of the effect and any other effects below it in the stack.
6. Select another effect to see a different result.
Each effect you select is displayed in the viewer when the position indicator moves to
the selected object.
7. Click the Reconnect Viewer button again to turn off the view mode.
You are not limited to viewing the result of the current timeline in the viewer. Later, you will
learn to work with containers (nested timelines). The Reconnect Viewer will let you select
different levels of the timeline and display their output in the viewer—see “Reconnect
Viewer Menu”.
Bypassing Effects
At times, you may want to see what your clips look or sound like without some of the effects
you’ve applied to them. When you use the reconnect viewer feature and select an effect in a
stack, you also see the results of any effects below it. You can isolate an effect for viewing
by bypassing any effects under the selected effect.
To bypass a clip or track effect:
t
On the timeline, right-click an effect bar and select Bypass.
The effect bar turns a light-orange color. The effect is ignored when you play the track.
To bypass an entire track:
t
Click the M (mute) button beside the track you want to bypass.
The Mute button turns red, and the track is ignored when you play the sequence.
Bypassed effect
(light-orange)
Mute button
Muted track
n
Make sure you deselect the Bypass option before processing your effects or they will not be
applied. For more information, see “Processing Overview” on page 254.
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Chapter 9 Working with Effects
To bypass a layer effect:
t
In the Layers view, deselect Effect Bypass beside the effect you want to bypass.
Effect Bypass option
The effect is ignored when you play the track.
To bypass a strip effect:
t
In the mixer, right-click an effect in the effects box of the mixer input strip, and select
Bypass.
Effects box
The effect is ignored when you play the track.
n
You can also select the Bypass option from the effect’s property editor.
Related Topics
Viewing Effects
Trimming Effects
You can trim clip and track effects interactively using the effect bars or timecodes. When
there is animation associated with an effect, you can crop or rescale the animation. You can
also interactively trim effects in much the same way as you trim clips.
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Editing Effects
To trim an effect using the trim handles:
1. On the timeline, select an effect bar and position the pointer at the left or right end of the
bar.
Trim-in and trim-out handles of a clip
The pointer changes to the trim-in or trim-out handle.
2. Drag the trim-in or trim-out handle left or right, respectively, to trim the effect.
n
If you are trimming a clip effect, you cannot trim out past the length of the clip.
Subtopics
Trimming Effects Using Timecodes
Trimming an Animated Effect
Trimming Effects Using Timecodes
You can change the duration of any effect on the timeline by entering new values directly in
the timecode boxes on the status bar. This is useful when you know the exact position on the
timeline where you want an effect to start or how long you want it to extend.
Start
End
Duration
Position
In
Out
Duration
To trim an effect using timecodes:
1. Select the effect bar that you want to trim.
2. From the status bar, do one of the following in the timecode boxes:
t
Enter the new timecode in the S (start) or E (end) timecode box.
The effect is trimmed according to the new timecodes.
t
Enter the number of frames to trim, followed by a plus (+) or minus (-) sign. For
example, if want to trim 10 frames from the start of an effect, then you can type 10+
in the S timecode box and the start of the effect bar will move forward 10 frames.
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Chapter 9 Working with Effects
Trimming an Animated Effect
When you trim an animated effect, you can either rescale the function curves of the effect or
crop them.
To specify how the animation is trimmed:
1. Open the property editor of the effect that you want to trim.
2. In the property editor, do one of the following:
t
Deselect the Crop Curves option to rescale the function curves.
When you trim the effect on the timeline, the function curves are rescaled in the
animation editor.
t
Select the Crop Curves option.
When you trim the effect bar on the timeline, the function curves are cropped in the
animation editor. On the animation graph, the highlighted area of the function curve
shows the new length of the animated effect.
n
Tip: In an Effects Tree, you can crop the curves of all effects simultaneously using the Crop
Curves option on the Effects Tree property editor. Right-click an empty area of an Effects
Tree, and select Properties to display the Effects Tree property editor.
Related Topics
Workflow: Animating Properties
Adjusting Effect Lengths
You can resize an effect from its beginning or end, such as when you want to adjust the
length of a fade-out from the end of the effect instead of the beginning.
To adjust an effect from the beginning:
1. From the timeline, select an effect bar.
2. On the status bar, click in the D (duration) box, and enter the value to which you want to
resize the effect.
To adjust an effect from the end:
1. From the timeline, select an effect bar.
2. On the status bar, click in the D (duration) box.
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Editing Effects
3. Press the minus (–) key and enter the value to which you want to resize the effect.
Saving Effects
After editing the properties of an effect, you can save them as a preset for work on other
clips, tracks, or regions on the timeline, or even other projects. You can also share presets
with other Avid DS Nitris users. Presets are an efficient way to reuse the same effects or
transitions on other sequences or projects.
You can create presets by:
•
Saving from an effect property page, using the Save Preset dialog box,
or
•
Dragging the thumbnail from an effect’s property editor to a toolbar or to Avid Explorer.
Saving an effect to a toolbar gives you quick access any effects you use frequently.
Save Preset
button
To save an effect through the Save Preset dialog box:
1. Open the property editor of an effect you want to save.
2. Customize the effect by adjusting the parameters.
3. From the property editor, click the Save Preset button in the top-right corner.
The Save Preset dialog box displays.
4. Select the folder in which to store this effect. You can store the effect in the existing
folder or create a folder for your own effects.
5. In the File Name text box, enter a name for your effect.
6. Add any comments to the Comments text box and click OK.
The new effect is added to the folder.
To save an effect to Avid Explorer:
1. Select your project in the Project panel.
2. Right-click an empty area of the bin and select New > Folder.
3. Name the new folder My Presets and open the folder.
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Chapter 9 Working with Effects
Project panel
4. Open the property editor of the effect you want to save. We opened the Wipe effect.
5. Customize the effect by adjusting the parameters.
6. In the property editor, drag the effect’s thumbnail to the folder view area in Avid
Explorer.
Drag the effect’s
thumbnail to the
folder view area.
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Editing Effects
7. In the Save Preset dialog box, give the preset a name, add some comments, and click
OK.
The new effect is added to the folder.
8. Keep the property editor open for now.
To save an effect to a toolbar:
t
In the property editor, drag the effect’s thumbnail to the empty User toolbar beside the
Source viewer.
Effect’s
thumbnail
User toolbar
A button is created for your preset and automatically named.
n
Tip: If you want to give the preset a name, press Shift before dropping the effect’s thumbnail
at the new location.
To apply the preset you created:
1. From the timeline, do one of the following:
t
Select a clip or track.
t
Select a region of a track by dragging.
2. In the User toolbar, click the effect preset you created.
The effect is applied to the clip or region you selected.
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Chapter 9 Working with Effects
If you’ve created a number of presets, such as when color correcting a sequence, you can
quickly apply these presets to the current effect.
n
The effect that you select and the preset you apply to it must be the same effect. Otherwise, a
new effect is created.
To apply a preset to the same current effect:
1. Select an effect bar from the timeline or a node from the Effects Tree.
2. Press Ctrl and click the preset you want to apply.
The preset is applied to the selected effect/node.
To copy a preset/script text from Avid Explorer or Script Editor to a toolbar:
1. Do one of the following:
t
Select a preset from Avid Explorer
t
Select script text from the Script Editor.
2. Drag it to a toolbar.
A button is created for the preset/script.
Related Topics
Using the Toolbars
Substituting Effects
After you apply an effect, you can substitute a different effect or a preset effect. For
example, when you apply an image effect to your clip, such as a blur, its property editor is
displayed. From the property editor, you can load a custom blur effect or modify any of its
properties, and then save it as a new preset.
n
There are a wide variety of effects you can load. Occasionally, you might be restricted to a
specific family of effects, depending on which type of effect you start with.
Load Preset
button
To substitute an effect:
1. Open the Wipe property editor and click the Load Preset button.
The Load Preset dialog box is displayed.
2. Select the Posterize effect.
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Editing Effects
The Posterize effect replaces the Wipe effect and the posterize property editor displays.
Keep the property editor open.
Replacing Effects
Replacing or substituting one effect for another lets you experiment with effects until you’re
satisfied with the look of an effect. You can replace effects on a toolbar, through an effect’s
property editor or, if you’re working on a graphics session, through the graphics property
tree.
n
If the thumbnail of an audio effect is dissimilar to the one you’re replacing it with, then the
audio effect cannot be replaced. You must delete the effect and apply another one.
Subtopics
Replacing a Preset Effect on a Toolbar
Replacing Effects Using the Property Editor
Replacing Effects Using the Graphics Property Tree
Replacing a Preset Effect on a Toolbar
If you’ve saved a preset effect and placed it on a toolbar as a button, you can easily replace it
by just selecting a new effect from the timeline or Effects Tree, or by dragging a thumbnail
from a property editor.
To replace a preset effect on a toolbar by selecting a new object:
1. Select one of the following:
t
On the timeline, select the effect bar, transition, or source generator
t
In the effects tree, select a node.
2. Press Alt and click the preset effect button.
The button is updated with your selection and given a name.
n
Tip: If you want to give the preset a name, press Shift+Alt before clicking the button.
To replace a preset effect on a toolbar by dragging a thumbnail from a property editor:
1. Do one of the following:
t
Timeline: Double-click an effect bar.
t
Effects Tree: Double-click a node.
2. In the property editor that is displayed, drag the effect’s thumbnail to a toolbar button.
The toolbar button is updated.
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Chapter 9 Working with Effects
n
Tip: If you want to give the preset a name, press Shift before dropping the effect’s thumbnail
to the toolbar button.
Replacing Effects Using the Property Editor
You can replace effects through the property editor. For example, if you’ve applied the Blur
effect to a clip, you can replace it by loading the Negative effect in its place.
You can also replace an existing generated clip with another type of generated clip. For
example, you can replace a generated color gradient clip with a marble clip.
Load Preset button
To replace an effect through its property editor:
1. On the timeline, double-click an effect bar to display its property editor.
2. From the property editor, click the Load Preset button.
3. From the Load Preset dialog box, select a different effect.
The effect is replaced by the selected effect. The new effect’s property editor is
displayed.
To replace an effect through its property editor:
1. On the timeline, double-click an effect bar to display its property editor.
2. Drag an effect button from a toolbar and drop it on the thumbnail of a property editor.
The effect in the property editor is replaced by the selected effect. The new effect’s
property editor is displayed.
Replacing Effects Using the Graphics Property Tree
When working in the Graphics layout or the Graphics combo view, you can replace the
following effects in the graphics property tree:
Object
Replaceable effects
Shapes
Brush, Brush Fx, Fill Fx
Titles
Titling Style: Face Fx, Edge Fx, Shadow Fx
Titling Format: Layout, Paragraph, Font
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Editing Effects
To replace an effect in the graphics property tree:
1. In the Graphics property tree, right-click one of the following property buttons:
t
Shapes: Brush, Brush Fx, or Fill Fx
Replaceable effects
t
Titles: Face Fx, Edge Fx, Shadow Fx, Layout, Paragraph, or Font
Replaceable effects
2. From the menu, do one of the following:
t
Select an effect.
t
Select Load, browse through the folders, and select an effect.
The effect you selected replaces the previous effect.
Related Topics
Adding Graphics and 2D Titles
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Chapter 9 Working with Effects
Deleting Effects
If you decide that you no longer want an effect, you can delete it from the timeline. You can
also delete audio strip effects from the effects box of the mixer input strip.
n
Although you can’t delete layer effects, you can bypass them by deselecting the Effect
Bypass button next to the effect button. For more information on layered effects, see
“Applying Effects to Layers”.
To delete an effect on the timeline, do one of the following:
t
Right-click an effect bar and select Delete Effect.
t
Select an effect bar and press Delete.
The effect bar is removed from the timeline.
To delete an input strip effect:
t
In the Mixer view, right-click an effect in the effects box, and select Delete Effect.
The effect is removed from the mixer input strip.
Related Topics
Bypassing Effects
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Animating Effects
Animating Effects
Animation is the change of an object and/or its properties over time. By animating the
properties of an effect, you can control how the effect changes over time. You can animate
an effect, as well as access the animation editor from an effect’s property editor.
The animation editor displays an animation graph from which you can add, delete, or
modify the function curves of animated properties. Once animation is created, you can
process the clip to view the animated frames in real time. You can adjust the animated
properties or remove the animation at any time.
Animation Key button
To animate an effect:
1. Use the transport controls to move to the frame on which you want the animation to
begin.
2. In the Posterize property editor, select the Unlock option.
3. Adjust one or more of the colors to obtain the desired effect.
4. Do one of the following:
-
Click the Animation Key button in the property editor to set a keyframe.
-
Click the Animation button of a specific parameter on the property editor.
The button turns red to indicate that animation is present.
5. Use the transport controls to move the position indicator to the next frame on which you
want to add keyframes. Make some more adjustments to the effect’s property editor, and
set another keyframe.
n
Tip: Depending on the accuracy you need, you can move frame by frame or set larger
intervals between animated points.
6. Continue adding as many keyframes as you need.
7. When you’re done, save your sequence and close the property editor. The next step is to
process the animation to see the effect. You’ll be doing this in the next chapter.
Related Topics
Workflow: Animating Properties
Creating Animation
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Chapter 9 Working with Effects
Using Presets
A preset is a customized set of properties for an effect. You can use the presets that come
with Avid DS Nitris, or you can create your own by saving the properties that you have
already set and reusing them. Either way, presets let you work more efficiently. Most presets
are in the \DSPresets folder.
You can also use presets in the Graphics layout—see “Using Presets in Graphics”.
Subtopics
Loading and Saving Presets
Loading and Saving Presets
You can load and save presets through the property editors or toolbars.
Load Preset button
Save Preset button
To load or save a preset using a property editor:
1. In the property editor, click the Load Preset or Save Preset button.
2. In the Load Preset dialog box, do one of the following:
t
To load a preset, select a preset.
The property editor displays the properties of the preset you selected.
t
To save a preset, type a name for the preset you’re saving.
The preset you saved appears in the folder in which you saved it.
To load a preset using the toolbars:
1. Select a clip, track, or region to apply the preset.
2. Depending on where you saved your preset, from the NLE Tools toolbar, click Time
Effects, Video Effects, Transition Effects, or Audio Effects, and then select your
preset.
The preset is applied to the clip, track, or region you selected.
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Using Presets
To save a preset using the toolbars:
1. In a property editor, drag the thumbnail to a toolbar.
Thumbnail is
dragged to toolbar.
2. In the Save Preset As dialog box, type a name and description for the preset in the
corresponding text boxes.
A toolbar button is created in the toolbar.
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Chapter 9 Working with Effects
Mix Parameter for Effects
The Mix parameter gives you the ability to blend the result of the effect with the original
input or with a color. You can use the animation editor to precisely control or modify
the blend.
Subtopics
Mixing Effects to the Input
Mixing Effects to Color
Mixing Effects to the Input
With mix to input you can control the intensity of the effect. It ranges from 100 (the effect is
fully applied) to 0 (the effect is disabled).
n
Tip: You can avoid processing effects for certain time regions by setting the minimum value
to 0 for those areas.
To mix an effect to the input:
1. Apply an effect to a clip.
2. Use the effect’s property editor to edit the clip properties as necessary.
3. On the Masking property page, select Apply, and then in the Mix To box, Input.
4. Using the slider, adjust the Amount.
5. If desired, animate the mix by adjusting the curve on the Timing property page, as
described in “To animate an effect:”.
6. Process the mix.
Mixing Effects to Color
Mixing effects to color lets you fade the result of the effect to any color. It ranges from 100
(only the effect is visible) to 0 (only the color is visible).
To mix an effect to a color:
1. Apply an effect to a clip on the timeline.
2. Use the effect’s property editor to edit the clip properties as necessary.
3. On the Masking property page, select Color from the Mix To box.
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Mix Parameter for Effects
Color swatch
4. Click the color swatch.
5. Use the Color Picker and click anywhere on your screen to select a color.
6. If desired, animate the mix, as described in “To animate an effect:”.
7. Process the mix.
Related Topics
Workflow: Animating Properties
Processing Effects
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Chapter 9 Working with Effects
252
Chapter 10
Processing
Some of the effects in your sequence will require processing. In this chapter, you will learn
how to select an area or effect, and set the most appropriate options for it.
This chapter takes approximately 15 minutes to complete.
•
Processing Overview
•
Processing
Chapter 10 Processing
Processing Overview
Before you can play most of the effects, you will have to process them. When you process
effects, a final image or sequence of images is created and stored in a new media file, called
a cache, so that your source media remains unaltered. During playback, this new cache file is
used instead of the source media.
n
Media Composer comparison: In Avid DS Nitris, rendering is referred to as processing.
Clips without effects point
directly to source media.
Source media
Clip with an effect that
needs processing.
Source media
Cache media
After processing, the generated cache file is
used instead of source media.
Processing is usually needed for video images and graphics. Some video effects do not need
processing as Avid DS Nitris can compute the effects during playback.
When you apply an effect to a clip, the timeline ribbon above it changes color to indicate that
processing is needed. Before the effect is processed, there are three possible colors that may
appear on the timeline ribbon: red, yellow, or green.
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Processing Overview
Red indicates that the effect
cannot be played in real time and
needs to be processed first.
Yellow indicates that the clip
can be played in real time
and processing is optional.
Green indicates that the clip is
guaranteed to play in real time
and processing is not required.
Process
button turns
red or
yellow.
Timeline ribbon
When the red highlighted area in
the timeline ruler is played back,
the viewer does not show the
resulting image. You will see the
“Processing Needed” message
If you have the Avid DS Nitris DNA workstation, you get guaranteed real-time playback and
output of some real-time effects because of the accelerated hardware in the workstation.
These effects have a green color on the timeline ribbon where they are applied.
If you are not using the Nitris DNA workstation, then all effects are processed with the
Avid DS software. If your workstation has sufficient processing power, many effects can be
computed in real time by the software, allowing you to view the results during playback.
These effects are indicated by a yellow color on the timeline ribbon.
Any effects that cannot be processed in real-time by the hardware or the software will have a
red color on the timeline ribbon. When you play back areas where these effects are applied,
you will see a “Processing Needed” message displayed in the viewer.
The Process button also turns red or yellow to indicate when processing is needed. You can
process effects even if they are real-time effects. When you process effects, a cache is
created with the new processed media. This guarantees perfect playback and output of your
sequence. (Once a cache is created for a given effect, the timeline ribbon above is cleared.
That is, there will no longer be any colored sections.)
Related Topics
Working with Real-Time Effects
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Chapter 10 Processing
Processing
You can process a specific effect, a specific region, or the entire sequence. To work more
efficiently, you can process the more complex effects at different stages in your sequence.
For example, if you have effects nested within a container clip, you can open the container
and process the individual effect instead of processing the entire container clip.
To process an effect:
1 Open Sequence1.
2 On the timeline, select a region or object to process. An object can be a clip, track,
effect, or transition bar.
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Processing
3 Click the red/yellow Process button on the timeline. If the button is not highlighted, open the property editor of
the effect you want to process and click the All button in the property editor.
The Processing Options dialog box displays.
4 Select what needs to
be processed.
Note: You can even
process real-time
effects.
5 Select Minimal for
quicker processing.
7 Set the precision bit
depth to optimize the
processing quality of
the video media.
6 Choose whether you
want to process in
fields or frames.
8 Set the resolution at
which the caches are
created. The lower the
resolution, the faster
the processing times
and the less storage
space used.
9 Select the storage
areas for audio and
video.
10 Click Help for more
details on all the
options in this dialog
box.
11 If you have sufficient space on the storage device,
click OK to begin processing.
12 Save your sequence.
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Chapter 10 Processing
A progress bar appears at the bottom of the desktop to show the status of the process. The
progress bar shows the number of passes, frames, and the estimated time that Avid DS Nitris
will take to process your selection. These passes are based on the number of container clips
and the levels of processing required within the selected region.
Related Topics
Setting the Processing Options
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Chapter 11
Adding Graphics and 2D Titles
Avid DS Nitris provides you with a set of graphics tools and effects to create original images
or to touch up existing clips without losing the original content. Using these tools, you can
create graphics objects, such as paint strokes and titles.
This chapter takes approximately 30 minutes to complete.
•
Starting a Graphics Session
•
The Graphics Combo View
•
The Graphics Layout
•
Displaying the Safe Action/Title Guides
•
Graphics Property Tree
•
Setting the Drawing Tool Properties
•
Defining Color
•
Creating Graphics and Titles
•
Finishing a Graphics Session
Chapter 11 Adding Graphics and 2D Titles
Starting a Graphics Session
Before creating graphics or titles, you must first decide how the graphics will fit into your
sequence. You can apply graphics as a clip effect or as a track effect, depending on how you
want the graphics and/or titles to appear in your sequence. When you apply graphics to:
•
A clip: The graphics you create exist only on that clip.
•
A region of the timeline effect track: The graphics will appear over all the tracks on
the timeline within that region, despite possible changes to the clips and/or sequences.
•
A region of a video track: The graphics will appear on the region and clips of the video
track.
The following illustration shows the timeline with different effects on clips:
Clip effect
n
Timeline region effect
Track region effect
For more information, see “Global Controls”.
Displaying the Safe Action/Title Guides
The viewer serves as an area to create and arrange graphics and titles. The safe action/title
guides ensure that the graphics you create will be visible on any broadcasting system. The
outer frame defines the safe action area, while the inner frame defines the safe title area.
Graphics button
To display the safe action/title guides:
t
260
Right-click the viewer and select Safe Action/Title.
Starting a Graphics Session
Safe action
safe title guides
To add graphics to a clip:
1. Open Sequence1.
2. Select the first Smell clip from the timeline and move the position indicator over this
clip.
Position indicator over
selected Smell clip.
3. Do one of the following:
t
In the taskbar, click the Graphics button to open the Graphics layout.
t
Ctrl-click the Graphics button in the taskbar to open the Graphics combo view.
A Graphics effect is applied to the selected clip and the Graphics layout or Graphics
combo view displays.
4. Save the sequence and restore the layout to ensure that you’re using the default
settings—see “Restoring the Default Layout” on page 134.
5. Reopen Sequence1 and double-click the purple effects bar over the Smell clip to return
to the Graphics layout.
Related Topics
Applying Effects
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Chapter 11 Adding Graphics and 2D Titles
The Graphics Combo View
The Graphics combo view is a floating view that you can access from many locations in
Avid DS Nitris to perform painting and titling tasks. This view contains all the same tools as
the Graphics layout; however, in the combo view the Editing layout timeline remains visible.
Graphics property tree
displays the properties of a
selected tool or graphics object.
Property editor lets you set and modify
various graphics properties, such as brush
options, paint style, color, and titling style.
Toolbars contain tools for
drawing and manipulating
graphics objects.
Graphics Object view (GOV) displays graphics objects and their
time spans in the current graphics session. You can also select,
trim, move, rename, and delete any of your graphics objects.
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Starting a Graphics Session
The Graphics Layout
The Graphics layout is where you perform painting and titling tasks. You can create graphics
objects, such as text and vector-based strokes, and apply colors, textures, and effects to them.
Once created, you can edit and animate their properties.
Graphics Object view (GOV)
displays graphics objects and
their time spans in the current
graphics session. You can
also select, trim, move,
rename, and delete any of
your graphics objects.
Toolbar
contains
drawing tools
for creating
graphics and
titles.
Graphics property tree
displays the properties of a
selected tool or graphics object.
View switchers let
you access different
toolsets or views.
Viewer displays the output of your sequence at
the location of the position indicator. During a
graphics session, it also serves as an area to
create and arrange titles and graphics objects.
Toolbars contains tools for drawing
and manipulating graphics objects.
Property editor let you set and
modify various graphics properties,
such as brush options, paint style,
color, and titling style.
Transport controls let you
preview media in the viewer or
play sequences that have been
edited on the timeline.
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Chapter 11 Adding Graphics and 2D Titles
Related Topics
Graphics Object View (GOV)
Graphics Property Tree
Property Editors
Source and Record Viewers
Toolbars
Transport Controls
Displaying the Safe Action/Title Guides
264
Starting a Graphics Session
Graphics Property Tree
The graphics property tree displays the properties of a selected tool or graphics object
(stroke or text). Using this tree, you can set the default properties of a drawing tool or edit
the properties of selected graphics objects.
Click the plus sign (+)
to expand the tree.
Additional
properties are
displayed.
Collapsed view
Expanded view
Setting the Drawing Tool Properties
Before you start drawing or creating titles, you should set the default properties of the
drawing tool that you will use. The properties are immediately applied to any objects you
subsequently create. Click the name of a graphic tool to see or modify its properties. Click
the graphic tool icon, or right-click the name, to see other options.
When you select a drawing tool, the “Current Tool” name appears above the graphics
property editor. Any properties you now set will become your default drawing properties for
that tool.
If you select an existing graphics object from the viewer, “Selected Object” appears above
the graphics property tree. Any properties you now set will apply only to the selected
graphics object(s).
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Chapter 11 Adding Graphics and 2D Titles
To set the drawing tool properties:
Drawing tools
Text tool
1 Select a drawing tool for graphics or the text tool for titles.
2 At the top of the graphics property tree, click
the name of the drawing tool you chose.
3 In the property editor that appears, set the properties
for the tool.
Note: Not all tools have an associated property editor.
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Starting a Graphics Session
Defining Color
In Avid DS Nitris, color is considered to be an effect, called Color Blend, that you can apply
to an image using the brush or fill properties of a stroke, or to the face, edge, or shadow
properties of a title.
To define colors, you can pick a color from the palette or the color wheel in a property page,
or use the color picker to select a color from an existing image.
For graphics...
For titles...
1 Click one of these to open
the Color Blend property
editor.
2
Define a color by
selecting one from the
palette, or...
Click the Pick
button and select
a color from the
image in the
viewer.
3 Select other properties from the property tree, and define their colors.
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Chapter 11 Adding Graphics and 2D Titles
Creating Graphics and Titles
The graphics toolbar includes the following tools.
Pick tool
Freehand tool
Rectangle tool
Edit shape (Bezier)
Text tool
Rotate
Skew
Magic Wand
Eraser/Scratch Removal
Polyline tool (Bezier)
Ellipse tool
Reshaper (Points)
Insert Cursor
Scale
Duplicate
Tracker
Reset All
Properties
When you first paint or create titles in the viewer, the graphics are displayed with the default
properties. After creating graphics, you can select and edit them to change individual
properties.
To create graphics or titles:
After selecting a drawing tool and adjusting its properties in the graphics property tree, use
any of the following in the viewer:
268
t
Polylines: click to create line segments. Press Esc to end the polyline or Ctrl to close the
polyline.
t
Freehand strokes: drag to create a freehand stroke. Once you release the mouse or pen,
the stroke is complete.
t
Rectangles and ellipses: Drag to create a rectangle or ellipse. To maintain the aspect
ratio, press Shift and drag.
t
Titles: Click to create a text box and type in the text for your title. Press Esc when
you’re done.
Starting a Graphics Session
Draw a stroke
Type in text
The graphics toolbar contains additional tools for editing graphic elements. In addition, the
GFX1 through GFX4 toolbuttons open other graphic toolbars for editing and ordering
graphics.
GFX1 though GFX4 toolbuttons
Subtopics
Using the Graphics Object View (GOV)
Changing the Properties of Objects
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Chapter 11 Adding Graphics and 2D Titles
Using the Graphics Object View (GOV)
Each graphic in the viewer and its time span is represented by a corresponding object in the
Graphics Object View (GOV). The most recently created object is on top. This lets you
clearly see the timing relationships between all the objects in a graphics session and gives
you the ability to manipulate them in the GOV.
A graphics session is the time span over which graphics objects appear; it is created when
you:
•
Switch to the Graphics layout or Graphics combo view.
•
Apply the Graphics effect to a clip or track.
Once you’re created graphics objects, you can select, delete, move, and trim (in time) them
in the GOV.
To access the Graphics Object View:
t
Select View > Multi-Instance Views > Graphics Objects (GOV).
The Graphics Object View and the current graphics session are displayed.
Graphics Object View
Dark gray area represents length of
current graphics session.
Click to select graphics objects. Objects are named
by their shape and numbered sequentially.
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Using the Graphics Object View (GOV)
Related Topics
Graphics Object View (GOV)
Changing the Properties of Objects
After creating a graphics object, you can edit any of its properties. However, you must first
select an object before you can move it or edit its properties or shape. When you select an
object, the graphics property editor displays the properties of that object.
Select button
To edit a graphics object:
1. From the Tools toolbar, click the Select button.
The graphics object you last created is automatically selected.
2. To select a different object, click an object in the viewer or GOV.
Press Shift to select multiple objects.
In the viewer, a yellow bounding box surrounds each selected object. For a single object,
or if all graphic objects have the same properties, the graphics property editor displays
the properties. For multiple graphic objects that do not share properties, the editor
remains blank.
In the GOV, selected objects are highlighted in yellow.
3. Use the graphics property tree to edit the properties of the stroke or title.
n
When you edit titles using the graphics property tree, the changes you make are applied to
the entire contents of the text body.
To edit the individual letters in a text body, select the text body, click the Edit Text button in
the Tools toolbar, and then select the letter(s) or word(s) you want to edit.
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Chapter 11 Adding Graphics and 2D Titles
Finishing a Graphics Session
Once you’ve finished creating graphics and titles, you can process and then switch to any
other layout. For more information, see “Processing Overview” on page 254.
Timeline button
To process graphics:
1. From the view switcher, click the Timeline button. In the Graphics layout, the view
switcher is a vertical bar in the middle of the desktop.
The timeline is displayed.
Process button
Highlighted section of timeline
ribbon indicates unprocessed
area of the sequence.
2. In the timeline controls, click the Process button.
3. In the Processing Options dialog box, select the appropriate options.
4. Click OK to begin processing.
Once the effect is processed, you can scrub the clip to see the graphics or titles you
created.
5. Save your sequence.
Related Topics
Processing Overview
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Chapter 12
Outputting a Sequence
Outputting a sequence is the process of converting the digital media of your sequence into
one of several output formats. You can output a sequence to tape, to a single file, to a series
of files, or as a QuickTime movie.
This chapter takes approximately 20 minutes to complete.
•
Outputting to Tape
•
Outputting to File
Chapter 12 Outputting a Sequence
Outputting to Tape
When outputting to tape, you’ll be using the Output tool to record a sequence to a videotape
deck.
Before you output to tape, do the following:
•
Make sure your deck and the Avid DS Nitris system are correctly connected.
•
To ensure fluid output, process all your effects, including any real-time effects. For more
information, see “Processing” on page 256.
To output to tape:
1 Open Sequence2.
2 Select View > Single-Instance Views > Output Tool.
3 Select the material
to output.
4 Click the To Tape
button.
5 Select the external
device and click
the Check button.
6 Set the Edit
Mode to Auto.
7 Select the tracks
you want to
output.
8 Set the
Timeline/Deck
button to Deck.
9 Specify video output settings,
downconvert parameters, and
sync source.
Related Topics
Outputting to Tape
274
10 Use the transport controls to set the inpoint where you want to start recording.
11
Click the Insert/Auto button to start
recording.
Outputting to File
Outputting to File
The Output Tool also lets you output a sequence as a single file (such as a QuickTime
movie) or as a series of files (such as a sequence of DPX files). Avid DS Nitris supports a
wide range of video and audio file formats.
Now you’ll output your composite image to a graphic file.
To output a sequence to file:
1 Open Sequence4.
2 Select View > Single-Instance Views > Output Tool.
3 To output the sequence, select the Entire Sequence option.
To output a frame or series of frames, set in and out-points on the timeline,
and select the Sequence In/Out option.
4 Click the To File button.
5 Select the file format.
6
Select a standard
frame size or specify
a custom size.
7 Select the file
compression
(if applicable).
8 Select the Preserve Alpha option if the sequence includes
an alpha channel that you want to keep and the format
supports alpha.
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Chapter 12 Outputting a Sequence
9 Click the Output button at the top-right corner to start the
export.
The Export to File dialog box displays.
10 Type a file name.
Related Topics
Output File Formats
Outputting to File
276
11 Click the Save
button.
Chapter 13
Compositing
This chapter describes the ways in which you can layer two or more images to create a new
image. This is known as compositing.
This chapter takes approximately 60 minutes to complete.
•
About Compositing
•
Compositing Methods
•
Creating a Basic Matte
•
Simple Track Compositing
•
Using Composite Container Clips
Chapter 13 Compositing
About Compositing
Compositing is the layering of clips or images to create a new integrated image called a
composite. The underlying layers in a composite are only visible if your clip has a matte; a
grayscale image that lets you isolate and protect specific parts of an image.
If an image already has a matte (called an internal matte), it is stored in its alpha channel.
The alpha channel is one of the four components of an image: R (red), G (green), B (blue),
and A (alpha). If an image does not have a matte, you can create one or use a matte from
another image (called an external matte).
n
If a clip has a matte you want to use, you can simply import the alpha channel when
capturing a clip.
In Avid DS Nitris, foreground images are composited over a background image using a
matte from the foreground image’s alpha channel.
Foreground image
+
=
Background image
Matte in alpha channel of
foreground image
278
Foreground image composited
over background
Compositing Methods
Compositing Methods
In Avid DS Nitris, there are three methods that you can use to create a composite, depending
on how complicated your composite will be. Before you begin compositing, you should
know which clips you want to use and how you want to composite them.
In this chapter, you’ll learn how to create mattes, and perform composites using three
different methods.
Method 1: Simple track compositing
lets you use the video and background
tracks to composite images. You can add
as many video tracks to the timeline as
needed.
Method 2: Composite container clips
let you create multiple layers and
composites that can contain tracking,
external mattes, or animation. You can
also apply effects, such as color
correction, DVEs, graphics, and keyers to
each layer and blend composite
operations between layers and mattes.
Clips on video tracks feed into layers
in the Layers view.
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Chapter 13 Compositing
Method 3: Effects Trees are useful when
you want to reuse the treatment of an
element repeatedly within a composite. In
an Effects Tree, you can apply any
combination of image effects. This lets you
combine multiple images on one layer,
which serves as the input to the layer
above it.
Note: Effects Trees are an advanced topic
that is discussed in detail in the
Compositing and Graphics section—see
“Using the Effects Tree to Composite”.
Related Topics
Using the Effects Tree to Composite
280
Creating a Basic Matte
Creating a Basic Matte
A matte is a grayscale image that defines the transparency of an image when it is composited
over another image. In Avid DS Nitris, there are several ways to create mattes.
Subtopics
Viewing the Alpha Channel
Keying out the Blue Background
Viewing the Alpha Channel
Before creating a composite, you should determine whether the clip already has a matte. A
quick way to check whether a clip has a matte in its alpha channel is by using the Viewer
Alpha Full button above the Record Viewer.
The alpha channel is one of the four channels (or components) of information that is
contained in each pixel of an image. This channel specifies the transparency of each pixel,
allowing portions of the foreground image to reveal or block out the background image
when two images are composited.
n
If you have not yet captured the clip needed for this lesson, see Capturing from File.
To view the alpha channel of a clip:
1. Open a new sequence.
2. Place the Rectangle clip at the beginning of a video track on the timeline.
3. Move the position indicator over the clip, select the clip and click the Viewer Alpha Full
button above the Record viewer.
The matte is displayed in the alpha channel of the clip. It is displayed as a grayscale
image. By default the viewer displays the matte opacity at 100%. You can select the
percentage of the matte opacity by right-clicking the Viewer Alpha Full button.
If a clip does not have a matte in its alpha channel, the entire channel would be white.
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Chapter 13 Compositing
4. Click the Viewer Alpha Full button again.
5. Delete the Rectangle clip.
Keying out the Blue Background
Keying is an easy way to create a basic matte from a color in a foreground clip. You can
create a key based on the HLS, YCbCr, or RGB color values, or on luminance values.In the
following example, you’ll be using the Blue-Green Keyer effect to create a matte based on a
blue background color. You’ll learn how to create a matte for a musician who was filmed
against a blue screen.
To create a basic matte:
1. Right-click the overview area of the timeline and select Create Background Track.
Overview area
A background track appears under the V1 video track.
2. Place the Musician clip at the beginning of the V1 video track.
3. Place the GiantWide-Bckg clip at the beginning of the B1 background track.
4. Select the Musician clip and view the alpha channel.
Notice that the clip has no matte. Therefore, you cannot successfully composite this clip
over the background clip.
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Creating a Basic Matte
5. Click the Viewer Alpha button to see the musician in the viewer.
6. Apply the Blue-Green Keyer effect to the Musician clip.
The Blue-Green Keyer property editor displays.
7. Click the Pick Key Color button.
The cursor changes to an eyedropper cursor when you move it over the viewer.
Eyedropper cursor
8. In the viewer, click the blue background color.
Now you can see the background image in the viewer. In the property editor, the color
you chose is displayed in the color swatch beside the Pick Key Color button.
9. In the property editor, select the Output Matte option to see the grayscale matte you
created.
Transparent area is keyed out.
Opaque area is the foreground image
that to be uses in the composite.
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Chapter 13 Compositing
To make sure that the white foreground is completely white and the black background is
transparent, you must clean the matte. The following procedure shows you how to do a
simple clean-up.
To clean the matte:
1. Select the Matte property tab and make sure that the Output Matte option is still
selected.
2. In the Map box, adjust the Pick BG (background) slider until you get a solid black color
background in the viewer. This will make the background that you have keyed out
completely transparent and ready for compositing over another clip.
3. Adjust the yellow Pick FG (foreground) slider until you get a solid white color in the
foreground. This removes all semitransparent areas, ensuring that the foreground image
is completely opaque.
4. To view the result, deselect the Output Matte option.
n
Tip: If you make a mistake, press Ctrl + Z to undo. If you’re not satisfied with the matte, you
can redo the entire procedure by clicking the Reset button.
To bypass the keyer and view the original clip, deselect the Output Matte and Apply Key
options on the Key property page.
5. Delete the clips on the timeline.
6. Delete the B1 background track.
Related Topics
About Keying
Using the Blue-Green Keyer
Fine-tuning the Matte
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Simple Track Compositing
Simple Track Compositing
Simple track compositing on the timeline lets you use an unlimited number of video tracks
in the Editing layout to create quick and simple composites. As you add clips to the tracks,
the result is displayed in the viewer. Remember, the overlaid clip must contain a matte in its
alpha channel for the composite to display in the viewer.
If your clip does not have a matte, you can create one. You will learn how to do this later in
this chapter.
Tracks are composited in the order in which
they appear in the timeline. The topmost video track
is the top layer in the composite.
On the timeline, you can add, remove, or reorder video tracks, as well as hide one or more
tracks to see the impact of each video track independently—see “Working with Tracks” on
page 185.
n
If you have not yet captured the clips needed for this lesson, see Capturing from File.
To create a composite on the timeline:
1. Place the Circle clip at the beginning of the video track. This will be the bottom-most
layer of your composite.
2. Right-click the overview area of the timeline and select Create Video Track.
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Chapter 13 Compositing
Overview area
Timeline
ribbon
A new video track appears on the timeline above all the other tracks.
3. Place the Rectangle clip at the beginning of the new video track.
4. Drag the Triangle clip to the beginning of the timeline ribbon.
A track containing the Triangle clip is automatically created at the top of the timeline.
The clip on this track is composited
on top of the clips that fall within the
same time span on the tracks below.
The result of composite
corresponds to the video tracks and
the order of the layers.
5. Place the position indicator over the clips to view the result in the viewer.
6. Save as Sequence4.
n
Tip: If you have a clip on a video track and no clips on the video tracks below it, you can
force the overlay to use the matte of the clip, so that it is composited over black. To do this,
select the Force Premultiplied Output option from the Sequence Preferences dialog box.
This behavior is similar to the Force Premultiplied Output command in the Layers view.
Related Topics
Working with Effects
286
Using Composite Container Clips
Using Composite Container Clips
Working with layers in the Compositing layout lets you create complex composites that can
contain tracking, external mattes, or animation. It is where you organize multiple layers of
video clips and images. When compositing with layers, you are actually working within a
composite container clip as soon as you switch to the Compositing layout.
Layouts are customizable; you can add, remove, reposition, and resize most of the elements
in a layout. You can also create custom layouts from scratch. You can rearrange the views on
the desktop, or add new views and toolbars.
You can also create an Effects Tree in which you can add multiple clips for compositing and
multi-input effects.
Layers view is where you add clips and
establish the order of clips that are placed on
the composite container clip timeline.
Avid Explorer is where you can
drag and drop clips to the Layers
view, the composite container clip
timeline, and the Effects Tree.
Viewer displays the output of your sequence
at the location of the position indicator.
Effects Tree is where you can
drag and drop input images and
effect nodes. It is mostly used for
complex compositing operations.
Composite container timeline
holds all clips in your composite.
You can also drag clips here.
A composite container clip lets you focus on the clips that you want to composite. When you
create a composite container clip, you get a new timeline for layering clips on the video
tracks of the Compositing layout. When you close the composite container clip, the result is
displayed as a single clip on the timeline in the Editing layout; this is the top timeline.
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Chapter 13 Compositing
You can reopen a container clip at any time to add, modify, or delete its contents. You can
also apply effects on individual clips, as well as the entire composite container clip.
Compositing button
To create a composite container clip:
1. Make sure the position indicator is placed over the clips on the timeline.
2. From the taskbar, click the Compositing button.
A composite container clip is automatically created and the Compositing layout is
displayed. Two new buttons appear at the bottom of the taskbar; the top button lets you
switch back to the top timeline in the Editing layout and the button beneath it represents
the composite container clip that you are now working in.
Go to Top Timeline
Container clip
3. All three clips are now in your composite container clip.
n
The content of the composite container is based on where the position indicator is on the
timeline when you switched to the Compositing layout. If it is over a clip(s) on the timeline,
this clip becomes the first layer. If the position indicator is over a transition, both clips
become part of the composite.
To close a composite container clip:
t
From the taskbar, click the Go to Top Timeline button at the lower end of the taskbar.
The current container clip is closed and the top timeline is displayed.
All composited clips are represented as a single container clip on the top timeline. To
make any changes to the composite, reopen the composite container clip.
Composite container clip on the
top timeline in the Editing layout.
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Using Composite Container Clips
To reopen a composite container clip, do one of the following:
t
Click the Container Clip button of the composite container clip on the timeline.
Container
Clip button
t
Double-click the container clip to open it.
t
Place the position indicator over the container clip and click the Compositing button on
the taskbar.
The composite container clip opens and the Compositing layout displays the contents of
the container clip.
n
Tip: If you notice unexpected results with your composited images, such as dark areas
around the edges, it may be due to the premultiplication setting. For more information, see
“Compositing with Premultiplied Images”.
Subtopics
The Layers View
Applying Effects to Layers
Viewing the Results of Composited Layers
Related Topics
Working with the Layers View
Using the Result Area
Using Composite Container Clips
Composite Container Property Editor
Applying Effects to Layers
Compositing with Premultiplied Images
Simple Track Compositing
Using Composite Container Clips
Using the Effects Tree to Composite
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Chapter 13 Compositing
The Layers View
The Layers view in the Compositing layout lets you apply animation, tracking, or external
mattes to your layered clips. You can also change the order and appearance of the
composited clips.
You can do the following for each layer:
•
Apply the Color Correction, DVE, Graphics, and Keyer effects.
•
Apply one or more external mattes to individual layers.
•
Apply compositing and blend operations between the RGB and alpha components of
adjacent layers. This is an advanced topic that is not covered in this guide.
Layers view
Result
area
Layers
Animation controls
In this example, the layers were automatically created from the clips on the top timeline. You
can, however, drag and drop other clips for your composite from Avid Explorer to the
timeline, or to the Layers view.
n
If you have not yet captured the clip needed for this lesson, see Capturing from File.
To create and view layers:
1. Drag the Clouds clip from Avid Explorer to an empty area at the top of the Layers view.
A layer is created and a track is automatically created on the timeline. The clouds,
however, are obscuring the shapes.
2. To rearrange the layers, drag the Clouds layer and place it at the bottom of the layers.
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Using Composite Container Clips
Layer button
Clouds appear behind the shapes.
n
Tip: If you notice unexpected results with your composited images, such as dark areas
around the edges, it may be due to the premultiplication setting. For more information, see
“Compositing with Premultiplied Images”.
Related Topics
Compositing
Result Area
Result Area Menu
Working with the Layers View
Using External Mattes in the Timeline and Layers View
Applying Blending Operations in the Layers View
Applying Effects to Layers
When you apply an effect to a layer, it affects the duration of all material on its
corresponding track on the timeline. You can bypass an effect to view the composite without
the effect. For more information, see “Bypassing Effects” on page 235.
You can apply four types of effects on each layer: Color Correction, DVE, Graphics and
Keyer. Applied from bottom to top, the effects on each layer work on the original image and
are independent of each other.
Color correction
DVE
Graphics
Keyer
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At processing time, the image is processed on the results of the preceding effect.
To apply an effect to a layer:
The final composite
1 Select the layer on which
you want to apply an effect.
Note: When you select a
layer, an Effects Tree
displays in the area below
the layers. Each layer has its
own Effects Tree.
2 To apply an effect, select one
of the options and click the
button beside it.
The Key and DVE effects
open a property editor.
The CC and Gfx effects
switch to the Effects and
Graphics layouts
respectively.
Tip: You can also open the
floating Graphics combo
view by pressing Ctrl and
clicking the Gfx button.
3 Use any open property editor to edit and animate
the effect. If you were switched to another layout,
switch back to the Compositing layout by clicking
the Compositing button on the taskbar.
4 Close any property editors that were displayed.
5 Save your sequence.
Viewing the Results of Composited Layers
The viewer displays the resulting composite of all the layers. You can view each layer
independently of the other layers by soloing or muting layers.
When you solo a layer, only that layer is displayed in the viewer. Soloing a layer has no
effect on the processed result, which is useful when you want to view one layer without
seeing the effects from other layers. You can only solo one layer at a time.
If there are several layers in your composite and you want to preview two or more layers and
not the others, you can mute them. When these layers are muted, they are not displayed in
the viewer. Muted layers are not included in the processed result either.
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Using Composite Container Clips
To mute or solo a layer in the Layers view:
t
Click the Mute or Solo button on a layer.
Mute button
Solo button
Depending on your viewer’s settings, the corresponding layer’s RGB or alpha channels
are displayed in the viewer.
To solo a layer on the timeline:
t
n
Click the Solo button on a video track on the timeline.
Keep in mind that as you add layers when the Force Premultiplied Output option is ON, they
are always composited on top of a black layer, which is under the bottommost layer. This is
helpful when you want to composite one layer over black. For more information, see
“Compositing Clips over a Black Background”.
Related Topics
Using the Result Area
Using Composite Container Clips
Working with the Avid Explorer
Working with the Layers View
Timeline
Transport Controls
Using the Result Area
The result area at the top of the Layers view displays the final composite of all your layers
and Effects Trees. There is a thumbnail for the RGB and alpha channels, so you can see the
resulting image and matte separately.
RGB thumbnail
Result Alpha thumbnail
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Chapter 13 Compositing
You can hide the result area if you need more working space. As an option, you can view the
output of the result area in a separate floating viewer. This lets you view the output of your
effect.
To use the result area:
t
294
Right-click the result area and select one of the following:
-
Display Result Area to show or hide the result area.
-
Open Viewer to view the output of the result area in a separate, floating viewer that
you can reposition anywhere on the desktop. Close the viewer when you’re done.
Chapter 14
Conforming
Avid DS Nitris provides you with additional tools to finish projects that were created on
other Avid editing systems, such as Media Composer. If your original media is stored on a
shared storage device, such as an Avid Unity MediaNetwork system, Avid DS Nitris links
directly to the media, so that you have immediate real-time playback.
You can use one of several file formats to transfer the sequence or project, and create logged
clips. In Avid DS Nitris, you can later recapture the clips in an uncompressed or HD format,
and you’re ready to add the final touches to complete the project.
This chapter takes approximately 45 minutes to complete.
•
Methods for Conforming
•
Conforming a Project
Chapter 14 Conforming
Methods for Conforming
Conforming is the process of bringing a project from an offline environment into
Avid DS Nitris, so you can continue the editing process. Avid DS Nitris supports a variety of
conforming file formats.
Edit Decision Lists (EDLs) have long been the standard for conforming an offline session.
An EDL is a detailed list of the edits contained in a sequence, including all the timecode and
supported effects information. EDLs work well, but they are limited by the amount of effects
information that can be transferred.
Open Media Framework (OMF) was developed to allow users to transfer edit information,
as well as many effects from the offline to the online session. Although OMF is more
powerful than EDLs, it still has some limitations.
As a result, a new format was developed called Advanced Authoring Format (AAF). AAF
was built on the strengths of the OMF format and was designed to avoid its limitations.
Avid DS Nitris supports the AAF format for conforming single clips or simple sequences.
Avid File Exchange (AFE) files expand on the AAF technology to let you recreate
complete projects, including all bins, edit information, and a wide variety of effects. You can
use an AFE file to link to the media captured during an offline session. If your original
media is stored on a shared storage device, such as an Avid Unity MediaNetwork system,
Avid DS Nitris links directly to the media for immediate real-time playback.
For the latest information on the conform process, such as which versions of Avid editing
products are supported and the level of support for effects and titles, consult the
Avid DS Nitris Conform Table, which is available on the Avid DS Support Center web site
and the Avid Knowledge Center.
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Conforming a Project
Conforming a Project
Projects offlined on an Avid editing system, such as Media Composer, can be totally
recreated in Avid DS Nitris using the AFE file format. After exporting your Media
Composer project as an AFE file, you can move the clips or sequences directly onto the
Avid DS Nitris timeline. AFEs bring over a wide variety of effects. If your original media is
stored on a shared storage device, such as an Avid Unity MediaNetwork system,
Avid DS Nitris links directly to the media, so that you have immediate real-time playback.
n
Avid DS Nitris will link to source media in the original project only.
You can practice the conform process by using the supplied sample project. The project
includes a 7-second sequence, which is composed of three video clips, two audio tracks, a
dissolve, and a picture-in-picture effect (DVE). The sequence was created on Avid Xpress
Pro using DV25 MXF media. Information about the sequence was exported in an AFE file.
The Material Exchange Format (MXF) is an industry-standard container format that
encapsulates both media and production metadata into a single file. MXF is supported as a
common file format on Avid DS Nitris and other Avid applications, making it easier to share
projects and media.
You’ll be copying the media files to your media storages. This is one way to perform a
conform; other ways include sharing media over an Avid Unity system or importing an AFE
file and recapturing.
Defining Your Storages
Before you conform the project, you’ll need to define the storages for the MXF files.
To create folders for your MXF files:
t
Open a Microsoft Explorer window and create the following folders either on your local
storage, or on an Avid Unity storage that you are sharing with other Avid systems:
-
\Avid MediaFiles\Video Storage
-
\Avid MediaFiles\Audio Storage
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Chapter 14 Conforming
To copy the MXF media:
1. Open another Microsoft Explorer window and navigate to this folder: C:\Program
Files\Avid\DS_vX\Media_GetStarted\MXF.
Audio files
Video files
2. Copy the two audio files to the \Avid MediaFiles\Audio Storage folder.
3. Copy the four video files to the \Avid MediaFiles\Video Storage folder.
4. Close both Microsoft Explorer windows.
Next, you will point your workstation to these folders by configuring a storage connection in
Avid DS Nitris.
To add MXF storage to your media indexing service:
1. In Avid DS Nitris, select Data Management > Configure Storages.
The Media Storage Configuration - Current Project dialog box displays the media
indexing services that are configured for your workstation.
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Conforming a Project
Select your
workstation’s
media indexing
service.
Click to add
storage areas
to the
selected
indexing
service.
2. Select your workstation’s media indexing service, and click the Change button.
The Media Indexing Service dialog box is displayed.
3. Leave the workstation name as is and click the Change button.
The list of storage areas in this indexing service is displayed.
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4. To add a new storage, click the Add button.
The Available Storage Types dialog box displays.
5. Select Avid Media Storage and click OK.
The Avid Media Storage dialog box displays.
6. For the video storage, enter the full Windows path name (drive:\folder_name or
\\workstation_name\folder_name) where the storage area is located, or use the browse
(...) button to find it. For example, D:\\Avid MediaFiles\Video Storage or
\\DSStorage4\\Avid MediaFiles\Video Storage.
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Conforming a Project
If you are configuring a folder on an Avid Unity system, then click the browse (...)
button and locate the Avid Unity workspace folder. For example,
\\AvidUnity\allocation\workspace\mediafolder. Do NOT use a drive letter.
7. Select the Enable throttling for this storage option if you are working in a workgroup
where an Avid DS RP is installed. The Avid Throttle Manager allows for more efficient
bandwidth management between your workstation, storage areas, and the Avid DS RP
workstation.
8. Select MXF video files (.mxf) as the media type.
9. From the Disk Controller Type list, select the card that is installed in your workstation.
10. From the Disk Storage Type list, select the storage type that you are using.
The disk options set the appropriate bandwidth for the application to use when
transferring data to the storage. You may choose Generic Adapter and Generic Storage
but these settings may not fully utilize bandwidth available to you. Therefore, choose
the options according to your storage device to obtain the best performance for real-time
effects.
Click the Help button for more information on these settings.
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Chapter 14 Conforming
11. Click OK.
The storage area is added to the Media Storage Configuration list.
12. To add the audio storage, click the Add button.
13. Select Avid Media Storage and click OK.
14. Enter the full Windows path name (drive:\folder_name or
\\workstation_name\folder_name) where the storage area is located, or use the browse
(...) button to find it. For example, D:\Avid MediaFiles\Audio Storage or
\\DSStorage4\\Avid MediaFiles\Audio Storage.
15. Select the Enable throttling for this storage option if you are working in a workgroup
where an Avid DS RP is installed. The Avid Throttle Manager allows for more efficient
bandwidth management between your workstation, storage areas, and the Avid DS RP
workstation.
16. Select MXF audio files (.mxf), as this is the media type.
17. From the Disk Controller Type list, select the card that is installed in your workstation.
18. From the Disk Storage Type list, select the storage type that you are using.
19. Click OK.
The storage area is added to the Media Storage Configuration list.
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Conforming a Project
New storages
n
These storages will be accessed and indexed in the order in which they are listed. Use the
Move Up or Move Down buttons to move the MXF storage lower in the list.
20. Click Close and then OK to return to the Media Storage Configuration dialog box.
21. Click the Close button to save the configuration for the media indexing service.
n
By default, the media indexer sets any new storage areas to automatically have full
read/write access by any user on the network. To restrict access to your media, you can
change the share permissions through Windows.
sharing folders and setting permissions$$
Conforming the Sequence
Now that your storages are defined, you can conform the project. You’ll be starting a new
project, and then opening the sequence created in Avid Xpress Pro.
To conform the sequence:
1. In Avid DS Nitris, select File > New > Project and name it Special Delivery.
2. Select NTSC 4/3 as the video format.
3. Accept the other defaults. Make sure to select the Use the closest media format
available option.
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4. Click OK.
5. In Avid Explorer, use the My System panel to navigate to the
C:\Program Files\Avid\DS_vX\Media_GetStarted folder.
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Conforming a Project
6. Double-click the Special Delivery.afe file.
The AAF/AFE View opens and displays a copy of the original folder, called “Special
Delivery.”
Bin icon
7. Drag the bin to a folder in the Avid Explorer.
In this case, the sequence is already created. Note that the bin includes an offline clip for
the dissolve effect. Avid DS Nitris does not use processed media during the conform
process.
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Chapter 14 Conforming
Sequence
8. Double-click the Special Delivery bin icon to see the master clips and sequence inside it.
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Conforming a Project
Sequence
9. Leave the default settings as they are.
10. Drag the sequence to the first track on the timeline.
Avid DS Nitris creates master clips in your project folder, and the sequence
automatically links to the media on your storage device.
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Chapter 14 Conforming
You can now edit the sequence in the same way as you edit any other Avid DS Nitris
sequence.
11. Double-click the yellow DVE effect bar on the CU chick clip to open its property editor.
A yellow bounding box surrounds the image in the viewer.
12. Scale down the size of the chick image and place it in the middle of the rear view mirror
by doing one of the following:
t
Select one of the interactive tools in the DVE property editor and transform the
image interactively in the viewer by repositioning the image box or adjusting its
handles to change the dimensions.
t
Enter the values in the DVE property editor.
13. Save your sequence as Special Delivery.
n
If there are red sections on the timeline ribbon, you will need to process the DVE effect
before you can play the sequence.
14. Play the sequence.
n
308
If you do not hear any audio, make sure the audio is set to 48 kHz in the Sequence
Preferences dialog box. Select File > Sequence Preferences.
Installation and Administration
This section includes information for installation and administration.
•
Setting up your Avid DS Environment
•
Configuring Windows XP
•
Installing Avid DS Software and Services
•
Installing the Remote Processing Software
•
The Avid DMS Broker
•
Licensing Avid DS Software
•
Managing Your Storage Areas
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Chapter 1
Setting up your Avid DS Environment
The information in this section describes the various ways in which you can set up your
post-production environment with Avid DS.
Whether you are installing a new system or upgrading from an existing system, you must
ensure that your workstation(s) is prepared with the proper operating system, drivers, and
network and storage connections.
The Avid DS Support Center web site http://www.softimage.com/avidds, has all the most
recent software updates, hardware component and firmware drivers.
•
Recovery Procedures for Avid DS
Chapter 1 Setting up your Avid DS Environment
Installation Scenarios
Due to the various types of hardware platforms and Avid DS workgroup configurations,
there are different installation checklists for upgrading your Avid DS workstation software.
These checklists have specific steps that must be followed in the correct order. Each step will
point you to an appropriate section with more detailed instructions. Return to the checklist
each time that you complete a step.
This section shows different ways to set up your Avid DS workgroup, and where each of the
various Avid DS software components or services should be installed.
Installing a Standalone Avid DS Workstation
When you have a single Avid DS workstation that is running alone, you only need to install
the Avid DS software. A single workstation is it’s own controller running the project and
media indexing services.
Setting up an Avid DS Workgroup
When you have two or more Avid DS workstations (even if one of them is an Avid DS RP
workstation), then it is possible to connect them together in an Avid DS workgroup. In a
workgroup, you can share projects and media between workstations or offload the media
management and processing services to a dedicated workstation.
CONTROLLER
CLIENT
Avid DS Workstation
Could run any one of the following:
- Avid DS RP
- Avid DMS Broker
- Avid Throttle Manager
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Installation Scenarios
To optimize the operation of your workgroup, we recommend that you connect an ordinary
machine (i.e. a non-Avid DS workstation) to your workgroup and designate it as the
controller. The controller then manages all indexing and remote processing services, so that
you can use your Avid DS workstations solely for editing tasks.
n
This workstation would have the same system requirements as an Avid DS RP—see
“Minimal Requirements for Avid DS RP Workstation” on page 369.
In a more elaborate environment, you may have more than one RP workstation to provide
services to several Avid DS workstations. (You can’t run Avid DS RP and Avid DS
simultaneously on a workstation.)
ADDITIONAL RP WORKSTATION
CONTROLLER
Running:
Running Avid DS RP
- Avid DS RP
Each RP workstation added to the
workgroup should be configured
the same as this one.
- Avid DMS Broker
- Avid Throttle Manager
CLIENT 1
CLIENT 3
Avid DS Workstation
Avid DS Workstation
LOCAL AREA NETWORK
Running Avid DS
Running Avid DS
Each Avid DS workstation added to
the workgroup should be configured
the same as this one.
CLIENT 2
Avid DS Assist Workstation
To properly configure an Avid DS workgroup, you should have a basic understanding of
Windows user account management. All workstations should be connected to the same
network so that they can access each other’s project files and media when necessary.
You should also refer to “Planning your Storage Locations” on page 406, for the different
ways that your media storage can be configured. If you are using Avid Unity MediaNetwork
as your storage, you may use it in any one of these workgroup scenarios.
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Chapter 1 Setting up your Avid DS Environment
Installing New Avid DS Workstations
Use the following checklists when installing new Avid DS workstations.
1. Checklist: Preparing a New Avid DS Workstation
2. Checklist: Installing a Standalone Workstation
or
Checklist: Installing Multiple Workstations
Checklist: Preparing a New Avid DS Workstation
Before you start to install the Avid DS software, you must prepare your workstation(s) with
the proper operating system, drivers, and network and storage connections.
n
This checklist only applies to workstations on which you are installing Avid DS. It is not
required if you are only installing Avid DS RP on the workstation—see “Install Avid DS RP
on the appropriate Workstations” on page 321.
Follow these steps in the order that they are listed. Each time you link to another topic within
a step, make sure you return to the checklist after you have completed that procedure. Use
the Previous View button in your Adobe Reader to return to the previous topic.
;
Step
†
Read the online release notes and pre-installation
Go to http://www.softimage.com/avidds and
instructions on the Avid DS Support Center web site. select Download > Software.
†
Request an Avid DS license for each workstation on
which you are going to install Avid DS.
“Requesting a License File” on page 402.
†
Make sure the workstation is properly connected to
any necessary peripheral and storage devices.
“Site Planning” in the Avid DS System Setup
Guide. in the Help.
†
Start the workstation.
314
Refer to this section
Installing New Avid DS Workstations
;
Step
†
On new Avid DS systems, the Windows XP operating “Creating User Accounts” on page 345.
system is already installed, but you may need to enter
your Windows XP product ID for license
confirmation.
Refer to this section
You will be asked to create a user account (other than
Administrator).
After setting up a user account, switch to the
administrator account to install Avid DS.
1. Press Ctrl+Atl+Del twice to get the Windows
login dialog.
2. Type administrator for the User ID and leave the
Password field blank.
3. After you log in as administrator, add a password Microsoft Windows online help. Click Start >
for the administrator, so that the Avid DS indexing Help and Support.
services function properly.
†
The workstation MUST have an unique IP address.
Make sure that you have a valid network connection
for your Avid DS workstation whether it is connected
to a network or running alone.
n
†
†
“Configuring the Network Connection” on
page 336.
If you are running a standalone workstation,
“Installing the Microsoft Loopback Adapter on
and don’t have a valid network connection, you aStandalone Station” on page 338.
need to simulate one by creating a loopback
connection.
Create user accounts for each person that will use the
workstation.
•
If you are part of a Windows Workgroup...
“Microsoft Windows Workgroups: Account
Management” on page 340.
•
If you are part of a Windows Domain...
“Microsoft Windows Domains: Account
Management” on page 341.
Name your workstation to uniquely identify it within “Naming your Workstation” on page 342.
your Avid DS workgroup.
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Chapter 1 Setting up your Avid DS Environment
;
Step
†
You must turn off ‘simple file sharing’, or other
Avid DS software components will not be allowed to
access the shared folders for data and media.
Refer to this section
From Windows Explorer, select Tools > Folder
Options... > View. Under Advanced settings, deselect
the Use simple file sharing (Recommended) option.
†
Use some type of network timing software to maintain
synchronization between the workstations within a
workgroup.
†
Install the necessary drivers for your workstation.
When installing the drivers, reboot your workstation
each time you are asked to do so.
n
If you purchased a new Avid DS Nitris system,
the drivers and firmware needed to run
Avid DS Nitris are already installed on your
system.
†
If the workstation has a local storage device, make
sure the stripe volume has been created.
†
You are now ready to install Avid DS on your
workstation(s).
Use the Avid DS Nitris Software & Drivers
DVD, or download the the latest drivers from the
Avid DS Support Center web site:
http://www.softimage.com/avidds (see
Download area).
“Striping your Drives” on page 426.
Use the appropriate checklist for installing:
316
•
a single standalone Avid DS workstation
“Checklist: Installing a Standalone Workstation”
on page 317.
•
more than one Avid DS and/or Avid DS RP
workstation(s) connected together
“Checklist: Installing Multiple Workstations” on
page 318.
Installing New Avid DS Workstations
Checklist: Installing a Standalone Workstation
If you have a single Avid DS workstation that is running alone, you will only need to install
Avid DS.
Follow these steps in the order that they are listed. Each time you link to another topic within
a step, make sure you return to the checklist after you have completed that procedure. Use
the Previous View button in your Adobe Reader to return to the previous topic.
;
Step
Refer to
†
Make sure that you have fully prepared your
workstation(s) for the install.
“Checklist: Preparing a New Avid DS Workstation” on
page 314.
†
Login to the workstation.
†
Install Avid DS.
“Installing Avid DS Software Components” on
page 350.
Use the Avid DS Nitris Software & Drivers DVD, or
download the software from the Avid Download Center
http://www.avid.com/support/downloadcenter/index.as
p
†
Install the latest Avid DS upgrades and/or fixes (if Download the latest upgrades and/or fixes.
any).
Follow the online instructions to install software
updates, and then reboot your workstation.
†
Create the license file for this workstation.
†
Any new storage areas automatically have full
“Sharing Folders and Setting Permissions” on
read/write access by any user on the network. To page 343.
restrict access to your media, you can change the
share permissions through Windows.
†
Configure the media storage areas on each Avid
DS workstation.
“Installing the Registered License File” on page 403.
“Configuring your Storage Locations” on page 415.
By default, the Avid DS installation configures
one audio and one video storage on each
workstation. Check your storage device
configuration to set the Disk Controller Type and
Disk Storage Type correctly.
†
Set the path to your projects folder.
“Establishing the Project Folder” on page 424.
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Chapter 1 Setting up your Avid DS Environment
;
Step
Refer to
†
Test Avid DS by starting it and creating a new
project.
“Creating a New Project” in the Avid DS Nitris Getting
Started Guide.
n
If you receive a Project Indexer message
when you create a new sequence, contact
Avid DS Support Center immediately to
resolve the problem.
Checklist: Installing Multiple Workstations
If you are upgrading an existing Avid DS workgroup, then follow the instructions in this
section. The order in which you install the Avid DS software and services is critical,
especially when configuring RP workstations.
Install the Controller
Follow these steps in the order that they are listed. Each time you link to another topic within
a step, make sure you return to the checklist after you have completed that procedure. Use
the Previous View button in your Adobe Reader to return to the previous topic.
;
Step
Refer to
†
Determine the workgroup configuration that
you are going to use.
“Installation Scenarios” on page 312.
†
In a workgroup, you must first install the
controller.
“Installing the Avid DS Controller” on page 356.
Use the Avid DS Nitris Software & Drivers DVD, or
download the software from the Avid Download Center
http://www.avid.com/support/downloadcenter/index.asp
†
†
318
If you installed the DMS Broker on this workstation:
†
1. Atttach the DMS dongle to the
workstation.
“Attaching the Dongle” on page 381.
†
2. Start the DMS Broker.
“Starting the DMS Broker” on page 383.
After the controller has been installed, you can Follow the checklist below on how to “Install Avid DS
install and connect other workstations in the
on the appropriate Workstations”.
workgroup.
Installing New Avid DS Workstations
Install Avid DS on the appropriate Workstations
Follow these steps in the order that they are listed. Each time you link to another topic within
a step, make sure you return to the checklist after you have completed that procedure. Use
the Previous View button in your Adobe Reader to return to the previous topic.
;
Step
†
Make sure you have fully prepared each Avid “Checklist: Preparing a New Avid DS Workstation” on
DS workstation(s) for the install.
page 314.
†
Login to the workstation.
†
Run the Avid DS Setup and install Avid DS.
†
n
Refer to
In a workgroup environment, the
controller must be installed before you
install Avid DS on the workstations.
“Installing Avid DS Software Components” on page 350.
Use the Avid DS Nitris Software & Drivers DVD, or
download the software from the Avid Download Center
http://www.avid.com/support/downloadcenter/index.asp
Install the latest Avid DS updates and/or fixes Download the latest upgrades and/or fixes.
(if any).
Follow the online instructions to install these
software updates, and then reboot your
workstation.
†
Create the license file on each workstation
where Avid DS is installed.
†
Any new storage areas automatically have full “Sharing Folders and Setting Permissions” on page 343.
read/write access by any user on the network.
To restrict access to your media, you can
change the share permissions through
Windows.
†
Configure the media storage areas on each
Avid DS workstation.
“Installing the Registered License File” on page 403.
“Configuring your Storage Locations” on page 415.
By default, the Avid DS installation configures
one audio and one video storage on each
workstation. Check your storage device
configuration to set the Disk Controller Type
and Disk Storage Type correctly.
†
Set the path to your projects folder.
†
If you are using Avid Unity as your storage,
“Checklist: Installing Avid DS with Avid Unity” on
install the Avid Unity MediaNetwork software page 422.
on each client workstation.
“Establishing the Project Folder” on page 424.
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;
Step
†
Test Avid DS by starting it and creating a new “Creating a New Project” in the Avid DS Nitris Getting
project.
Started Guide.
n
†
Refer to
If you receive a Project Indexer
message when you create a new
sequence, contact Avid DS Customer
Service immediately to resolve the
problem.
Test remote processing on an Avid DS RP
workstation (if you have one in your
workgroup).
1. Start Avid DS RP on the controller, and
check the messages in the interface to
make sure that no error is displayed.
2. Start Avid DS on any workstation in the
workgroup.
3. Create a sequence, apply an effect on a
“Processing” in the Avid DS Nitris Getting Started Guide.
short clip and send the job to be processed
Select the Process Remotely option in the
remotely. After processing is complete,
Processing dialog box.
verify that the processed effect plays back
correctly on the timeline.
n
320
Installing New Avid DS Workstations
Install Avid DS RP on the appropriate Workstations
After the controller has been installed, you can install Avid DS RP on the workstations that
will serve as remote processing workstations.
Follow these steps in the order that they are listed. Each time you link to another topic within
a step, make sure you return to the checklist after you have completed that procedure. Use
the Previous View button in your Adobe Reader to return to the previous topic.
;
Step
†
Run the Avid DS Setup and install Avid DS RP. “Installing Avid DS RP” on page 372.
Refer to
Use the Avid DS Nitris Software & Drivers DVD, or
download the software from the Avid Download Center
http://www.avid.com/support/downloadcenter/index.asp
†
Test remote processing on the newly installed
RP workstation.
1. Start Avid DS RP and check the messages
in the interface, to make sure that no error is
displayed.
2. Start Avid DS on any workstation in the
workgroup.
3. Apply an effect on a short clip and send the “How Do I Process?” in the Avid DS Nitris Getting
job to be processed remotely. After
Started Guide.
processing is complete, verify that the
Select the Process Remotely option in the
processed effect plays back correctly on the
Processing dialog box.
timeline.
n
n
If you have more than one RP
workstation in your workgroup, Avid DS
will direct your request to the first
available RP workstation. You can test
individual RP workstations by closing
Avid DS RP on the other RP
workstations.
321
Chapter 1 Setting up your Avid DS Environment
Upgrading Existing Avid DS workstations
This section describes how to perform a software upgrade on either a Compaq EVO W8000,
HP xw8000, or Avid Nitris DNA™ workstation.
If you only need to reinstall hardware component drivers or system firmware, refer to the
Avid DS Support Center web site at http://www.softimage.com/avidds for the most recent
updates.
n
c
If you are upgrading from a version earlier than v7.5, refer to the Avid DS Support Center
web site for detailed instructions.
If you have an Equinox HP xw8000, and would like to upgrade your hardware to an
Avid Nitris DNA system, contact your Avid DS Customer Service respresentative for
instructions on changing your hardware boards. You must perform the hardware
upgrade before installing the Avid DS v8.x software.
Use the following checklists when upgrading your Avid DS workstations.
1. Checklist: Preparing your Workstation for an Upgrade
2. Checklist: Upgrading a Standalone Avid DS Workstation
or
Checklist: Upgrading a Workgroup with Multiple Avid DS Workstations
Checklist: Preparing your Workstation for an Upgrade
Before you upgrade your software, it is very important to archive your existing projects and
save your Avid DS user preferences. You can then update your system drivers and firmware,
and lastly, upgrade your software.
Follow these steps in the order that they are listed. Each time you link to another topic within
a step, make sure you return to the checklist after you have completed that procedure. Use
the Previous View button in your Adobe Reader to return to the previous topic.
;
Step
Refer to
†
Read the online release notes and Readme instructions on
the Avid DS Support Center web site.
Go to http://www.softimage.com/avidds
and select Download > Software.
†
Request an Avid DS license for each workstation on which
you are going to install Avid DS.
“Requesting a License File” on page 402.
322
Upgrading Existing Avid DS workstations
;
Step
Refer to
†
Archive your existing projects.
“Archiving Projects” in the Help.
You must NOT directly open projects from earlier versions
of Avid DS without first archiving them. Once a sequence is
opened in v8.0, it cannot be opened in a previous version.
Therefore, it’s best to archive your projects before
upgrading.
All media from v7.x onwards is compatible with v8.x, so
you don’t need to archive the media. Caches, however, are
not compatible and will have to be reprocessed in v8.x.
†
Save your current Avid DS layouts and preferences.
“Saving your Avid DS Nitris System
Settings” on page 364.
†
Uninstall your previous version of Avid DS as well as any
plug-ins.
“Removing Avid DS” on page 328.
†
All workstations must be upgraded to Windows XP Service http://www.softimage.com/avidds Home
Pack 2, or Windows Professional x64 Edition and Service
page
Pack 1.
†
Install the latest Windows XP hot fixes from the Microsoft
web site.
http://v4.windowsupdate.microsoft.com/e
n/default.asp
†
Download the latest drivers and firmware files for your
workstations.
Avid Download Center:
http://www.avid.com/support/downloadce
nter/index.asp
Install these files as instructed on the web site.
†
After the operating system and necessary hardware drivers
have been updated, use the appropriate checklist below to
install the software on:
•
a single standalone Avid DS workstation
“Checklist: Upgrading a Standalone Avid
DS Workstation” on page 324.
•
more than one Avid DS and/or Avid DS RP
workstation(s) connected together
“Checklist: Upgrading a Workgroup with
Multiple Avid DS Workstations” on
page 325.
323
Chapter 1 Setting up your Avid DS Environment
Checklist: Upgrading a Standalone Avid DS Workstation
If you have a single Avid DS workstation that is running alone, you will only need to install
Avid DS. The Project Indexer and Media Indexer are automatically installed.
Follow these steps in the order that they are listed. Each time you link to another topic within
a step, make sure you return to the checklist after you have completed that procedure. Use
the Previous View button in your Adobe Reader to return to the previous topic.
;
Step
Refer to
†
Make sure that you have fully prepared your
workstation for the install.
“Checklist: Preparing your Workstation for an
Upgrade” on page 322.
†
Insert the Avid DS Software and Drivers DVD into
your drive,
OR
Download the latest Avid DS software and updates
from the web.
†
Install the necessary Avid DS components on this
workstation.
Avid Download Center:
http://www.avid.com/support/downloadcenter/
index.asp
“Installing Avid DS Software Components” on
page 350.
If there are any fixes for this version, install them as
well.
†
Create the license file for this workstation.
†
Test Avid DS by starting it and creating a new project. “Creating a New Project” on page 130 of the Avid
DS Nitris Getting Started Guide.
If you receive a Project Indexer message when you
create a new sequence, contact Avid DS Support
Center immediately to resolve the problem.
†
Configure the Media Storage.
By default, the Avid DS installation configures one
audio and one video storage on each workstation. If
you had existing storage, you will notice that your
storage areas are now shared using ds_media names
(e.g. ds_media, ds_media_1, ds_media_2).
Determine the physical storage devices/drives to
which these correspond, and that you are capturing
your media to the correct location. You should also
check your storage device configuration to set the
Disk Controller Type and Disk Storage Type
correctly.
324
“Installing the Registered License File” on
page 403.
“Configuring your Storage Locations” on
page 415.
Upgrading Existing Avid DS workstations
;
Step
Refer to
†
Restore your Avid DS layouts and preferences that
you saved from your previous version.
“Saving your Avid DS Nitris System Settings” on
page 364.
Checklist: Upgrading a Workgroup with Multiple Avid DS Workstations
If you are upgrading an existing Avid DS workgroup, then follow the instructions in this
section. The order in which you install the Avid DS software and services is critical,
especially when configuring RP workstations.
n
n
This checklist assumes that you are keeping your existing workgroup configuration. If you
need to change the configuration of your workgroup (for instance, if you need to designate a
different workstation as the controller), see “Managing a Workgroup” on page 331.
If you want to keep one or more workstations running earlier versions of Avid DS, then you
must create a separate workgroup for these workstations.
Use these steps to upgrade each workstation. Follow the steps in the order that they are
listed. Each time you link to another topic within a step, make sure you return to the
checklist after you have completed that procedure. Use the Previous View button in your
Adobe Reader to return to the previous topic.
;
Step
Refer to
†
Make sure that you have fully prepared your
workstation for the install.
“Checklist: Preparing your Workstation for an
Upgrade” on page 322.
†
Insert the Avid DS Software and Drivers DVD into
your drive,
OR
Download the latest Avid DS software and updates
from the web.
Avid Download Center:
http://www.avid.com/support/downloadcenter/
index.asp
†
Install the Controller
†
First, install the necessary Avid DS components on the “Installing the Avid DS Controller” on
controller.
page 356.
If there are any fixes for this version, install them as
well.
†
If the DMS Broker is installed on this workstation:
325
Chapter 1 Setting up your Avid DS Environment
;
Step
Refer to
†
Make sure the DMS dongle is attached to the
workstation.
“Attaching the Dongle” on page 381.
†
Obtain a new license for the dongle.
.“Updating the Dongle” on page 382
†
Start the DMS Broker.
“Starting the DMS Broker” on page 383.
Install the Other Workstations
†
Install Avid DS on each workstation.
†
Create the license file for each workstation.
.
†
Test Avid DS by starting it and creating a new project.
“Creating a New Project” on page 130 of the
Avid DS Nitris Getting Started Guide.
If you receive a Project Indexer message when you
create a new sequence, contact Avid DS Support Center
immediately to resolve the problem.
†
Configure the media storage areas on each Avid DS
workstation.
“Configuring your Storage Locations” on
page 415.
By default, the Avid DS installation configures one
audio and one video storage on each workstation.
Check your storage device configuration to set the Disk
Controller Type and Disk Storage Type correctly.
†
If you are using Avid Unity as your storage, install the
Avid Unity MediaNetwork software on each client
workstation.
†
Test remote processing on an Avid DS RP workstation
(if you have one in your workgroup).
1. Start Avid DS RP on the controller, and check the
messages in the interface to make sure that no error
is displayed.
2. Start Avid DS on any workstation in the workgroup.
326
“Checklist: Installing Avid DS with Avid Unity”
on page 422.
Upgrading Existing Avid DS workstations
;
Step
Refer to
3. Create a sequence, apply an effect on a short clip
and send the job to be processed remotely. After
processing is complete, verify that the processed
effect plays back correctly on the timeline.
“Processing” on page 256 of the Avid DS Nitris
Getting Started Guide.
n
†
Select the Process Remotely option in the
Processing dialog box.
If you have more than one RP workstation in
your workgroup, Avid DS will direct your request
to the first available RP workstation. You can
test individual RP workstations by closing Avid
DS RP on the other RP workstations.
Restore your Avid DS layouts and preferences that you “Saving your Avid DS Nitris System Settings”
saved from your previous version.
on page 364.
327
Chapter 1 Setting up your Avid DS Environment
Removing Avid DS
Checklist: Removing Avid DS
If you need to uninstall the Avid DS software, you MUST first remove any plug-ins or
codecs that were installed on your system.
c
If you uninstall Avid DS before uninstalling the plug-ins, the uninstall procedure will
fail.
Follow these steps in the order that they are listed. Each time you link to another topic within
a step, make sure you return to the checklist after you have completed that procedure. Use
the Previous View button in your Adobe Reader to return to the previous topic.
;
Step
Refer to
†
Save your Avid DS layouts, presets, preferences, toolbars,
and key command maps.
“Saving your Avid DS Nitris System
Settings” on page 364.
†
Remove all the Avid DS plug-ins or codecs.
http://www.avid.com/partners/avx/
displayPartners.html for a list of
Avid DS plug-in vendors.
1. Click the Start button, and select Settings > Control
Panel > Add/Remove Programs.
2. In the Currently Installed Programs list, check for any
installed plugs-ins.
3. Select the plug-ins one at a time, and click the
Change/Remove button. Repeat this step until they are
all removed.
n
†
328
If you cannot remove some plug-ins, continue with
the next one until completion, and then manually
delete the \Plug-in folder.
Remove the necessary drivers and firmware via Settings >
Control Panel > Add/Remove Programs.
Removing Avid DS
;
Step
†
Remove Avid DS.
Refer to
1. Click the Start button, and select Settings > Control
Panel > Add/Remove Programs.
2. In the Currently Installed Programs list, select the
Avid DS software that you want to remove.
3. When the setup program starts, select the Remove
option, and click the Next button.
4. Select Yes to remove all components.
5. When all components are removed, click Yes to restart
the workstation.
329
Chapter 1 Setting up your Avid DS Environment
Recovery Procedures for Avid DS
In the event of a complete system failure, the Avid DS Support Center web site provides
details on the recovery process for your particular system.
If you have an HP workstation, you can rebuild the C: partition of your Avid DS Nitris
workstation using the HP Recovery Manager. The recovery manager will rebuild your
workstation with the Windows XP operating system and drivers, as well as any project data
from the last recovery point that you made. It will not install the Nitris board drivers and
firmware.
The first user to log on to the HP workstation will be prompted to create the necessary
recovery CDs and a recovery point. Wait until after you have installed all the necessary
Avid DS components, and then follow this checklist:
;
Step
Refer to this section
†
Create an operating system CD.
Go to http://www.softimage.com/avidds and
select Documentation > Recovery Procedures.
†
Create an HP Restore Plus CD.
†
Create an HP Supplementals CD.
†
Create a recovery point.
This step should be done at key intervals
during the year.
In the event of a system or hard drive failure, refer to the HP recovery procedures to recover
your operating system and data. The procedures are available on the HP CD as well as on the
HP web site.
330
Managing a Workgroup
Managing a Workgroup
If, at any point, you need to change the controller of your workgroup, connect more
workstations, or create a new workgroup, then you can refer to the following sections.
Adding a Workstation to a Standalone Avid DS Workstation
To connect new workstations (either Avid DS or Avid DS RP) to a standalone workstation,
you need to set up an Avid DS workgroup. In a workgroup, at least one workstation must be
designated as the controller.
If you are connecting an RP workstation, we strongly recommend that you make your RP
workstation the controller of the workgroup. This offloads the project indexing tasks from
the Avid DS workstation onto a dedicated RP workstation.
Follow the instructions in “Checklist: Installing Multiple Workstations” on page 318.
Connecting Other Workstations in the Workgroup to the Controller
If you are installing a new workstation in the workgroup, then follow the checklist for
“Install Avid DS on the appropriate Workstations” on page 319. (Assuming that you have
already installed the controller for the workgroup).
If you already have an existing workstation with the necessary Avid DS components
installed, and you simply want to connect it to the workgroup, then follow the instructions
below.
To connect a standalone workstation to a workgroup:
1. On the workstation that you want to connect to the workgroup, click the Start button
and select All Programs > Avid > Avid DS 8 > Configure DS Workgroup.
2. Click Join workgroup.
3. Select Join a different DS Workgroup, and click the Next button.
4. In the left pane, select the name of the appropriate Avid DS Workgroup on the network
and click the Next button.
5. Validate the User Account and Password to authenticate the Avid indexing services
(These must match the Controller User Account and Password entries). Click Next.
6. Do these same steps for any other workstation that you want to connect to the
workgroup.
331
Chapter 1 Setting up your Avid DS Environment
Designating a New Controller for the Workgroup
To designate a different workstation in the workgroup as the controller, you must first
separate your existing controller from the workgroup.
To designate a new controller:
1. Separate the existing controller from the workgroup by following the instructions for
“Separating a Workstation from the Workgroup” on page 332.
2. On the workstation that will be the new controller, click the Start button and select All
Programs > Avid > Avid DS 8 > Configure DS Workgroup.
3. Select Install Avid DS Workgroup Controller.
n
Depending on the type of workgroup you are configuring, you may need to select other
options in this setup—see “Installation Scenarios” on page 312.
4. Enter the name of the workgroup.
When the installation is complete, this workstation will be the new controller of the
workgroup.
5. You can now connect the other workstations to this workgroup—see “Connecting Other
Workstations in the Workgroup to the Controller” on page 331.
Separating a Workstation from the Workgroup
To separate a workstation from the workgroup:
1. On the workstation that is to be separated, click the Start button and select All
Programs > Avid > Avid DS 8 > Configure DS Workgroup.
2. Click Work standalone and click the Next button.
This workstation is now no longer part of the workgroup.
Restarting a Workgroup
When restarting all workstations in an Avid DS workgroup, it is always good practice to start
the controller workstation first. Once it is running, then others may be started.
If the controller is the only workstation that needs to be restarted, then one or more of the
other client workstations may not remain connected to the Avid DS workgroup. As a result,
access errors may occur. If this happens, restart the workstation in question.
If you have the DMS Broker in your workgroup, you also need to restart the Avid DMS
Broker—see “Starting the DMS Broker” on page 383.
332
Managing a Workgroup
333
Chapter 1 Setting up your Avid DS Environment
334
Chapter 2
Configuring Windows XP
Avid DS Nitris is supported on both Windows XP Professional and Windows Professional
x64 Edition.
Chapter 2 Configuring Windows XP
Configuring the Network Connection
If you are installing a standalone Avid DS workstation with no network connection, then
ignore this section, and see “Installing the Microsoft Loopback Adapter on aStandalone
Station” on page 338. This simulates an active network connection.
If you are on a Microsoft Windows domain, then do only steps 1 to 4 to set up network
connections on each of the workstations.
If you are part of a Microsoft Windows workgroup, follow all these steps to set up network
connections on each of the workstations.
n
The Avid Project Indexer will not operate correctly if the network adapter or connection is
not set properly.
To configure the network connection on Windows XP:
1. On the Windows desktop, right-click the My Network Places icon and select
Properties.
The following window displays.
2. Right-click the Local Area Connection icon and select Properties.
A dialog box similar to the following displays.
336
Configuring the Network Connection
n
The TCP/IP network protocol must always appear at the top of the list of protocols.
3. Double-click the TCP/IP protocol and click Properties.
4. Do one of the following:
t
Windows workgroup: select Use the following IP address.
t
Windows domain: select Obtain an IP address automatically.
5. On a private network, enter a valid IP address from your Internet Service Provider and
the correct Subnet Mask.
6. Enter the Gateway address if required. Otherwise, leave it blank.
7. Click OK.
8. Repeat these steps for all workstations in the Windows workgroup.
To confirm that all workstations are part of the workgroup:
1. On the Windows desktop, right-click the My Network Places icon.
2. Click Computers Near Me.
You should see all the workstations that you just configured to be part of the workgroup.
If not, restart the workstation to reinitialize the network adapter card.
337
Chapter 2 Configuring Windows XP
Using Two Network Cards
If any of the workstations are configured with two active network cards, the Avid indexing
services require small modifications to work properly.
1. Open the C:\Winnt\slp.conf file with the Windows Notepad application.
2. Locate this line at the bottom of the file:
net.slp.isBroadcastOnly = false
3. Change ‘false’ to ‘true’.
4. Save the file and restart the workstation to reset the indexing services.
If the Avid DS RP workstation chooses the slower network adapter for processing, you can
force Windows to use the fastest network adapter by doing the following:
1. Open the C:\winnt\system32\drivers\etc\hosts file with the Windows Notepad
application.
2. At the bottom of the file, under the default 127.0.0.1 localhost line, declare the fast
network adapter IP Address and computer name (example: 200.200.200.1 DS1).
3. Save the file and restart the workstation.
If that does not resolve the problem, open a Command Prompt window, type ROUTE
PRINT and press Enter.
The result should display your two network adapters’ IP addresses. If you see only one
address returned, you have a networking conflict to resolve.
Do not use the same IP class for both adapters. For example, the following is not valid:
100.100.100.1
and
100.100.100.2
The following is valid:
100.100.100.1
and
200.200.200.1
Installing the Microsoft Loopback Adapter on aStandalone Station
If your Avid DS workstation will not be operating on a network, the Microsoft Loopback
adapter must be installed and configured with a static IP address as directed here.
Before you begin, make sure that your workstation is disconnected from any network:
338
•
the Local Area connection must be disabled (click Network Connections desktop icon),
and
•
the network cable must be disconnected.
Configuring the Network Connection
To install the Microsoft LoopBack adapter:
1. Go to the Control Panel and double-click the Add Hardware icon.
The Welcome to the Add Hardware Wizard displays.
2. Click the Next button.
The wizard searches for installed components.
3. Select Yes, I have already connected the hardware and click the Next button.
4. Select Add a new hardware device and click the Next button.
5. Select Install the hardware that I manually select from a list (Advanced) and click
the Next button.
6. Select Network Adapters and click the Next button.
7. First select Microsoft in the list on the left, then select Microsoft loopback adapter,
and click the Next button.
8. Click the Next button again, and click the Finish button.
To test the Microsoft LoopBack adapter:
t
In a Command Prompt window, type PING "computername" (where
computername is the name of the workstation).
The result should be:
Reply from 127.0.0.1: bytes=32 time<1ms TTL=128
n
127.0.0.1 is the default Microsoft XP loopback address.
339
Chapter 2 Configuring Windows XP
Microsoft Windows Workgroups: Account
Management
A workgroup configuration is usually most appropriate for smaller facilities. The only
difference is between a workgroup and a domain is that the Windows account management
for a workgroup is decentralized and requires more complicated security configurations for
the Avid DS software components.
When an Avid DS workgroup operates within a Windows workgroup, do the following:
•
n
When setting up accounts, log on with the local administrator account. For example:
administrator or <computer_name>\administrator
After you log on, you must set a password for the administrator account.
•
A user account must be created for each person on each Avid DS workstation. Each
account must have the same username and password on all workstations. For example, if
the Avid DS workgroup belongs to a Windows workgroup called POST, and if Alice,
Bob, and Charlie are Avid DS operators, then the following accounts must be created:
Alice
Bob
Charlie
•
Add the user account to the Administrators group, on each of the workstations in the
Avid DS workgroup.
For example:
If a new Avid DS user, Mikayla, needs to be given access to the workgroup, then simply
create a new account (Mikayla) on each workstation, and add this account to the
Administrators group on each workstation.
If an existing user, Bob, must be removed from the Avid DS workgroup, then remove
Bob from the Administrators group on each workstation.
340
•
Enter a unique name for each workstation in the workgroup—see “Naming your
Workstation” on page 342.
•
Configure the network connection on each workstation—see “Configuring the Network
Connection” on page 336.
Microsoft Windows Domains: Account Management
Microsoft Windows Domains: Account
Management
A domain configuration is usually most appropriate for larger facilities where the Avid DS
workstations are part of an existing corporate network. In a domain, the Windows account
management is centralized and simplifies security configuration of all the Avid DS software
components.
When an Avid DS workgroup operates within a Windows domain, do the following:
•
When setting up accounts, log on with a valid domain and user account with local
administrative privileges (<domain_name>\userid)
•
Each person that will use an Avid DS must be given a separate Windows user account
within the domain. For example, if the Avid DS workgroup belongs to a domain called
POST, and if Alice, Bob, and Charlie are Avid DS operators, then the following
accounts must be created:
POST\Alice
POST\Bob
POST\Charlie
Domain accounts must be set up by your network administration personnel. Avid does
not provide nor support domain networking issues, as network environments differ from
one company to the next.
•
n
Add each user account to the Administrators group, of all workstations in the Avid DS
workgroup.
By administrators group, we mean the local administrator of the workstation, not the
Domain administrator. The Avid DS services and hardware require administrative privileges
to run on Windows.
For example:
Once these accounts are properly configured, it becomes quite easy to add and remove
new users from the workgroup. If a new Avid DS user, Mikayla, needs to be given
access to the workgroup, then simply create a new account (POST\Mikayla) and add
this account to the Administrators group.
If an existing user, Bob, must be removed from the Avid DS workgroup, then simply
remove POST\Bob from the Administrators group.
•
Make sure there is a proper network connection on each workstation. Your network
administrator should perform this step.
341
Chapter 2 Configuring Windows XP
Naming your Workstation
If your workstations are members of a Windows workgroup, each workstation should be
given a unique name.
Also, it is better to give different names to the workstation, the Windows workgroup, and the
Avid DS workgroup to avoid confusion.
To set your workstation name on Windows XP:
1. Click the Start button and select Settings > Control Panel.
2. Double-click the System icon.
3. Select the Network Identification tab, and click the Properties button.
4. Under Computer Name, type in a unique name for this workstation.
5. Select Member of: Workgroup.
6. For the workgroup name, type Workgroup or the name of your company.
n
342
The workgroup name must be the same on all workstations.
Sharing Folders and Setting Permissions
Sharing Folders and Setting Permissions
The Avid DS Setup program creates folders to hold project data and media files. By default,
these folders will inherit security permissions from the parent folder. In a default installation,
these folders are automatically shared, and the default permissions give full access to
everyone.
These permissions may be changed as needed:
Shared folder name
Shared path
Description
\DS_Projects
F:\DS Projects\DS_v8.x
Avid DS Nitris project
folder
\ds_media
D:\VideoStorage
Avid DS Nitris media
storage
\ds_media_1
F:\AudioStorage
Avid DS Nitris media
storage
If a user creates new media folders or stores project data in other folders, then Avid DS
automatically shares those folders. The share permissions and security of these folders
should also be verified.
For media and project folders, if permissions are not set properly on the share or the folder,
you will get an error message.
Sharing Folders in a Windows Workgroup
To disable simple file sharing:
1. Open an Explorer window and select Tools from the menu.
2. Select Folder Options.
3. Select the View tab.
4. Under Advanced Settings, deselect Use simple file sharing (Recommended).
5. Click Apply, and then OK to exit.
Now you can share folders over the network.
To set folder permissions:
1. Right-click the folder and select Properties.
2. On the Sharing tab, select the Share this folder option.
3. Enter the Share name.
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4. Enter a comment: ‘Avid DS project for shared projects; DS Media storage for shared
media’.
5. Click Permissions.
6. Select Full Control, then click Apply and OK.
c
Do not store or create projects outside of an existing DS Projects folder. For example:
F:\projectname is not valid
However,
F:\DS Projects\projectname is valid (where F:\DS Projects is shared)
F:\DS Projects\DS_v8.x\projectname is valid
(where F:\DS Projects\DS_v8.x is shared)
n
Additionally, the Avid Project Indexer does not allow a shared project folder to reside within
another shared project folder. You will get an error message from the indexer if you do so.
Sharing Folders in a Windows Domain
To share folders and set permissions on a computer that is part of a Windows domain:
1. In Windows Explorer, right-click the folder and select Sharing and Security.
2. Select Share this folder, and click the Permissions button.
3. Select Full Control, then click Apply and OK.
4. Add the user that runs the Project Indexer and allow full control.
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Creating User Accounts
Creating User Accounts
You can change your password, and create and modify user accounts by accessing the
Windows XP Computer Management console, which lets you define security features, such
as permissions, rights, accounts, user groups, and audit policies.
Avid recommends that all users within the Avid DS Workgroup have accounts in the
Administrators group on each workstation in the workgroup.
When creating user accounts, make note of whether your workstation is part of a Windows
workgroup or domain network.
•
n
If it is part of a Windows workgroup, log on with the local administrator account. For
example:
administrator or computer_name\administrator
The administrator account must have a password.
•
If it is part of a Windows domain, log on with a valid domain and user account with
local administrative privileges. For example:
domain_name\userid
To create a user account:
1. On the Windows desktop, right-click the My Computer icon and select Manage.
2. Use the tree (left) to navigate to System Tools > Local Users and Groups > Users.
3. Select Action > New User.
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4. Enter the new user information and click the Create button.
5. Repeat step 4 until you’re finished adding new users and click the Close button.
The new user accounts display in the Computer Management console.
To modify an account:
1. In the Computer Management console, navigate to System Tools > Local Users and
Groups > Users.
2. Double-click the user account you want to edit.
The Properties dialog box for this user account displays.
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Creating User Accounts
3. Select the General tab to specify password options.
4. Select the Member Of tab to add the user to groups.
n
All Avid DS users must be members of the Administrators group.
5. Click OK when you’re finished.
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Chapter 3
Installing Avid DS Software and
Services
This section describes how to install the various Avid DS products and services.
w
Before you begin installing Avid DS, all the operating system updates, required device
drivers, and the stripe volume (for local storage), must be configured correctly—see
“Setting up your Avid DS Environment” on page 311.
Chapter 3 Installing Avid DS Software and Services
Installing Avid DS Software Components
To install Avid DS, you must log on with an account that has Administrator privileges.
To install Avid DS software components:
1. Use the Avid DS Nitris Software & Drivers DVD, or download the Avid DS Nitris
software from the Avid Download Center.
n
The installers for the software are also available from the Avid Download Center at
http://www.avid.com/support/downloadcenter/index.asp.
2. Double-click the Setup.exe file. You have the following choices:
-
Avid DS Software: to install Avid DS Nitris, Avid DS RP, Avid DMS Broker, the
controller, and/or other services.
-
Drivers and Support Utilities: to install hardware drivers for your workstation.
-
Avid Codecs: to install Avid codecs, plug-ins, and other utilities.
3. Click the Avid DS Software button.
4. Select Avid DS 32-bit Edition or Avid DS 64-bit Edition.
5. Select Install Avid DS.
6. When the Avid DS Installation Wizard displays, click the Next button.
Each time you run the Avid DS install program, it automatically detects your hardware
and any previously installed Avid DS software.
If you already have Avid DS installed, the following Welcome dialog will display to let
you remove any unecessary components, or install additional components.
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Installing Avid DS Software Components
7. Select one of the above options and click Next.
8. In the Select Main Components dialog box, select or deselect any component by
clicking the checkbox beside it.
Refer to the Legend for an explanation of the icons that appear beside each component.
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Chapter 3 Installing Avid DS Software and Services
With existing installations, note the following:
-
If you deselect a component, it will be uninstalled.
-
Components that are already installed, will not be reinstalled. If you need to
reinstall any existing components, then choose the Repair option from the Welcome
dialog.
After you select the components, a summary is displayed of the software components
that will be installed or removed. If you are satisfied with the choices, proceed with the
installation.
n
If you are installing the workgroup controller, go to “Installing the Avid DS Controller” on
page 356.
9. In the License Agreement dialog box, read the End User License Agreement and accept
the terms of the agreement to continue the installation.
10. In the Customer Information dialog box, enter your name and company name, and click
the Next button.
11. In the Reseller or Dealer Information dialog box, enter the requested information and
click the Next button.
12. Choose the default destination location to install Avid DS and click Next.
13. If you are installing Avid DS on a client workstation, you will be asked if you want to
Work Standalone or Join Workgroup.
-
Click Work Standalone if you only have one Avid DS workstation that will run on
its own.
-
Click Join Workgroup if you want this workstation to be part of an Avid DS
workgroup. You can then remain in the existing workgroup or join a different
workgroup. If you decide to Join a Different Workgroup, then you will be asked
to select the name of the workgroup that you want to join.
14. When the Service Configuration window displays, enter the login profile of the user
account that will run the Avid DS services on this workstation.
You must specify the computer name before the user id (that is, computer_name\userid).
n
If your workstation is part of a Windows domain, then you need to specify the domain name
before the user id (domain_name\userid).
15. Click the Next button.
The second Service Configuration window displays.
t
352
If you are part of a Windows workgroup, then you only need the Administrator in
this list.
Installing Avid DS Software Components
t
If you are part of a Windows domain, then all user names must be configured with
the domain name (domain_name\userid). If these user accounts are not configured
correctly, then the services will not work.
For more information on domain versus workgroup accounts, see “Microsoft Windows
Workgroups: Account Management” on page 340 or “Microsoft Windows Domains:
Account Management” on page 341.
16. Determine the users or group that you want to access the Avid DS workgroup.
t
To give everyone full read/write permissions, click Allow Everyone.
t
To add new users or a new group, do the following:
-
Click the Add button.
-
Add individual user IDs/group names in the Add Names box.
-
Select the Type of Access for each user/group.
t
To remove a user or group:
-
Select a name from the list, and click the Remove button.
t
To change user or group privileges:
-
Select a name from the list and click Change.
-
Select the Type of Access for the user.
17. Click the OK button to save the user access permissions.
18. Click the Next button.
19. When the Start Copying Files dialog box displays, review your installation settings and
if you’re satisfied, click the Next button.
n
If you need to change options, use the Back button to go as far back as you need to change
the options.
A progress indicator displays while the Avid DS files are copied to your system.
20. The Storage Setup dialog box displays.
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-
n
Video Storage: Select the actual drive letter for your video media.
If you are connected to Avid Unity, select None even if it is available in this list. It will need
to be added later via the Storage Configuration dialog in Avid DS (using the full UNC path
name).
-
Audio Storage: Select the actual drive letter for your audio media.
-
Projects Storage: Select the actual drive letter for your projects and presets storage
area.
-
Archives Storage: Select the actual drive letter for your archives storage area.
-
Interactive Cache: Select the actual drive letter for your interactive cache storage
area. The interactive cache location must be either one of the local video storage
drives, or a drive partition other than your local system partition (An RP
workstation will also return processed media to this location).
21. Change the storage locations if necessary, and click the Next button.
22. Select any additional components that you need to install.
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Installing Avid DS Software Components
23. When the Start Copying Files dialog box displays, review your installation settings and
if you’re satisfied, click the Next button.
n
If you need to change options, use the Back button to go as far back as you need to change
the options.
A progress indicator displays while the Avid DS files are copied to your system.
24. Click the Finish button.
25. Close the Avid DS Setup window by clicking the close (X) button in the top-right
corner.
26. Restart your workstation if prompted.
n
If you are installing any updates or fixes, you must restart your workstation. Avid DS must
first register all its original files prior to a new addition.
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Chapter 3 Installing Avid DS Software and Services
Installing the Avid DS Controller
Follow this procedure if you need to install the Avid DS workgroup controller. You must log
on with an account that has Administrator privileges.
To install the workgroup controller:
1. Use the Avid DS Nitris Software & Drivers DVD, or download the Avid DS Nitris
software from the Avid Download Center.
2. Double-click the Setup.exe file and from the main menu, click Avid DS Software.
3. Select Avid DS 32-bit Edition or Avid DS 64-bit Edition.
4. Select Install Avid DS.
5. When the Avid DS Installation Wizard displays, click the Next button.
The Avid DS install program allows you install, reinstall, and remove any Avid DS software
components.
If Avid DS is not installed on a workstation, the following dialog displays:
6. In the Select Main Components dialog box, select Workgroup Components and, if
necessary, expand the tree to see all subcomponents that can be installed.
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Installing the Avid DS Controller
7. Deselect Avid DS. We do not recommend that you install Avid DS on the controller as
this workstation is designated to run the administrative services like Avid DS RP and
Avid DMS Broker.
Other software components that can be installed on the controller:
-
Avid DS RP—see “Installing Avid DS RP” on page 372.
-
Avid DMS Broker: If you have one or more RP workstations in your
workgroup—see “About the Avid DMS Broker” on page 376. (The DMS Broker
setup must be run separately.)
-
Avid Throttle Manager—The Throttle Manager is only required when you have an
Avid DS RP workstation in your workgroup—see “Avid Throttle Manager” on
page 374.
8. Click the Next button.
9. In the License Agreement dialog box, read the End User License Agreement and accept
the terms of the agreement to continue the installation.
10. In the Customer Information dialog box, enter your name and company name, and click
the Next button.
11. In the Reseller or Dealer Information dialog box, enter the requested information and
click the Next button.
12. Choose the default destination location to install any Avid DS software and click Next.
13. Avid DS checks if this workstation was previously a controller.
If it was a controller, then choose:
-
Keep existing workgroup configuration to keep the current workgroup settings.
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Chapter 3 Installing Avid DS Software and Services
-
Create a different DS workgroup if you want to create a new workgroup with this
controller.
If this is the first time that you are installing the controller software on this workstation,
then enter a unique workgroup name to which this controller will belong, and click the
Next button.
14. If you have one or more RP workstations in your workgroup, you must install and start
the Avid DMS Broker before installing Avid DS. For more information, see “Installing
Avid DMS Broker” on page 378.
You need to tell Avid DS where the DMS Broker resides:
-
Click Use local Avid DMS Broker if the broker is on this workstation.
-
Click Use remote Avid DMS Broker to use the broker that has been installed on
another workstation in your workgroup. (You will be required to specify the
workstation where it is installed.)
-
Click Do not use Avid DMS Broker if you do not need the broker.
15. When the Service Configuration window displays, enter the login profile of the user
account that will run the Avid DS services on this workstation.
You must specify the computer name before the user id (that is, computer_name\userid).
n
If your workstation is part of a Windows domain, then you need to specify the domain name
before the user id (domain_name\userid).
16. Click the Next button.
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Installing the Avid DS Controller
The second Service Configuration window displays.
t
If you are part of a Windows workgroup, then you only need the Administrator in
this list.
t
If you are part of a Windows domain, then all user names must be configured with
the domain name (domain_name\userid). If these user accounts are not configured
correctly, then the services will not work.
For more information on domain versus workgroup accounts, see “Microsoft Windows
Workgroups: Account Management” on page 340 or “Microsoft Windows Domains:
Account Management” on page 341.
17. Determine the users or group that you want to access the Avid DS workgroup.
t
To give everyone full read/write permissions, click Allow Everyone.
t
To add new users or a new group, do the following:
-
Click the Add button.
-
Add individual user IDs/group names in the Add Names box.
-
Select the Type of Access for each user/group.
t
To remove a user or group:
-
Select a name from the list, and click the Remove button.
t
To change user or group privileges:
-
Select a name from the list and click Change.
-
Select the Type of Access for the user.
18. Click the OK button to save the user access permissions.
19. Click the Next button.
20. When the Storage Setup dialog box displays, accept the default settings and click Next.
21. When the Start Copying Files dialog box displays, review your installation settings and
if you’re satisfied, click the Next button.
n
If you need to change options, use the Back button to go as far back as you need to change
the options.
A progress indicator displays while the Avid DS files are copied to your system.
22. If you want to install the DMS Broker, return to the main menu and select Avid DMS
Broker.
n
Important: You MUST install and start the DMS Broker before setting up the other
workstations in the workgroup.
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Chapter 3 Installing Avid DS Software and Services
Loading Plug-Ins
Avid provides some plug-ins for use with Avid DS Nitris. These plug-ins are automatically
installed whenever Avid DS Nitris is installed on your workstations.
Should you remove these plug-ins and then need to reinstall them, follow the instructions
below.
To reinstall plug-ins:
1. Use the Avid DS Nitris Software & Drivers DVD, or download the Avid DS Nitris
software from the Avid Download Center.
2. Double-click the Setup.exe file and from the main menu, click the Avid DS Nitris
Software button.
3. Select Avid DS 32-bit Edition or Avid DS 64-bit Edition.
4. Select Install Avid DS.
5. From the Welcome dialog box, choose Modify.
6. In the Select Main Components dialog box, choose Avid DS and click the Next button.
7. Follow the online instructions until you see the Additional Components dialog. Select
Plugins and click Next.
8. Complete the installation.
n
Important: Any plug-ins that you install on your client workstation should also be installed
on the RP workstation to ensure compatibility. The same applies to any third-party plug-ins.
Avid DS Nitris supports AVX 1.0 and native Avid DS plug-ins. For a list of compatible
third-party plug-ins, refer to the Avid DS Support Center web site. Contact the vendor
directly for compatibility with this version of Avid DS Nitris.
Avid DS Nitris also supports VST audio plug-ins. For details contact Avid DS
Customer Service.
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Installing and Removing Fonts
Installing and Removing Fonts
Avid DS Nitris includes 500 fonts from the Bitstream typeface library in the \Fonts folder of
the Avid DS Nitris Software and Drivers DVD.
Avid DS Nitris supports the following typeface formats:
•
Type 1
•
TrueType (PC-formatted)
Avid DS Nitris does not require any additional software to access TrueType fonts, but does
require Adobe Type Manager (ATM) software to access Type 1 fonts.
n
n
Installing too many fonts on your workstation can noticeably degrade computing
performance. Keep the number of fonts installed on your workstation to the minimum
necessary to complete your projects.
Important: Any fonts that you install on an Avid DS workstation should also be installed on
the RP workstation to ensure consistency between processed results in titles and graphics.
Installing and Removing Type 1 Fonts
Type 1 font support in Avid DS Nitris is available only if you have the Adobe Type Manager
or Adobe Type Manager Deluxe software (version 4.0 or later) installed and active. Consult
the documentation that came with the Adobe Type Manager or Adobe Type Manager Deluxe
software for instructions on how to install and remove Type 1 fonts.
Installing and Removing TrueType Fonts
TrueType font support in Avid DS Nitris does not require any additional software.
To install TrueType fonts:
1. Click the Start button and select Settings > Control Panel > Fonts.
The Fonts window displays.
2. From the File menu, select Install New Font.
3. Whe Add Fonts dialog box displays, use the Folders and Drives lists to navigate to the
folder that contains the TrueType fonts you want to install. On the Avid DS Nitris CD,
they’re in the \Fonts folder.
The available TrueType fonts in the selected folder display in the List of Fonts list.
4. Select the fonts to install from the List of Fonts list, as follows:
-
To select a single font, click the name of the font.
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Chapter 3 Installing Avid DS Software and Services
-
To select a range of fonts, click the name of the first font. Then Shift-click the last
font in the range.
-
To select all fonts in the directory, click Select All.
-
To switch the selection of a font, press the Ctrl key and click a font name.
5. (Optional) You can use the selected fonts from their current folder by deselecting the
Copy fonts to Fonts folder option. This will save disk space on your local workstation.
By default, fonts will be added to your workstation’s local disk space. If you are adding
several fonts, consider using the fonts from their current locations to save local disk
space.
6. Click OK.
The selected fonts are installed on your system.
7. If Avid DS Nitris is currently running on this workstation, restart it to access the newly
installed fonts.
To remove TrueType fonts:
1. Click the Start button and select Settings > Control Panel > Fonts.
The Fonts window displays.
2. Select the fonts to remove.
3. Press Delete.
You are prompted to confirm the deletion of the selected fonts.
4. Click Yes.
5. Close the Fonts and Control Panel windows.
6. If Avid DS Nitris is currently running, restart it to update the list of available fonts.
Installing Non-European Fonts
If you are working with a non-European, customized Windows operating system, such as
Windows XP Japanese, you can use the DSFontSetting.exe application, which is distributed
with Avid DS Nitris. You can use this application to change the default font used in
Avid DS Nitris dialog boxes or reset it to default.
The new font is used only in dialog boxes; menus and toolbar buttons are not affected by this
new information. You can customize the menu font size through the Windows Appearance
tab of the Desktop Properties.
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Installing and Removing Fonts
For non-European languages, Avid DS Nitris selects a font (by default) that comprises the
European character set and is part of the character set of the foreign Windows system, such
as Windows XP Japanese. However, the chosen font is very small and does not display
properly, especially in dialog boxes. For regular systems, the default font for dialog boxes is
Arial 11.
This application does not ensure that the font will fit properly in the dialog box. Whenever
the new selected font is too large for the various text contents of the dialog box, a smaller
default font will be used as in previous versions. You must be careful to choose a font that
still contains a European character set, since the displayed text is still English. This new
feature is not restricted only to Asian systems; any customer of any country can change the
Avid DS Nitris default font. However, layouts work best with the default font (Arial 11).
Each time a new font is set or reset, you must restart Avid DS Nitris before it takes effect.
To install non-European fonts
1. Browse to the C:\Program Files\Avid\DS_7.x folder.
2. Double-click the DSFontsettings.exe file.
3. From the Settings menu, you can select one of two options:
-
Reset Font to reset the fonts to their default setting.
-
Set DS Font to choose the Font and size you want to use in the dialog click. Click
OK.
Some Tips
•
For best results, use a font size between 8 and 14 points.
•
If the font selected is a little too big to be displayed in its designated area, it will be
substituted by the default font size.
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Chapter 3 Installing Avid DS Software and Services
•
If the font size is really too big, the layout will not appear correctly, and you may need to
refresh the screen.
Saving your Avid DS Nitris System Settings
Before uninstalling Avid DS Nitris, save your preferences and presets by exporting them to a
convenient folder. Then, after you’ve upgraded, you can import the presets into your new
version of Avid DS Nitris.
n
Do not save your preferences to a network folder.
Saving your Preferences
The Preference Management dialog box in Avid DS Nitris lets you import and export
preference sets. A preference set is a collection of Avid DS Nitris layouts, toolbars, combo
views, and/or key maps. Importing and exporting preference sets lets you share customized
controls with other users.
When you import or export a preference set, its internal hierarchy is preserved. For example,
if you export an entire layout, any toolbars contained in the layout are automatically
exported with it.
n
Preference sets with the same name are appended with a number to differentiate them.
When you export a preference set, you can only include the layouts and keymaps that you
customized. You can export any toolbar.
To export a preference set:
1. Select Layout > Import/Export Preferences.
2. In the Preference Management dialog box, select the Export Preferences tab.
3. Select the invidual controls that you want to export (or Select All). Use the Type list to
switch between the layouts, toolbars, and keymaps in the preference sets.
4. Click Export to export the selected controls.
5. Do one of the following:
t
In the File Name text box, enter the path to the folder in which you want to save the
preference sets.
t
Use the Avid Explorer to navigate to the folder in which you want to save the
preference sets.
6. Enter a name for the preference set in the File Name text box and click OK.
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Installing and Removing Fonts
To import a preference set:
When you import a preference set, you can import all of the controls in the set, or you can
select only the controls that you need.
n
When you import an entire layout from an existing preference set, its components are
automatically imported as well. Some types of layouts are unsupported and cannot be
imported.
Also, you cannot import preferences from a network drive.
1. Select Layout > Import/Export Preferences.
2. In the Preference Management dialog box, select the Import Preferences tab.
3. Do one of the following:
t
In the File Name text box, enter the name and location of the preference sets that
you want to import.
t
Click Browse.
The Import Preferences dialog box displays.
4. Locate the preference sets that you want to import and click OK.
5. Select the controls that you want to import. Use the Type list to switch between the
layouts, toolbars, combo views, and keymaps preference sets.
6. Click the Select All button to select all controls.
7. Click the Import button to import the selected controls.
You will be prompted to restart Avid DS Nitris when the import is complete.
If you imported a layout, additional layout buttons appear in the taskbar.
Saving your Avid DS Deck Presets
To export deck presets:
1. In the top panel of the Deck Configuration view, right-click and select Export Deck
Presets.
2. Select the folder into which you want to export the presets.
3. Click the Select button to begin the export.
To import deck presets:
1. In the top panel of the Deck Configuration view, right-click and select Import Deck
Presets.
2. Select the folder from which you want to import the presets.
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3. Click the Select button to begin the import.
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Chapter 4
Installing the Remote Processing
Software
This chapter describes how to install software on an Avid DS Remote Processing
workstation.
Processing, or rendering, is a normal and necessary part of the Avid DS workflow, as with
any system that handles complex compositing and effects. Unfortunately for editors, artists,
and their clients, processing takes up time and resources on the workstation being used, and
can present frequent and lengthy interruptions to the creative process.
Instead of waiting for Avid DS to process your effects, you can send a processing job to a
remote workstation that is running Avid DS RP and continue working on your sequence.
You can install the remote processing software on any number of workstations in your
workgroup. When you send a job to be processed remotely, your job is routed by the Avid
DMS Broker to the first available RP workstation. Avid DS RP processes the effects, returns
the cache media to the Avid DS client storages, and notifies the client workstation when the
job is complete.
n
This version of Avid DS RP cannot accept processing requests from earlier versions of
Avid DS.
Chapter 4 Installing the Remote Processing Software
Remote Processing Concepts
Before you begin configuring your workstations for remote processing, there are a few terms
you need to understand:
Client Workstation: This is the workstation on which Avid DS is installed. The client
workstation is where the processing request is initiated. The request is sent to the remote
processing workstation, and the result is eventually returned to the client.
Remote Processing Workstation: This is the workstation where Avid DS RP is installed.
The RP workstation handles requests from client workstation(s) and updates the clients’
timeline as each request is processed.
Each RP workstation keeps a log of the jobs that have been processed on that station. The
log provides full details on each job sent to that station for processing. A shortcut to access
this log (ds_server_log.txt) is available on the RP workstation desktop.
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Minimal Requirements for Avid DS RP Workstation
Minimal Requirements for Avid DS RP Workstation
The remote processing workstation must meet the following requirements:
n
n
•
Supports Windows XP Professional and Windows XP Profession x64 Edition operating
system.
•
Intel Pentium 4 (single or dual CPU; MMX enabled).
AMD processors are now supported.
•
1.5 GB RAM (x86) and 4 GB RAM (x64 Edition)
•
1 GB of hard drive space
•
SVGA monitor with a recommended resolution of 1280×1024
•
Network card with a minimum of Gigabit Ethernet (1000 Mbps)
•
Network protocol: All of the workstations being used for your workgroup must reside
on a network that uses the TCP/IP protocol. Each workstation must be able to see the
others over the network.
•
OpenGL for 3D DVE: In Avid DS Nitris, only the 3D DVE layout uses OpenGL. An
Avid DS RP workstation does not require an OpenGL card to process OpenGL effects.
However, these effects will process significantly faster if the RP workstation has an
OpenGL card.
It is recommended that you use the same type of OpenGL card in both the RP workstation
and the client workstation.
Network Hardware and Remote Processing Performance
To optimize your network hardware and the performance of remote processing:
•
n
The HP workstation uses an on-board Gigabit Ethernet adapter.
•
n
The recommended minimum speed of your network card is Gigabit Ethernet and full
duplex capability as this speed matches that of the client workstation.
A network switch is the best way to isolate the remote processing traffic from a
corporate network. We recommend a minimum bandwidth of Gigabit Ethernet and full
duplex capability, however, a gigabit switch is preferable. For the highest quality
components, purchase brand name products, such as 3Com, Cisco, etc.
Hubs are not recommended.
•
Use 24AGW gauge network cable (category 5 and up). Connectors must be assembled
properly, with a minimal length of unshielded wire on both ends.
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Chapter 4 Installing the Remote Processing Software
CPU Usage on Avid DS RP Workstations
In some cases, you may find that the CPU usage on the RP workstation or the client
workstation is low during processing. This may be more obvious when the RP workstation is
a faster machine, and in some cases the CPU usage may be lower on the RP workstation than
on the client workstation. This is a normal occurrence.
CPU usage is an indicator of processor activity. The faster the processor, the faster it
completes its job (processing the current frame). If the CPU has to wait for the next frame
read from disk to start processing the frame, the CPU usage is lowered.
This is normal, and it depends on the effect being processed. For simple light effects, such as
color correction, the processing is fast enough that the CPU is actually idling most of the
time. This appears as a low CPU usage value. These effects are said to be “I/O-bound”,
meaning that the read/write operations for each processed frame are more significant than
the actual processing. Because Avid DS is fully multi-threaded, the processing itself and the
I/O operations are done in parallel. However, if the CPU is idling most of the time, a low
CPU usage value is to be expected.
Most native Avid DS effects support multi-threading and, in addition to this, processing jobs
can be divided among the CPUs available in the workstation. For example, when a blur
effect is processed on a dual-CPU workstation, half the frame is processed on one CPU
while the other half is processed on the other. This dramatically improves the overall
processing time.
n
Some third party effects (such as all AVX effects) do not support multi-threading. In these
cases, because only one of the CPUs is being used, the CPU usage never goes above 50%.
To verify if an effect is single or multi-threaded:
1. Click the Start button and select Run.
2. In the Run window, type perfmon to run the Performance Monitor.
3. Add one counter for each CPU Time.
For multi-threaded effects, the two curves move together while processing. In singlethreaded effects, they move in opposite directions.
CPU usage can be affected by the RP license (single or dual). An RP license for one
processor will force the RP workstation into single-thread mode, and the CPU usage will
never exceed 50%.
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Minimal Requirements for Avid DS RP Workstation
CPU usage usually appears higher on the client workstation (if it has the same processor
type as the RP). This is because the read/write operations are faster on the client (local
storage). As a result, the processor spends less time waiting for input frames before
processing them.
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Installing Avid DS RP
To install Avid DS RP, you must log on with an account that has Administrator privileges.
c
If you have one or more RP workstations in your workgroup, you must install and start
the Avid DMS Broker before installing Avid DS—see “Installing Avid DMS Broker
5.0” on page 379.
To install Avid DS RP:
1. Use the Avid DS Nitris Software & Drivers DVD, or download the Avid DS Nitris
software from the Avid Download Center.
2. Double-click the Setup.exe file and from the main menu, click the Avid DS Software
button.
3. When the Avid DS Installation Wizard displays, click the Next button.
4. In the Select Install Components dialog box, choose Avid DS RP as one of your
options.
5. Click the Next button.
6. In the License Agreement dialog box, read the End User License Agreement and accept
the terms of the agreement to continue the installation.
7. In the Customer Information dialog box, enter your name and company name, and click
the Next button.
8. In the Reseller or Dealer Information dialog box, enter the requested information and
click the Next button.
9. Choose the default destination location to install Avid DS and click Next.
10. If this is a client workstation, then you will need to choose the workgroup to which you
want to join.
If this workstation is the controller, then choose:
-
Keep existing workgroup configuration to keep the current workgroup settings.
-
Create a different DS workgroup if you want to create a new workgroup with this
controller.
11. When the Service Configuration window displays, enter the login profile of the user
account that will run the Avid DS services on this workstation.
You must specify the computer name before the user id (that is, computer_name\userid).
n
372
If your workstation is part of a Windows domain, then you need to specify the domain name
before the user id (domain_name\userid).
Installing Avid DS RP
12. The Storage Setup dialog box displays.
On an RP workstation, set the Projects Storage to the actual drive letter where you will
store your projects and presets. All other options (Video/
Audio Storage, Archives and Interactive Caches), can be set to None.
n
If you are connected to Unity, do not select the Unity storage to store your projects. The
Unity is only for media storage.
13. Change the storage locations if necessary, and click the Next button.
14. Install any plug-ins and fonts that you may require for titling and graphics work on your
Avid DS client workstation(s). The RP workstation also requires these fonts and plugins to process your Avid DS requests.
15. When the Start Copying Files dialog box is displayed, review your installation settings
and if you’re satisfied, click the Next button.
n
If you need to change options, use the Back button to go as far back as you need to change
the options.
A progress indicator is displayed as the Avid DS RP files are copied to your system.
16. Click the Finish button.
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Chapter 4 Installing the Remote Processing Software
Avid Throttle Manager
The Throttle Manager is only required when you have an Avid DS RP workstation in your
workgroup. The Throttle Manager is part of the Avid DS Services options and can only be
installed on the Avid DS RP or workstation that will be the controller for the DS Workgroup.
n
Do not install the Avid Throttle Manager on a workstation running the Avid DS software.
On an Avid DS workstation, playback, capture, and output to tape are critical operations
which require guaranteed bandwidth between the workstation and its storage. During these
operations, the Throttle Manager will pause any RP workstations using the same storage for
processing in order to maintain that bandwidth. Once the playback, capture, or output to tape
operation is complete, the Throttle Manager restarts the processing on the RP workstations.
For instance, if you want to play back your sequence on the timeline, the Avid Throttle
Manager temporarily suspends any processing requests to an RP workstation, or capture or
output from/to a deck, to allow for the full bandwidth to be used for real-time playback.
Once the sequence playback is complete, the Avid Throttle Manager resumes the other
processes.
The Avid Throttle Manager also manages the bandwidth to shared storage locations for each
workstation in the Avid DS workgroup. For example, since an Avid DS client workstation
and an RP workstation can share the same storage, the Throttle Manager manages access to
shared storages, so that the RP workstation doesn’t interfere with the client workstation
during critical times such as playback, capture, and output to tape.
n
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The Throttle Manager can only be installed on a Windows XP workstation.
Chapter 5
The Avid DMS Broker
This chapter describes how to install, configure and use the Avid DMS Broker.
If you have one or more RP workstations in your workgroup, you must install the Avid DMS
Broker as this service is responsible for directing the remote processing requests within an
Avid DS workgroup.
Chapter 5 The Avid DMS Broker
About the Avid DMS Broker
Avid DS v8 uses the Avid DMS Broker to distribute and monitor any remote processing
requests in the workgroup.
When an Avid DS Nitris workstation submits a job for remote processing, the DMS Broker
routes the processing job to the first available RP workstation. The RP workstation then
starts to process the job, and reports the progress to the DMS Broker. When the job is
complete, the RP workstation copies the processed media (caches) to the appropriate Avid
DS client storage and notifies the DMS Broker that the job is complete (You can view the
DMS Web page to monitor the RP jobs.). The caches generated from the processing are
automatically linked back to your current project.
The main DMS Broker window displays current information about the status of the Broker
including the computer name for the system on which the Broker resides. The DMS Broker
uses the computer name to identify itself on the network. Any RP workstations in the Avid
DS workgroup are configured to use this computer name when sending out RP requests.
The DMS Administration Tool is a Web-based application that is accessed through a
browser. It communicates with the DMS Broker’s built-in Web server. This communication
allows you to manage Distributed Media Services through a browser from anywhere using
the Internet.
The DMS Administration Tool performs two types of functions:
•
Provides detailed information based on lists of jobs, encoders, profiles, and users.
•
Provides controls for managing and canceling jobs, and creating or deleting users.
System Requirements
The DMS Broker software should not reside on the same computer as Avid DS. The DMS
Broker software should be installed on a dual-processor machine if you are also using it as
the RP workstation.
The DMS Broker runs on Windows 2000 or Windows XP.
n
If you are using an Avid Unity shared storage in your workgroup, then the DMS Broker is
only qualified to run on Windows 2000.
The DMS Broker requires the following minimum specifications, running a Windows-based
operating system:
376
•
Pentium® III class processor 1.2 GHz or faster
•
512 MB of RAM
About the Avid DMS Broker
•
800 x 600, 16-bit display
•
Microsoft® Internet Explorer 5.5 or later
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Installing Avid DMS Broker
If you are upgrading your Avid DS Workgroup from a previous release, you must first
remove the previous version of the Avid DMS Broker before continuing—see “Removing
Avid DMS Broker 2.1” on page 378.
If you are installing the DMS Broker for the first time, go to “Installing Java v1.4” on
page 378.
Removing Avid DMS Broker 2.1
To install and use the Avid DMS Broker 5.0 with Avid DS 8.0, you must first remove Avid
DMS Broker 2.1 and update the dongle (application key).
To remove Avid DMS Broker:
1. From the Start menu, select Control Panel.
(The Control Panel is located under Settings if you are using the Windows Classic
menus).
2. Double-click Add or Remove Programs.
3. Select Avid DMS Broker and click the Change/Remove button.
4. When the Broker is removed, restart the workstation.
c
Remove the dongle (application key) and do not reconnect it to a USB port until you
install the new DMS Broker.
To remove residual Broker files:
1. Browse to the C:\Program Files\Avid folder.
2. Delete the ProEncode folder.
To remove Java v1.2:
Since Avid DMS Broker 5.0 requires Java v1.4, you can safely remove Java v1.2.
n
Important: Java v1.3 is required for the Avid Storage Manager application and you should
keep this version.
Installing Java v1.4
Avid DMS Broker 5.0 requires Java v1.4 to operate correctly.
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Installing Avid DMS Broker
To install Java 1.4:
1. Use the Avid DS Nitris Software & Drivers DVD, or download the Avid DS Nitris
software from the Avid Download Center.
2. Run the Avid DS Setup program, and select Avid DMS Broker from the menu.
3. Select Java v1.4.
4. Select Run twice to launch the installer.
5. After its install, and if your workstation is connected to the internet, Java may prompt
you for an update. We do not recommend that you install any updates as they have not
been tested with Avid DMS Broker 5.0.
Installing Avid DMS Broker 5.0
The latest Avid DMS Broker requires the installation of the Microsoft SQL database. This
will automatically be installed during the Avid DMS Broker installation.
Proceed with a default installation and do not change the default options.
c
Do not connect the dongle (application key) to a USB port until you install the DMS
Broker.
To install the Avid DMS Broker:
1. Double-click the Setup.exe file and from the main menu, click the Avid DS Software
button.
2. When the Avid DS Installation Wizard displays, click the Next button.
3. In the Select Main Components dialog box, choose Avid DMS Broker.
n
You can check the state of the icon beside the DMS Broker to determine if it has already been
installed on this workstation.
4. Click the Next button.
5. When the Service Configuration window displays, enter the login profile of the user
account that will run the Avid DS services on this workstation.
You must specify the computer name before the user id (that is, computer_name\userid).
n
If your workstation is part of a Windows domain, then you need to specify the domain name
before the user id (domain_name\userid).
6. When the Start Copying Files dialog box displays, review your installation settings and
if you’re satisfied, click the Next button.
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n
If you need to change options, use the Back button to go as far back as you need to change
the options.
7. The DMS Broker install program will now run.
8. Choose United States for the country in which you purchased this product.
9. When the installation is complete, click Finish.
After the install is complete, you MUST start the DMS Broker before setting up the other
workstations in the workgroup.
Configuring the Microsoft SQL Database
Before you start the Avid DMS Broker, you must run two batch files to complete the
Microsoft SQL database configuration.
1. From the Start menu, select All Programs > Accessories > Command Prompt.
If the Command Prompt does not open on the C: partition by default, type C: and press
Enter.
2. Type cd "Program Files\Avid\DMS\Broker\DBScript" and press Enter.
3. Type DBInstall and press Enter.
The registered information displays.
4. Next, type DBUpgrade and press Enter.
The registered information displays.
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Installing Avid DMS Broker
The Microsoft SQL database is configured and ready to be used by the Avid DMS
Broker.
Attaching the Dongle
The dongle, also known as the application key, allows the DMS Broker software to run on
your system. It also lets you access only the number of RP workstations for which you have
purchased licenses.
w
Make sure you install the DMS Broker before connecting the application key (dongle)
to the USB port.
To attach the application key:
1. On the workstation that will run the DMS Broker, locate an available USB port.
2. Connect the dongle to the USB port.
3. Windows automatically detects a “USB dongle SuperPro” device.
The Found New Hardware Wizard displays.
4. Keep the Install the software automatically (Recommended) option, and click Next.
“Rainbow USB SuperPro” is detected and installed by Windows.
5. When the Completing the Found New Hardware Wizard dialog box displays, click
Finish.
w
Do not lose the application key. Your DMS software does not function without it. If you
lose your application key, you must purchase another key from Avid.
6. If the dongle is programmed for Avid DMS Broker 2.1, you need to update the dongle
for Avid DMS Broker 5.0—see “Updating the Dongle” on page 382.
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Updating the Dongle
If you were using a previous version of Avid DMS Broker, your USB dongle requires an
update.
1. Run the Dongle Dumper (located in the /DMS_Broker/utility folder on the Avid DS
Nitris Software and Drivers DVD) to extract the required information from your dongle.
2. Copy this information in the Avid DS License Request Form.
The license form is available on http://www.softimage.com/licensing/request
3. Submit the license request.
The dongle update package will be emailed to you from Avid.
4. When you receive the dongle update package, save it in a folder on the workstation
where the dongle is attached.
5. Double-click the DongleUpdater.exe file.
This reprograms the dongle for Avid DMS Broker 5.0.
6. Click the Update (DMS Broker) button.
7. Click Quit to exit the utility.
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Starting the DMS Broker
Starting the DMS Broker
After the DMS Broker dongle is installed, you can start the service.
n
The installation process automatically creates an Administrator account and uses the
computer name of this workstation as the DMS broker name. Any client workstations in the
Avid DS workgroup use this computer name when sending or processing RP requests.
Similarly, you do not need to add any Avid DS users to the DMS Broker configuration as
these will automatically be created when a user sends a processing request.
To start the DMS Broker:
1. Click the Start button, and select Programs > Avid > DMS Broker.
The welcome dialog displays.
2. Click Ok.
The Broker Settings dialog displays. For Avid DS, you do not have to fill out this dialog.
3. Click Ok.
You will receive the following message: “The Broker is currently running.”
4. Leave the service running; you can minimize the interface.
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Using the DMS Administration Tool
The DMS Administration Tool performs two types of functions:
•
Provides detailed information about DMS, based on lists of jobs, encoders, and users
•
Provides controls for managing DMS such as canceling jobs, and creating or deleting
users
Administrators can perform the following tasks:
•
View details on any job
•
Delete jobs submitted by any user
•
Purge the jobs list of every user
Regular users can only perform administrative tasks on their own jobs.
The DMS Administration Tool may be used on any Windows-based computer that has an
Internet connection to the workstation running the DMS Broker.
To open the DMS Administration Tool:
1. Do one of the following:
t
In the DMS Broker window, click the Admin Tool button.
t
In Avid DS, click on the RP button in the bottom right of the status bar.
t
Open a Web browser, either on the computer running the DMS Broker or on another
networked computer. You must use Internet Explorer 5.5 or higher.
2. Type a URL for the DMS Broker in the following form:
http://computername:8080
The computername is the name of the computer where the DMS Broker software runs.
For instance, a URL for the Broker may appear as follows:
http://broadcastPE:8080
n
The DMS Broker name is found in the Name field of the DMS Broker window. The numeric
part of this URL following the colon (:) is the port number, 8080.
n
A firewall must allow connections to and from the system running the DMS Broker using
port 8080 in order to run the DMS Administration Tool.
3. Press the Enter key. The DMS Administration Tool login screen displays.
4. Enter your User Name and Password. For more information, see “The Users Page” on
page 397.
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Using the DMS Administration Tool
5. Click the Login button. If the User Name and password are accepted, the DMS Jobs
page will display. For more information, see “The Jobs Page” on page 388.
Changing the Password
The DMS Administration Tool is installed at the same time as the DMS Broker. The default
login for the DMS Administration Tool is the login name Administrator, with a blank
password. This account should be given a password after installing the Broker software.
n
Non-administrators can see and edit only their own user’s page. When using Media Browse,
a user must be created which matches the Media Browse user designated for DMS.
To change the Administration Tool password:
1. Open the DMS Broker (Select Start > Programs > Avid > DMS Broker), and click on
the Admin Tool button in the DMS Broker dialog.
The DMS Administration Tool login screen displays in the web browser.
2. Type Administrator in the User Name text box. You must login as an administrator to
change the administrator password.
The Password text box is blank by default.
n
User names and passwords are case sensitive.
3. Click the User Name link for the user you want to edit. The Edit User window displays.
4. Type a password in the Password text box. Then, type it again in the Retype Password
text box.
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n
Passwords are case sensitive and can contain only letters, numbers, and underscores. They
can be up to 255 characters. While passwords are optional, Avid recommends a password
for the Administrator account. If you forget the Administration password, it must be reset.
Contact Avid Customer Support.
5. Type a Real Name as you want it to appear on the Users page.
6. (Optional) You may enter an e-mail address and a phone number.
7. If the user you are editing is an administrator, select the Is Administrator check box.
8. Click Save.
9. Close the Users page by closing the browser window.
Configuring Users in the DMS Broker
The user profile on an Avid DS workstation is automatically added to the DMS
Administration Tool the first time a remote processing job is sent from that user.
You may create additional users from the DMS Users page. You must be logged in as an
administrator to create users.
When you login, the DMS Jobs page displays.
To create users:
1. Click the Users tab. The Users page displays.
2. Click the Add button. The Create User window displays.
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Using the DMS Administration Tool
3. Type in the user name.
4. Type a password in the Password text box. Then, type it again in the Retype Password
text box.
5. Type a Real Name as you want it to appear on the Users page.
6. (Optional) You may enter an e-mail address and a phone number.
7. If the user you are editing is an administrator, select the Is Administrator option.
8. Click Save.
For more information, see “The Users Page” on page 397.
DMS Administration Tool User Interface
The DMS Administration Tool user interface is made up of the following areas:
Navigation Controls
Control Frame
Results Frame
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Area
Description
Section Reference
Jobs tab
Displays the status and other information about
jobs submitted to the DMS Broker. Lets you
cancel or retry jobs, depending on your level of
privilege.
See “Customizing the Jobs List”
on page 390.
Providers tab
Displays information about systems that are
running Avid DS or Avid DS RP in the same
Avid DS workgroup as the DMS Broker.
See “The Providers Page” on
page 394.
Profiles tab
Reserved for future use.
Services tab
Displays a list of services and service
See “The Services Page” on
information. Lets you install and delete services. page 396.
Users tab
Displays a list of user accounts. Lets you create See “The Users Page” on
and delete accounts, depending on your level of page 397.
privilege.
Navigation
Controls
The navigation controls appear on the Jobs page See “Navigation Controls” on
and determine what jobs are displayed.
page 389.
Control Frame The Control frame displays different options,
depending on the mode in which you are
working.
Results Frame The Results Frame displays information based
on the user’s login profile and the options
selected in the Control Frame section. A user
logged in as an Administrator is allowed to view
all of the jobs in a queue, and other users are
only allowed to view their own jobs.
The Jobs Page
The Jobs page displays information about jobs submitted to the DMS Broker, and allows the
user to cancel, delete, and retry jobs.
To open the Jobs page:
t
Open the DMS Administration Tool.
The Jobs page displays by default after you log in to the DMS Administration Tool.
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Using the DMS Administration Tool
The following table describes the information displayed on the Jobs page.
Jobs Page Column
Description
Status
The colors and icons in the display indicate the status of the job:
•
Yellow bar with no icon = Job is processing.
•
Green bar with Check Mark icon = Job is completed.
•
Gray bar with Stop icon = Job has been canceled.
•
Caution icon = Job has failed with an error.
•
Gray bar with no icon = Job is pending or is in a queue.
Service
The name of the service to which the job was sent.
Job
The file name submitted by the client to DMS. This may have a suffix (
determined by the particular service) appended to it.
User
The name of the user who submitted the job. For instance, Proxy Transcode
jobs display the Media Browse user name.
Progress indicator (%)
The percentage of the job completed.
Start Time
The date and time that the job was sent.
End Time
The date and time that the job was completed.
Navigation Controls
The navigation controls appear on the Jobs page and determine what jobs are displayed. The
DMS Administration Tool displays jobs in blocks of fifteen jobs. It also organizes jobs into
groups of 100. Use the navigation controls to view the list of jobs.
To view the previous fifteen jobs or the next fifteen jobs:
t
Click the Previous or Next button.
To view the previous group or the next group of 100 jobs:
t
Click the Previous Group or Next Group button. The DMS Administration Tool
displays the first 15 jobs of the group.
To view the beginning or the end of the entire list:
t
Click the First or Last button. The DMS Administration Tool displays the first 15 or the
last 15 jobs of the list.
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Customizing the Jobs List
By default, the Jobs page displays all jobs that the DMS Broker is currently monitoring. You
may customize your view to show only your jobs, to show jobs for a specific service, or to
show only jobs in a selected state.
To customize the Jobs list:
1. Open the DMS Administration Tool. For more information, see “Using the DMS
Administration Tool” on page 384.
The Jobs page displays by default after you log in to the DMS Administration Tool.
2. In the Control frame of the Jobs page, click the Service list, and select a service.
3. Click the User Name list, and select All Users or a specific user name.
n
Users with Administrator privileges are allowed to cancel or delete any job. Users not
having administrator privileges may only cancel or delete jobs submitted by that user.
4. In the Control frame, click the Status pop-up menu, and select one of the following:
-
All States: Displays all jobs with their current status
-
Processing: Displays only jobs that are currently being processed
-
Completed: Displays only jobs that have been successfully processed
-
Canceled: Displays only jobs that have been canceled by a user with administrator
privileges
-
Error: Displays only jobs that have stopped with an error
-
Pending: Displays only jobs that are waiting to be processed
5. Click the Filter button.
In the Results frame, the Jobs page displays jobs that meet the criteria you selected.
Updating the Jobs list
The Jobs list is automatically updated to show the progress and status of a job.
If any jobs have been added or deleted since opening the Jobs page, the Refresh button is
enabled in the upper right portion of the interface.
To update the Jobs list, do one of the following:
390
t
Click the Refresh button, if available.
t
Click any navigation button.
Using the DMS Administration Tool
Purging the Jobs List
The purge function is only available to users with administrator privileges.
To purge the Jobs list:
1. Log on as a user with administrator privileges.
2. On the Jobs page, click the Purge button. The Purge Jobs dialog box displays.
3. Click the Service list, and select the applicable service.
4. Click the Submitted By list, and select a particular user or Any User, depending on the
jobs you want to purge.
5. Select which States of jobs you want to purge.
6. Click the Purge button.
The Jobs list no longer contains the jobs you selected. If a purge fails, a dialog box opens
with a list of the jobs that failed to delete and a reason for the failure.
Viewing Details About a Job
To view details about a job:
t
On the Jobs page, click the hyperlinked job name that appears in the Job column. The
Job Details window displays in a separate browser window.
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n
You must be logged in as the job owner or an administrator to see these details.
The following table provides descriptions of the type of job information displayed in the Job
Details window.
Entry
Description
Job Information
392
Name
The name of the file submitted by a client to DMS. It may include
information appended to the file name, depending on the service
requirements.
Service
The DMS service for which the job was submitted; for instance, Avid DS RP
or ProEncode.
State
The current state of the job.
Submitted By:
The user name associated with the job, as submitted by the client.
Priority
The priority of the job, as submitted by the client.
Provider
(Not used by Avid DS) The name of the encoder, as registered with the DMS
Broker.
Using the DMS Administration Tool
Entry
Description
Requested Provider
(Not used by Avid DS) The name of the provider requested, if one was
specified.
Job ID
A number automatically generated by the DMS Broker.
Batch ID
(Not used by Avid DS) The number of the batch containing the job.
Submitted At
The date and time the job was submitted by the client to the DMS Broker.
Started At
The date and time the DMS Broker picked up the job.
Completed At
The date and time the job was reported as complete.
Progress
The percentage of the job that has been processed.
Notification
(Not used by Avid DS) Displays whether notification of job completed or
job error is enabled or disabled.
Canceling a Job
Jobs may be canceled during the Pending or the Processing state. A user may only cancel
jobs that have been submitted under their DMS user name. An administrator may cancel any
job.
When a job is canceled, it may take a short time for the job to actually stop and the status
change to be reflected. It is also possible that a job may finish before it can be canceled. In
this case, you may receive a dialog stating that the DMS Broker was unable to cancel the job.
To cancel a job:
1. Open the DMS Administration Tool.
2. On the Jobs page, click the hyperlinked job name that appears in the Job column.
The Job Details window opens in a separate browser window.
3. Click the Cancel button. A dialog box displays and asks if you are sure you want to
cancel the job.
4. Click OK to cancel the job.
The job remains in the Jobs list but the state changes to canceled.
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Deleting a Job
To delete a specific job or all jobs on the Jobs page:
1. Open the Jobs page, select the specific job(s) to delete by clicking the checkbox next to
the name of the job(s). You may select all of the jobs by clicking the Select All button.
2. Click the Delete button.
Retrying a Job
You may retry a job that is in the canceled state.
To retry a job:
1. On the Jobs page, click the hyperlinked job name that appears in the Job column.
The Job Details window opens in a separate browser window.
2. Click the Retry button.
The DMS Broker changes the state to Pending and places the job in the queue for the next
available RP workstation.
The Providers Page
The Providers page displays information about workstations that are running Avid DS RP
and are registered with the DMS Broker. You may also view specific provider details and
capabilities.
To open the Providers page:
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394
In the mode selector, click Providers. The Providers page displays.
Using the DMS Administration Tool
The following table describes the information displayed on the DMS Providers page.
Providers Page
Description
Provider Name
The name of the workstation, as registered with the DMS Broker.
Service
The name of the DMS service that has been registered.
Host Name
The computer name of the provider.
Application Name
The name of the service provider application.
Status
Indicates whether or not the workstation is connected to the DMS Broker.
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Customizing the Providers Display
By default, the Providers page displays all Avid DS and Avid DS RP workstations that are
registered with the DMS Broker (and within the same Avid DS workgroup as the DMS
Broker). You can customize your view to show only the connected providers or providers of
a particular service.
To customize the Providers display:
1. In the mode selector, click Providers. The Providers page displays.
2. In the Control frame of the Providers page, click the Service list, and select the
applicable service.
3. Click the Connection Status list, and select All Providers or Connected.
4. Click the Filter button.
In the Results frame, the Providers page displays providers that match your selections.
Deleting Providers
If a workstation is connected to the DMS Broker, the workstation may not be deleted until it
has been disconnected and all processing jobs are stopped.
You must be logged in as an administrator to delete any workstations.
To delete a Provider:
1. In the mode selector, click Providers. The Providers page displays.
2. Click the check box to the left of the provider’s name, and click Delete.
A dialog box opens and asks if you are sure you want to delete the provider.
3. Click OK.
The provider is no longer registered with the DMS Broker and needs to be reregistered.
The Profiles Page
The Profiles page is reserved for future use.
The Services Page
The Services page displays information about the Distributed Media Services that are
installed and allows the user to install new services or delete services that were previously
installed.
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Using the DMS Administration Tool
To display information about a specific service:
1. Click Services in the mode selector. The Services page displays.
2. In the Results frame of the Services page, click the name of the service about which you
want information.
The specific information displayed on the Service Details page differs for each installed
service.
The Users Page
The Users page lets you create and manage user accounts.The default login for the DMS
Administration Tool is the user name Administrator, without a password. Avid recommends
assigning a password to this account after installing the DMS Broker. For more information,
see “Changing the Password” on page 385.
To open the DMS Users page:
t
In the mode selector, click Users. The Users page displays with user accounts listed in
the User Name column.
Setting Up User Accounts
To set up a user account:
1. Click the Add button. The Create User window displays.
2. Type a user name in the User Name text box.
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User names and passwords are case sensitive and can contain only letters, numbers, and
underscores. They may be up to 255 characters.
3. (Optional) You may assign a password by typing a password in the Password text box.
Then, type it again in the Retype Password text box.
4. Click the Save button.
Deleting User Accounts
You must be logged in as an administrator to delete user accounts.
To delete a user account:
1. In the mode selector, click Users.
The Users page displays.
2. Click the check box to the left of the User Name for each account you want to delete.
3. Click the Delete button.
A dialog box opens and asks if you are sure you want to delete the user account.
4. Click OK.
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Using the DMS Administration Tool
Reassigning Passwords
To reassign a user password:
1. Log on as an administrator.
2. Open the DMS Administration Tool and click Users. The Users page displays.
3. In the User Name column, click the link for the user you want to edit. The Edit User
window displays.
4. Type a password in the Password text box. Then, type it again in the Retype Password
text box.
5. Click the Save button.
To delete and re-create all accounts:
1. On the Users page, click the Select All button.
2. Click the Delete button.
A dialog box opens and asks if you are sure you want to delete the user accounts.
3. Click OK.
The user accounts are deleted. To re-create user accounts, see “Setting Up User Accounts”
on page 397.
n
The user “Administrator” cannot be deleted. If you try to delete Administrator, you will
receive an error message.
If a user forgets his or her password, a new one must be assigned. If you forget the
Administration password, it must be reset. Contact Avid DS Customer Support.
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400
Chapter 6
Licensing Avid DS Software
You can install your Avid DS software before licensing the product. However, you will not
be able to run an Avid DS product, until you have a registered license. Avid DS will only
start if the dongle identification number matches the information in the license file.
This chapter describes how to license an Avid DS, Avid DS Assist Station, or Avid DS RP
workstation.
Chapter 6 Licensing Avid DS Software
Requesting a License File
Avid DS uses a software license that is linked directly to the system where you have Avid
DS installed. The license is an encoded string generated from the IDs of different hardware
components on your system. Each workstation needs its own license file.
n
The licensing system allows you up to three hardware component changes. After you make
the third hardware change, you will be notified that you need a new license.
To generate your license ID:
1. Go to the Avid DS Support Center web site http://www.softimage.com/avidds and click
Licensing.
2. Follow the online instructions to generate a Dongle ID, and submit a license request to
Avid.
n
You must provide all the information requested in order to obtain your license in a timely
manner.
Avid DS Customer Service does not generate permanent licenses. However, if your license is
incorrect or if you haven’t received it within 72 hours of your request, Customer Service can
generate a limited one-week license.
3. If you have other workstations in your workgroup for which you need to install licenses,
click the Back to License Request button, and repeat the licensing instructions.
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Installing the Registered License File
Installing the Registered License File
1. When you receive your registered license from Avid, you need to save it to a folder
(C:\DSLicense) on the workstation where you generated the Dongle ID.
2. Click the Windows Start button and select All Programs > Avid > Avid DS v8 >
Licensing Instructions.
3. Follow the online instructions to install your license for this workstation.
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Chapter 7
Managing Your Storage Areas
This section contains information on the storage connected to your Avid DS workstation
and/or workgroup. It provides guidelines on the configuration and maintenance of your
storage areas.
n
In this information, the general term “Avid editing system” refers to Avid applications other
than Avid DS Nitris, such as Symphony™, Media Composer®, Film Composer®,
Avid Xpress®, and NewsCutter®.
Chapter 7 Managing Your Storage Areas
Planning your Storage Locations
Your Avid DS workstation typically includes a base tower with a storage device (disk array).
The video media is stored on the drives in the storage device, while all software, projects,
and audio media are stored on the local drive in the base unit. For more information on the
software and project folders on your local disk, see “About your Local Storage Area” on
page 430.
If your Avid DS workstation is operating on its own, then the storage configuration is
simple. You just need to configure the storage device(s) connected to your workstation.
If your Avid DS workstations are connected in a workgroup, you can share media located on
your storage device, and also use media on storage devices that belong to other workstations
in your workgroup. Configure the appropriate storage devices for each workstation (local
and remote).
Later you will learn how Avid DS uses the indexing services to manage these storage areas
more efficiently.
Subtopics
The Avid Indexing Services
Workgroup with Private Projects and Storage
Workgroup with Private Projects and Centralized Storage
Workgroup with Shared Projects and Storage
The Avid Indexing Services
The Avid Media Indexer and the Avid Project Indexer manage your projects and media more
efficiently. These services actively monitor and index the storage areas that you’ve defined to
allow for improved performance, better sharing of media across a network, and better
interaction between Avid DS and an Avid DS RP (remote processing) workstation.
The Media Indexer can manage media of different formats, such as video, audio, source,
cache, .gen files (the native Avid DS format), .omf files (the native Symphony and Media
Composer format), and .mxf files (industry-standard format that encapsulates media and
production metadata into a single file).
Each workstation has its own media indexer which indexes the audio and video storage areas
on that workstation. The media indexing service on a workstation contains a list of storage
areas that the workstation requires. These storages are accessed and indexed in the order in
which they are listed.
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Planning your Storage Locations
Actual path to storage area
Workstation Name
In a workgroup, the Project Indexer works with the media indexing service on each
workstation and keeps an up-to-date index of the location of all media. So, for example,
when the Purge command is executed from any workstation within the Avid DS workgroup,
the correct media for the selected project is purged.
The following sections show the different workgroup setups, and explain how your media
indexing services should be configured in each situation.
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Workgroup with Private Projects and Storage
This scenario is best used when you do not anticipate much sharing of media between
workstations.
Each Avid DS workstation has its own local storage for project files and media.
CONTROLLER
Avid DS RP Workstation
Controller indexes all
projects in workgroup
LOCAL AREA NETWORK
CLIENT 1
CLIENT 2
Avid DS Workstation
Avid DS Workstation
Each workstation indexes
its own media
PROJECT
DATA
MEDIA
MEDIA
PROJECT
DATA
For each Avid DS workstation, configure a media indexing service with video and/or audio
local storage. For example:
•
local video storage - d:\videostorage
•
local audio storage - f:\audiostorage
An RP workstation does not need a media indexing service since it processes directly to the
Avid DS client storage area. It just needs permission to access the storage devices on each
Avid DS workstation so that it can return processing requests.
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Planning your Storage Locations
Workgroup with Private Projects and Centralized Storage
This configuration is very similar to the one for “Workgroup with Private Projects and
Storage” on page 408, except that workstations are using a shared central storage instead of
their local storage. If you don’t anticipate much sharing of media, but would like all media
for your workgroup to be on one storage device (that is an Avid Unity storage), then use this
centralized storage scenario.
CONTROLLER
Avid DS RP workstation
Controller indexes all
projects in workgroup
LOCAL AREA NETWORK
CLIENT 1
CLIENT 2
Avid DS workstation
Avid DS workstation
Avid Unity
PROJECT
DATA
Each workstation indexes
its own media on Unity
PROJECT
DATA
MEDIA
CLIENT 1
workspace
MEDIA
CLIENT 2
workspace
Should you require sequences or media from any other workstation, you can import the
sequence/clip and link to media on that workstation’s Unity workspace. You will also need
to change the share permissions on that workspace to access the media.
n
If the Avid DS workstations need to share projects and media on a more consistent basis, we
recommend that you follow “Workgroup with Shared Projects and Storage” on page 411.
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Before configuring the storage areas inside Avid DS, the Avid Unity storage needs to have a
workspace for each Avid DS client (An RP workstation does not need a workspace since it
processes directly to the Avid DS client workspace). The Avid Unity administrator can limit
the permissions for each workspace to the client to which the media belongs.
The RP workstation also needs permission to access the Unity workspaces for each Avid DS
workstation (for remote processing requests). For more information, see “Checklist:
Installing Avid DS with Avid Unity” on page 422.
For each Avid DS workstation, configure a media indexing service with the client’s
audio/video workspaces on Avid Unity.
410
•
Unity video storage - \\Unity\allocation\workspace_name\videostorage
•
Unity audio storage - \\Unity\allocation\workspace_name\audiostorage
Planning your Storage Locations
Workgroup with Shared Projects and Storage
In this scenario, media storage is also centralized on an Avid Unity storage. Use this scenario
if you anticipate that there will be a large need to share projects and media between
workstations.
CONTROLLER
Avid DS RP workstation
Controller indexes all
projects in workgroup
LOCAL AREA NETWORK
CLIENT 1
CLIENT 2
Avid DS workstation
Avid DS workstation
Avid Unity
PROJECT
DATA
PROJECT
DATA
MEDIA
Each workstation indexes
its own media and any
Unity workspaces to
which it is connected
CLIENT 1
workspace
MEDIA
Media
Composer
workspace
Media Composer
workstation
MEDIA
CLIENT 2
workspace
MEDIA
Symphony
workspace
Symphony
workstation
Before configuring the storage areas inside Avid DS, the Avid Unity storage needs to have a
workspace for each Avid DS client (An RP workstation does not need a workspace since it
processes directly to the Avid DS client workspace). The Avid Unity administrator can limit
the permissions for each workspace to the client to which the media belongs.
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The RP workstation also needs permission to access the Unity workspaces for each Avid DS
workstation (for remote processing requests). For more information, see “Checklist:
Installing Avid DS with Avid Unity” in the Installation and Administration section.
The Avid DS workstations can also directly access media created on other Avid editing
systems, and stored on an Avid Unity workspace.
For each Avid DS workstation, configure a media indexing service with the client’s
audio/video workspaces on Avid Unity.
•
Unity video storage - \\Unity\allocation\workspace_name\videostorage
•
Unity audio storage - \\Unity\allocation\workspace_name\audiostorage
If you need media from another Avid DS client’s workspace, then add a similar storage
connection to that client’s media indexing service.
If you need media from another Avid editing system’s (Media Composer or Symphony)
storage workspace on Avid Unity, then add a storage connection to its workspace.
•
n
412
Unity video storage - \\Unity\allocation\workspace_name\foldername
On other Avid editing systems, audio and video are stored in the same folder.
Sharing Media
Sharing Media
Sharing media saves you time and disk space as you only have to capture the media once. If
other users in your workgroup want to use the media, they can import the sequence or master
clip into their project. The clips will then link directly to the associated media.
n
Avid DS can also share compressed and uncompressed media with other Avid editing
systems. For more information, see “Converting HD Formats” in the Help.
In a workgroup environment, the location of your media and projects can make a big
difference to your performance and processing times. For instance, if you are working in
isolation on a project, then having the related media on your local storage gives you realtime playback of the sequences.
On the other hand, if you are working on the same project with other Avid DS workstations
that need access to the same media, then it would be more efficient to store the media in one
location. You save on storage space as there is no redundancy of media on each workstation.
n
When sharing media on storage areas connected on a network, there may not be sufficient
bandwidth to provide real-time playback of the media. An Avid Unity storage, however, does
have enough bandwidth to handle real-time playback.
Points to consider when sharing media:
•
One workstation, preferably the controller, should hold all projects and take care of the
indexing and processing services. The Avid DS indexing services will be configured to
index media on all connected storage devices (including workspaces on Unity).
•
If your workstations are sharing Avid Unity storage, then each workstation using this
storage must have a fibre-optic cable connection to the Avid Unity system for optimal
performance.
•
If many workstations are working on the same project and will be sharing the same
media, then place all media on one storage device.
•
You cannot share media between a Unity and other type of storage device within the
same sequence. Avid DS cannot play back media that resides simultaneously on an
Unity workspace and a local storage. The media used in a given sequence must reside on
only one storage at a time. Either on your local storage or on a Unity workspace.
•
If you are sharing media on an Avid Unity workspace, make sure that both the offline
and the online systems have access to the workspace.
Points to consider when sharing projects:
•
In a workgroup, a user can open a project from any Avid DS workstation in the
workgroup.
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•
A project can only be opened by one user at a time.
•
If you need to work on a sequence within a project that is already open by another user,
you can import the sequence and link to media (so that you are still sharing the media).
This sequence can later be imported back into the original project.
Related Topics
•
Sharing MXF Media
•
Sharing OMFI Media
Sharing MXF Media
MXF (Material Exchange Format) is an industry-standard container format that encapsulates
media and production metadata into a single file. MXF is a common file format for direct
media interchange among Avid applications, as well as with third-party MXF-compliant
products. MXF supports both standard-definition and high-definition formats.
n
Avid DS Nitris can share HD projects and Avid DNxHD media with Media Composer
Adrenaline HD systems. Avid Xpress Pro HD systems can also share this media, but cannot
capture it. DNxHD media is compression format also used for MXF media so that you can
deliver mastering-quality HD media at standard-definition data rates and file sizes. To share
this media, you must be running Avid DS Nitris v7.5 QFE 3 or later, which is available from
the Avid DS Support Center (www.softimage.com/avidds).
For a list of shared DNxHD resolutions, see “Avid DNxHD Compressions” in the Help.
To create the MXF folders:
Avid DS Nitris requires separate storage areas (one for audio and one for video) to write
MXF media.
n
Other Avid editing systems create a single folder for MXF media, named Avid
MediaFiles\MXF, and can write both audio and video files to the same folder.
t
If you are only creating or linking to MXF media within Avid DS Nitris, create the
following folders on your videostorage using the Windows Explorer:
D:\Avid MediaFiles\MXF\
D:\Avid MediaFiles\MXF\Video
D:\Avid MediaFiles\MXF\Audio
t
414
If you are sharing media with other Avid editing systems on an Avid Unity, create the
following folders:
Sharing Media
\\server_name\workspace_name\Avid MediaFiles\MXF
\\server_name\workspace_name\Avid MediaFiles\VideoStorage
\\server_name\workspace_name\Avid MediaFiles\AudioStorage
Make sure to use the correct syntax:
•
Include a space between Avid and MediaFiles
•
Don’t include a space for MediaFiles, VideoStorage, and AudioStorage
•
Use the correct uppercase and lowercase letters.
Sharing OMFI Media
To create the OMFI folders:
t
t
If you are linking to OMFI media within Avid DS Nitris, create the following folders on
your videostorage using the Windows Explorer:
-
D:\OMFI MediaFiles\VideoStorage
-
D:\OMFI MediaFiles\AudioStorage
If you are linking to OMFI media on an Avid Unity, create the following folders:
\\server_name\workspace_name\OMFI MediaFiles\VideoStorage
\\server_name\workspace_name\OMFI MediaFiles\AudioStorage
Make sure to use the correct syntax:
•
Include a space between OMFI and MediaFiles
•
Don’t include a space for MediaFiles, VideoStorage, and AudioStorage
•
Use the correct uppercase and lowercase letters.
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Configuring your Storage Locations
After all workstations in your Avid DS workgroup have been set up and installed with the
necessary software, you need to specify your storage areas so that they can be viewed or
shared by other clients in the workgroup. This configuration of storage areas is done through
the Media Storage Configuration tool in Avid DS.
n
Examples of different storage scenarios in a workgroup, and explicit storage configurations
for each of these scenarios have been described earlier.
Configuring the Media Indexing Service on your Workstation
The storage areas for your media are configured within your workstation’s media indexing
service. If you need to define additional storage areas, you must add them to your media
indexing service. The media indexer will index all the storage areas defined in this service
configuration.
n
If you need to access media on another workstation, you will need to add that workstation’s
media indexing service to your storage configuration (rather than directly to its
storage)—see “Accessing Storage on another Workstation” on page 419.
To configure your media indexing service:
1. In Avid DS Nitris, select Data Management > Configure Storages.
The Media Storage Configuration - Current Project dialog box displays the media
indexing services that are configured for your workstation.
Your workstation’s
media indexing
service is
indicated by the
computer name
2. Select your workstation’s media indexing service, and click the Change button.
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Configuring your Storage Locations
The Media Indexing Service dialog box displays.
3. Leave the workstation name as it is and click the Change button.
The list of storage areas in this indexing service displays.
Actual path to storage
Avid DS shared
storage name
4. Each storage area is uniquely identified by the workstation name and folder on which
the media resides. These storages are accessed and indexed in the order in which they
are listed. Use the Move Up or Move Down buttons to change the order of priority.
5. To add a new storage, click the Add button.
If you need to modify or delete a storage, click the Help button for instructions.
6. The Available Storage Types dialog box, select Avid Media Storage and click OK.
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7. Enter the full Windows path name (drive:\folder_name or
\\workstation_name\folder_name) where the storage area is located, or use the browse
(...) button to find it. For example, D:\VideoStorage or \\DSStorage4\VideoStorage.
If you are connecting to a folder on an Avid Unity, then click the browse (...) button and
locate the Avid Unity workspace folder. For example,
\\Unity\allocation\workspace\folder_name.
Do NOT use a drive letter.
8. If you are working in a workgroup where an Avid DS RP is installed, select the Enable
throttling for this storage option. The Avid Throttle Manager allows for more efficient
bandwidth management between your workstation, storage areas, and the Avid DS RP
workstation.
9. Select the media type that you will store in this folder: audio or video.
For regular Avid DS media, select generic audio (.wav) or generic video (.gen).
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Configuring your Storage Locations
For MXF media that can be exchanged with other Avid editing systems, select Read
only or MXF video or MXF audio files—see “Configuring Storages for MXF Files”in
the Help. Also, select Prevent purge of media on this storage so that this media is not
purged when media from other Avid DS projects are purged.
For OMFI media that can be exchanged with other Avid editing systems, select None.
This is a read-only storage.
You can also select None if you want media in this storage area to be viewed, but not
overwritten.
10. From the Disk Controller Type list, select the card that is installed in your workstation.
If you are configuring a remote storage on your network, then select CIFS Network.
However, if the remote storage is a Unity, then select Atto.
n
A storage set to Generic or CIFS will be considered non-realtime.
11. From the Disk Storage Type list, select the storage type that you are using.
The disk options set the appropriate bandwidth for Avid DS to use when transferring
data to the storage. You may choose Generic Adapter and Generic Storage but these
settings may not fully utilize bandwidth available to you. Therefore, choose the
appropriate options for your storage device to obtain the best performance for real-time
effects.
n
If your storage device does not appear in the list, it may be because it was installed after
Avid DS was installed. To make sure that it appears in the list, restart Avid DS so that the
software detects the device.
12. Click OK.
The storage area is added to the Media Storage Configuration list.
13. Click Close and then OK to return to the Media Storage Configuration - Workstation
dialog box.
14. Click the Close button to save the configuration for the media indexing service.
n
By default, the media indexer sets any new storage areas to automatically have full
read/write access by any user on the network. To restrict access to your media, you can
change the share permissions through Windows—see “Sharing Folders and Setting
Permissions” on page 343.
The first time that you configure your storage, the media indexer will need to index the
media on your storage device. This may take a while depending on the amount of media on
your storage.
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Configuring Storages for MXF Files
Using the Avid DS Nitris Media Storage Configuration tool, configure storage areas that
point to the MXF folders that you created. Use the table below when following the steps as
explained in “Configuring the Media Indexing Service on your Workstation” in the Help.
Type of
configuration in
Media Storage
Configuration tool
Folder
Description
\Avid MediaFiles\MXF
Where MXF video and audio files
Read-only
can be written so that Avid DS Nitris
can link to them.
\Avid MediaFiles\Video Storage Where Avid DS Nitris writes MXF MXF video files
video files so that other Avid editing
systems can link to them.
\Avid MediaFiles\Audio
Storage
n
Where Avid DS Nitris writes MXF MXF audio files
audio files so that other Avid editing
systems can link to them.
Avid DS Nitris and other Avid editing systems can link to MXF media in the same shared
folder but cannot create MXF media in the same shared folder.
Accessing Storage on another Workstation
A media indexing service is defined for every Avid DS workstation in the workgroup. To
access media on another workstation, you need to add that workstation’s media indexing
service to your own storage configuration. (It is more efficient to connect to the media
indexing service on that workstation rather than directly to its storage area.)
n
When you import a sequence or clip from another project, Avid DS creates a connection to
the media even if it resides on another workstation. If the storage where this media resides is
not already configured on your workstation, Avid DS will automatically add a media
indexing service for that storage in your workstation’s storage configuration.
To access a media indexing service on another workstation:
1. Select Data Management > Configure Storages.
The Media Storage Configuration - Current Project dialog box is displayed with a list of
existing services.
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Configuring your Storage Locations
Your workstation’s
media indexing
service
2. To add a new service, click the Add button.
The Available Storage Types dialog box is displayed.
3. Select Avid Media Indexing Service and click OK.
Avid DS scans the network for all workstations in your workgroup that are running
media indexing services.
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4. Select the workstation whose media indexing service you need to access, and click
Change.
5. Click Close to accept this configuration.
The other workstation’s service configuration is now added to your storage
configuration.
Your workstation’s
media indexing
service
Other
workstation’s
media indexing
service
6. Click the Close button to exit the Media Storage Configuration - Current Project dialog
box.
To remove a media indexing service:
1. In the Media Storage Configuration - Current Project dialog box, select the service that
you want to delete.
2. Click the Remove button.
The indexing service is no longer defined for the current project.
3. Click the Close button.
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Checklist: Installing Avid DS with Avid Unity
Checklist: Installing Avid DS with Avid Unity
Each Avid DS workstation connected to Avid Unity™ MediaNetwork requires its own
workspace. This workspace is then added to the storage configuration in each Avid DS
workstation. For more information on configuring the workspaces and setting permissions
on the Avid Unity, refer to your Avid Unity MediaNetwork documentation.
c
Do not install any Avid DS software components (such as the indexing services) directly
on Avid Unity.
;
Step
Refer to
†
Install all Avid DS client workstations.
“Setting up your Avid DS Environment” on
page 311.
†
Install Avid Unity MediaNetwork client software on Avid Unity MediaNetwork documentation.
each Avid DS workstation that is connected to Avid
Unity.
†
Install the latest updates for the Avid Unity
MediaNetwork software (if any).
Follow the online instructions to install this software
update, and then reboot your workstation.
†
Avid Download Center
http://www.avid.com/support/downloadcenter/inde
x.asp
On the Avid Unity, create a video workspace and an Avid Unity MediaNetwork documentation.
audio workspace for each Avid DS workstation (the
RP workstation does not need a workspace).
Important: Do NOT use the Unity Connection
Manager to connect the Unity workspaces for Avid
DS.
†
Use the Administration Tool to assign the
permissions on each workspace. If some
workstations need to share media, you can assign
permissions for these workstations on the
appropriate workspaces. (You should also give the
RP workstations permission to each workspace).
Avid Unity MediaNetwork documentation.
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Chapter 7 Managing Your Storage Areas
;
Step
Refer to
†
In Avid DS, use the Storage Configuration tool to
add a Unity storage connection to your local
indexing service.
“Configuring the Media Indexing Service on your
Workstation” on page 415.
Important: Do NOT use a drive letter, instead
browse the network to the Avid Unity server, using
only a UNC path to access your media folder on
Avid Unity.
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Establishing the Project Folder
Establishing the Project Folder
If you upgrade to a new version of Avid DS or decide to change the location of the projects
folder, you will need to reset your working projects location.
To set the project location:
1. Start Avid DS.
2. If the Open Project dialog box does not automatically open, select File > Open New
Project.
3. From the Open Project dialog box, select:
-
Display Projects on this workstation only, if you are working on a standalone
workstation, or
-
Display All Projects in the Workgroup, if you are sharing projects with other
workstations in a workgroup.
4. If your projects do not display in the list, then click the Add Project Root button.
5. Browse to the F:\Projects/Audio drive, and select the DS Projects folder.
The new project location will appear in your project list.
e.g. \\xw8200-DS\ds_projects.
6. Expand this folder to see all the projects.
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Chapter 7 Managing Your Storage Areas
s
Maintaining Disk Space on your Drives
To prevent problems, you should keep at least 10% of the disk space on each drive free at all
times.
When you run Avid DS, it creates two interactive cache files on the Video Storage drive.
These two files (DS_interactive_cache.tmp and DS_interactive_cache.tmp.lowres) can use
up as much as 500 megabytes of your video storage area, and are mandatory for Avid DS.
If there isn’t enough available space for these files to be created, the system performance
will drop dramatically. You may even experience a system failure.
As a first step, you should purge unnecessary media files from the system to allow Avid DS
to work properly. For more information, see Defragmenting Media in the help.
If your disks are getting badly defragmented, you can also perform a defragmentation on the
disk drives.You can use third-party software, or the Windows XP Disk Defragmenter utility
(on XP workstations) to defragment your disk drives.
n
c
Defragmentation on Unity drives is not possible. Also, the Unity file system has been
designed to handle video media in the most efficient way, so that defragmentation of drives is
not necessary.
Do not defragment your drives while Avid DS is capturing, outputting, or processing
media.
You should not defragment your disks too often.
Stopping defragmentation prior to completion can leave the storage media in a worse
condition than before defragmentation.
To defragment the drives on Windows XP workstations:
1. On the Windows desktop, right-click the My Computer icon and select Manage.
The Computer Management console is displayed.
2. Use the tree (left) to navigate to Storage > Disk Defragmenter.
3. Right-click the disk you want to defragment and select Defragment.
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Striping your Drives
Striping your Drives
Striping is the process of configuring hard drives to allow the system to see two or more
drives as a single drive. When you transfer files to striped drives, the files are split between
the drives, and the data transfer rate increases. Striping is required to work with
uncompressed and high video resolutions. The capability for striping drives is built into the
Windows XP operating system.
n
Refer to the Avid DS Support Center web site http://www.softimage.com/avidds for a list of
supported drives.
Keep the following in mind when striping drives:
n
•
Avid DS requires at least eight drives (for SD) and twelve drives (for HD) striped
together to sustain real-time performance.
•
Hard drives of different sizes cannot be striped. For example, you can stripe eight 73GB drives or eight 146-GB drives, but you cannot stripe six 73-GB drives and six 146GB drives together.
•
Striping drives deletes any material on them.
•
Striping is cumulative. For example, when you stripe twelve 146-GB drives, you can
create an approximate 1.7 TB partition.
•
If one drive in a striped volume becomes damaged or inoperable, the data on the
remaining drives will be lost.
If you are using Avid Unity storage, it does provide backup security in case of drive failure.
Creating a Stripe Volume
With Windows XP, the disks in a stripe volume must be dynamic disks. Since drives are not
usually shipped in this format, you may need to upgrade your drives before you can stripe
them. The Disk Manager in the Computer Management console automatically detects
whether your drives need to be upgraded to dynamic disks.
n
If you attempt to create a stripe volume from non-Avid drives, Avid makes no guarantee that
the stripe volume will perform to Avid specifications for your application or sequence.
Consequently, Avid DS Customer Service will not be able to support any system issues
caused by the non-Avid drives or the stripe volume.
Once the drives in your disk array have been upgraded to dynamic disks, you can create the
stripe volume.
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Chapter 7 Managing Your Storage Areas
To create a stripe volume:
1. Log on to the system using the local administrator account and close any applications
that are currently running.
2. Right-click the My Computer icon and select Manage.
The Computer Management window opens.
3. Use the tree (left) to navigate to Storage > Disk Management.
If the storage is new and unformatted, the Initialize and Convert Disk Wizard is
displayed, otherwise go to step 7.
4. Click the Next button.
The Select Disks to Initialize window opens.
5. Select the disks that you want to initialize and click the Next button.
The Select Disks to Convert window opens.
6. Select the disks that you want to convert to dynamic drives (mandatory to create the
stripe volume) and click the Next button and then click the Finish button.
If the storage was attached to a Windows computer, the drives may show up as
Dynamic/Failed. If this happens, right-click the drive and select Delete Volume.
You may also have a ‘missing’ disk in the window. If this appears, right-click and select
Remove Disk.
If the drive shows as Basic, right-click the drive icon on the left and select Convert to
Dynamic Disk. The drive should show as Dynamic and Unallocated.
7. Right-click one of the unallocated drives and select New Volume.
The New Volume Wizard is displayed.
8. At the Welcome window, click the Next button.
The Select Volume Type window opens.
9. Select the Striped button and click the Next button.
The Select Disks window opens. The original disk you selected is displayed on the
Selected side of the window.
10. Select the other drives on the Available side of the window and click the Add button.
When completed, click the Next button.
The Assign Drive Letter or Path window opens.
11. You can leave the default drive letter or select a new drive letter from the pull-down
menu. Click the Next button.
The Format Volume window opens.
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Striping your Drives
12. Format the volume as NTFS and Default Allocation unit size. You can also name the
volume.
13. Select Perform a Quick Format.
n
Formatting without “Quick format” may take several hours or several days depending on
the size of your storage device.
14. Do not enable compression.
15. Click the Next button and then click the Finish button.
The Computer Management window opens and the drives should begin formatting. Let
the system finish formatting the drives before you begin using any applications.
Once complete, the drives will say NTFS, Healthy. You will also see the new volume
when you double-click My Computer. The striped volume is ready to use.
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Chapter 7 Managing Your Storage Areas
Importing Foreign Disks
If you have used a Recovery CD, or you have transferred a volume set from one Windows
XP system to another, your stripe volume will not display all the disks. You will have to
import the striped disks into your Disk Management configuration.
To import the disk into the system
1. Right-click the My Computer icon and select Manage.
2. In the left pane, click Disk Management, and then highlight the foreign disk in the right
pane.
3. From the Action menu, select All Tasks > Import Foreign Disks.
4. Follow the instructions that are displayed on the screen to recreate your stripe set.
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About your Local Storage Area
About your Local Storage Area
Your Avid DS workstation includes a tower base unit and a storage device (disk array). All
software, projects, and audio media are stored on the disk drive in the base unit, while the
video media is stored on the drives in the storage device.
External
Storage Device
Avid DS
Workstation
Base unit
Storage device
C: and D:
drives
F: drive
Except for the (C:) system partition, the letters for the above drives are only suggestions.
Depending on the storage choices that were made when your workstation was installed,
several folders were created to hold various system files, project files, as well as media and
cache files.
Folder
Description
Location
\DS_v8.x
Contains the files required to run Avid DS C:\Program Files\Avid\DS_v8.x
\DS Archives
Contains information on archived
projects
D:\DS Archives
\DS Projects
Contains the projects, sequences, and
clips that you create in Avid DS
D:\DS Projects\DS_v8.x
\VideoStorage Contains the video media and cache files F:\VideoStorage
captured or processed in Avid DS
\AudioStorage Contains the audio media and cache files D:\AudioStorage
captured or processed in Avid DS
\Services
Containes the files required to run the
Avid DS services
C:\Program Files\Avid\Services
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Chapter 7 Managing Your Storage Areas
The DS_v8.x Folder
The Avid DS executable and the various .DLL files required by the application are in the
C:\Program files\Avid\DS_v8.x folder.
c
Do not move or modify any of the folders in the \DS_v8.x folder.
Folder
Description
\Command Maps Contains the command maps for the different views and layouts in Avid DS
\DSPresets
Contains customized effects that you can use in Avid DS when creating graphics,
transitions, compositing, etc.
\Help
Contains all the files required to use the online help, which provides task and
reference information on Avid DS functions
\Preferences
Contains the user preferences and customized layouts, toolbars, and key maps
\DSSystem
Contains system files
The DS Archives Folder
The \DS Archives folder is used by Avid DS to keep track of archived projects. When you
archive a project, an archive log file is saved in this folder, so that you can later restore your
media. The archive log file also contains the Avid DS version number, so you know which
version you were using when the archive was created.
Video media is always archived to tape and an EDL is generated called ArchiveTape.log.
Only Avid DS can read this EDL during the restore process. If this file is missing from the
archived project folder, the media cannot be restored.
Archived audio media or archived audio cached media is stored in this folder. Under each
project archive folder, the audio (.wav) media files are stored in a folder called Archive
Media Files\audio, which contains each audio storage ID, labelled #1, #2, and so on.
When the project is restored, these folders are copied to their corresponding audio storages.
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About your Local Storage Area
The DS Projects Folder
The \DS Projects folder must be shared (default at install). It contains the projects that you
create with Avid DS. Each time you create a new project, you are prompted to select a
location for the project folder. You must keep all your projects under the root \DS Projects
folder.
The project folder contains the clips and sequences associated with a project. Each project
folder also contains the \System folder.
n
Note the following:
•
Do not move, delete, or modify the contents of the \System folder.
•
Never manually move a project between Avid DS workstations. Use the Archive/Restore
feature of Avid DS instead.
•
Never duplicate a project within an Avid DS workgroup.
The \System folder contains the following information:
Source models: These data structures allow Avid DS to manage the relationship between
clips, sequences, and their media. Each time you capture media from a new source, Avid DS
creates a corresponding source model, which tracks the time span, quality, and location of
the different media files captured from that source. When you play back a clip from that
source, Avid DS consults the appropriate source model to locate the media.
Dsprojectinfo: This file contains information about the project format and other project
preference settings. For more information on project preferences, see Creating a New
Project in the help.
The DSPresets Folder
The \DSPresets folder contains presets, which you can use to define effects, transitions,
graphics tools, and so on. The presets that are shipped with Avid DS are stored in this folder
by default.
Avid DS also creates a \DSPresets folder in each project folder. This lets you store user
presets that are specific to a particular project with that project. You can also specify, as part
of your user preferences, locations for your own and shared workgroup presets.
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Chapter 7 Managing Your Storage Areas
The VideoStorage and AudioStorage Folders
The \VideoStorage folder must be shared (default at install). It contains individual folders for
each project. Each folder contains the video media and cache files for that project. Each
folder's name is generated by the software and is based on a unique identification string
(called a GUID) that identifies each project.
The \AudioStorage folder must be shared (default at install). It contains individual folders
for each project. Each folder contains the audio media files for that project.
n
Do not delete audio or video media files or folders using Windows Explorer. If you want to
delete a media file, use the Purge or Delete command in Avid DS. For more information on
deleting clips and/or purging media, see Managing Media in the help.
The DSSystem Folder
The C:\Program Files\Avid\DS_v8.x\DSSystem folder contains system files and several
folders used by Avid DS.
Folder
Description
\DSSystem\temp\user_account_name Contains the autosave files, viewer and test
pattern bitmaps, some critical Avid DS system
files, RP jobs log, and the crash log. Before
modifying anything in this folder, contact
Avid DS Customer Service.
n
434
\Rsrc
A resource folder for the 3D database
\SoftDB
Contains the 3D database used by the 3D
Warp effect
The Autosave files are saved under \Program Files\Avid\DS_v8.x\DSSystem\Temp.username
and have four duplicates. Keep monitoring your sufficient disk space, otherwise the software
and/or operating system may cease to operate. After the installation, the drive must have
over 20% of free space at all times.
Capture and Output
This book provides information about capturing media, conforming
sequences created on other systems, and outputting material.
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Chapter 1
Capturing Material
This chapter describes how to prepare to capture material, specify the capture
quality, and capture and log material so that you can edit it in Avid DS Nitris.
This chapter includes the following topics:
•
Workflow: Capturing Material
•
Preparing to Capture Material
•
Logging and Capturing Material
•
Capturing Material from File
•
Creating Linked Clips
•
Batch Capturing
•
Using Scripts to Capture Media
•
Managing Tapes
•
Using Tapeless Archive for Film Transfer
Chapter 1 Capturing Material
Workflow: Capturing Material
You can capture material for your project from different sources, such as tape
or file. The following illustration shows you the process of capturing material:
1
Configure inputs and quality settings.
Configure the VTR or other external device.
2
Preview material.
Monitor audio levels.
Preview video.
3
Select video/audio input, quality, and storage.
Log or capture material from...
File
Tape
4
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AFE, AAF, OMF®, EDL, or ALE file.
For logged clips, batch capture from the timeline or Avid Explorer.
Preparing to Capture Material
Preparing to Capture Material
Before capturing media, you must configure settings for your workstation.
Configuration includes specifying the external device and the input signals
coming from the external device; selecting the capture quality, storage location
for the captured media, and other settings; and monitoring audio levels.
Use this checklist to help you prepare to capture.
Preparing to capture
❏ Configure the external device
❏ Select the capture mode
❏ Select the capture target
❏ Specify the capture quality
❏ Specify audio input settings
❏ Specify video input settings
❏ Preview material
These tasks are described in the following sections.
c
n
Avid DS Nitris requires that the deck and the Avid Nitris DNA be
genlocked to the same timing source when capturing. If you’re capturing
a format that allows either tri-level or black burst sync (such as 1080i
59.94), you can use either sync source, so long as it is supported by the
deck. For a list of sync options for each format, see “Downconverted
Output Formats and Sync Sources” in the Help.
If you are capturing material from file, configure the capture settings in
advance through the Capture Settings view and capture through the Avid
Explorer. For more information, see “Capturing Material from File” on
page 471.
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Chapter 1 Capturing Material
Configuring the External Device
Before capturing from an external device, such as a deck, you need to set
options for the device.The first time you work with a new device, you need to
set parameters in the Deck Configuration view. The Deck Configuration view
lets you save your settings as a preset. You can then select the preset in the
Deck Configuration view or select it from the Device pop-up menu in the
Capture Tool.
n
If you are recording through a microphone, activate the Microphone Input
preset, ignore the External Device settings, and accept the Audio settings
(Input: Analog and Priority: Microphone). For more information, see
“Capturing Audio through a Microphone” on page 469.
To configure an external device:
1. Connect the external device to your Avid DS system, as described in the
setup guide for your system.
2. Open the Deck Configuration view by doing one of the following:
t
From the NLE Tools toolbar, click Media IO > Deck Configuration.
t
In a project root bin, open the Views folder and click Deck
Configuration.
The Deck Configuration view opens.
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Preparing to Capture Material
Deck presets
list
For information about options in the Deck Configuration view, click the
Help button .
3. In the top part of the Deck Configuration view, right-click and select Add
New Deck Preset.
An icon named Deck Preset is added to the Deck Presets list. The name is
selected and ready to be renamed.
4. Type a name for the preset.
5. From the Manufacturer list, select the name of the manufacturer of the
external device.
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Chapter 1 Capturing Material
6. From the Model list, select the model number.
Some models include a frame rate (23, 24, and so on). Make sure the
template matches the playback rate of your deck.
If the model of your deck is not listed, it has not been tested by Avid and
its accuracy or usability is not guaranteed. In most cases, however, you
can use the deck for capture. Select a similar model from the same
manufacturer. After completing the configuration, check some basic
operations, such as cueing to a specific timecode and checking the
accuracy of the capture and output to tape.
7. From the COM Port list, select the COM port that connects the serial
cable from the external device to your system.
The serial cable should be connected to either COM1 or COM2.
8. From the TC Mode list, select the type of timecode you want to use for
input: Auto, LTC, or VITC. For more information, click the Help button.
Auto lets the external device determine which timecode to read.
n
If your external device cannot find a timecode when previewing material, your
TC Mode setting may be incorrect.
9. When outputting to tape, you must specify the edit mode by selecting
Auto or Assemble from the Edit Mode list—see “Configuring the
External Device for Output” on page 517.
10. From the Edit Field list, select the field on which the output starts.
Deck Settings uses the Edit Field setting that is set on the external device.
11. In the Preroll text box, enter the amount of time that you want the external
device to play before Avid DS Nitris starts to capture or output.
12. If you’re experiencing an offset between the external device and your
system, you can compensate by adding or subtracting frames in the Play
Bias and Record Bias text boxes. The Play Bias option offsets the timeline
whereas the Record Bias option offsets the VCR timecode entry point.
n
When you first connect the external device to your system, you should perform
several capture and output tests to verify that the timecodes are accurate.
13. Make a selection from the Input and Priority lists.
The input you select will depend on the audio hardware connected to
your system.
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Preparing to Capture Material
14. Use the Audio Physical Patching matrix to assign the audio outputs from
the external device to the audio inputs on your workstation—see “Using
the Physical Patching Matrix” on page 444.
n
The Input, Priority, and Audio Physical Patching settings are all saved with
the device preset.
15. Click the Check button.
If the communication between the external device and your system is
operating properly, nothing happens. If there is a problem, a message box
appears, stating the possible cause of the problem.
You can also verify that the external device is operating within normal
parameters by checking the five items in the External Device Status area,
located beneath the transport controls.
16. Right-click the new preset and select Save or click the Save button.
17. Select a preset as the currently active external device—see “Activating a
Device Preset” on page 445.
n
If you’re using a deck that can be addressed in a format different from its
recording speed, four bin columns provide you with a quick way to find your
clips on the source tape:
•
Avid DS Nitris Physical In
•
Avid DS Nitris Physical Out
•
Avid DS Nitris Physical Start
•
Avid DS Nitris Physical Stop
These columns show timecodes in the same format as the deck faceplate.
n
Templates for output devices are located by default in the following folder:
C:\Program Files\Avid\DS_v7.0\Edm\Supporting Files\Machine_Templates.
The Supporting Files folder also contains the Backup_Machine_Templates
folder, which holds older templates. To access additional templates in the Deck
Configuration view, copy template files to the Machine_Templates folder.
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Chapter 1 Capturing Material
Using the Physical Patching Matrix
The Physical Patching matrix lets you assign the audio outputs from the
external device to the audio inputs on your workstation.
If the material you want to capture has more audio tracks than the number of
physical inputs on your workstation, you can capture the audio tracks in
different passes. For each pass, you can re-assign the audio physical patching
to capture the tracks you need.
For example, assume you only have two physical inputs (I1 and I2), but have
four tracks of audio to capture (A1, A2, A3, and A4). On the first pass, you
can capture tracks A1 and A2.
On the second pass, you can change the audio physical patching to A3 and A4,
which lets you capture audio tracks 3 and 4.
You can also use the patching to:
•
Rearrange the track destination
•
Import specific tracks from a device
•
Remove unwanted tracks
Since the Audio Physical Patching is saved with the device preset, each device
can have its own specific audio patching.
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Preparing to Capture Material
Editing and Deleting External Device Presets
You can save the settings for your external device as a preset, so that you don’t
have to reconfigure the device each time you use it for capture or output.
To edit a preset:
1. Right-click the preset.
2. Select the options you want to change.
3. Click the Save button.
To delete a preset from the device list:
t
n
Right-click the preset and select Delete.
You cannot delete the active preset.
Activating a Device Preset
You can select one of your presets as the currently active external device. The
device you choose will be the default device for capture, recapture, and output.
n
You can choose a different device preset in the Capture Tool and Output view.
To activate a device preset, do one of the following:
t
In the top part of the Deck Configuration view, right-click the preset and
select Activate.
t
Double-click the preset.
A green check mark appears on the preset’s icon.
Exporting and Importing Device Presets
You can share presets with other Avid DS Nitris systems by exporting and
importing deck presets.
To export deck presets:
1. In the Bin tools section of the Deck Configuration view, click the Fast
Menu button and select Export Deck Presets.
The Select Deck Presets Export Folder dialog box opens.
2. Select the folder into which you want to export the presets.
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Chapter 1 Capturing Material
3. Click the Select button.
All presets are exported to the folder you selected.
To import deck presets:
1. In the Bin tools section of the Deck Configuration view, click the Fast
Menu button and select Import Deck Presets.
The Select Deck Presets Import Folder dialog box opens.
2. Select the folder from which you want to import the presets.
3. Click the Select button.
All presets in the selected folder are imported to your system.
Opening the Capture Tool
The Capture Tool lets you configure the settings you need to capture media
from an external device and perform the capture.
To open the Capture Tool, do one of the following:
446
t
From the NLE Tools toolbar, click Media IO > Capture Tool.
t
Select View > Single-Instance Views > Capture Tool.
Preparing to Capture Material
Timeline/Deck Control
Live
Tape
On-the-Fly
Log/Capture Mode
In and Out
(On-the-Fly only)
Start Capture
Locators
controls
Sync Source
Video/Audio
Capture Settings
Input Monitor
Expand/Collapse
Video Input Parameters
Audio Input Settings
Selecting the Capture Mode
You can choose one of three different capture modes in the Capture Tool:
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Chapter 1 Capturing Material
•
Live: Lets you specify settings for capturing material by simply starting
and stopping the capture—see “Logging and Capturing Clips from Tape”
on page 460.
•
Tape: Lets you specify settings for capturing material between in and outpoints or for logging empty master clips—see “Logging and Capturing
Clips from Tape” on page 460.
•
On-the-fly: Lets you specify settings for capturing material between in
and out-points that you set as the tape plays—see “Capturing Clips Onthe-Fly” on page 463.
Selecting the Capture Target
You can choose one of several capture targets in the Capture Tool.
To select a capture target, do one of the following:
t
Select one of the following from the Target list:
-
Project Root: Creates master clips in the folder with the project name
(the project folder).
Main Explorer Location: Creates master clips in a bin you selected
in the Avid Explorer.
The most recently activated bin within the project root becomes the
capture target. An icon in the title bar marks a bin as the capture
target.
t
Auto-Source: Creates master clips in a folder with the same name as
the tape name.
Click the Target button, click once to select a folder, and then click OK.
Avid DS Nitris creates master clips in the folder you select.
You cannot create master clips outside the current project, so
Avid DS Nitris checks the path to make sure the folder is within the
project folder.
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Preparing to Capture Material
Specifying the Capture Quality
You set the video and audio capture quality when you create your project or
sequence. You can keep these default settings or adjust them for the material
you are going to capture or recapture.
For your video material, you can change the resolution, bit depth,
compression, and storage device. For your audio material, you can change the
sample rate, bit depth, and storage device.
Specifying the Video Capture Quality
Video capture settings let you define the resolution, bit depth, and
compression ratio at which images are captured.You can save space on your
disk array by capturing video material in compressed format. Typically,
compressed material is used for a rough cut, where you capture large amounts
of material at a lower quality. After that, you can recapture the edited material
uncompressed before proceeding with a more detailed edit.
To specify video capture quality:
1. Do one of the following:
t
From the NLE Tools toolbar, click Media IO > Capture Tool.
t Select View > Single-Instance Views > Capture Tool.
2. Click the Video/Audio Capture Settings button.
The video and audio capture settings are displayed.
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Chapter 1 Capturing Material
For more information about video capture options, click the Help button.
3. In the Video panel, select a resolution from the Resolution list. The
resolutions that are displayed depend on your Avid DS Nitris system
hardware.
4. Set the Color Space to be used for your media.
The options you have available depend on your video format and
resolution.
5. From the Bit Depth list, select a bit depth, depending on what your
hardware allows.
6. From the Compression list, select a compression or Uncompressed. The
compressions that are displayed depend on the selected video format. For
information about compressions, see “Avid DNxHD Compressions” and
“JFIF Compressions” in the Help.
7. From the Capture To list, select the storage device on which your video
media will be stored.
The status of the storage device you selected is displayed. If the storage
device is accessible in real time, the status marker is green. If the storage
device is not accessible in real time, the status marker is red.
The Time Available box indicates how much video material you can
successfully capture based on your quality settings. If you have
insufficient storage space, consider deleting any unused media on your
disk array—see “Purging Media” on page 1087.
Specifying the Audio Capture Quality
The audio capture settings let you define the quality at which your audio
material is captured. These settings depend on the audio hardware connected
to your workstation.When you’re capturing material from a digital input, the
audio input sample rate and protocol settings are set according to the input
signal detected by your hardware.
With digital input, such as AES/EBU or S/PDIF, the sample rate is determined
and set by the external device (CD player, DAT, etc.). If the digital input
cannot be detected (for example, the external device is turned off), the default
sampling rate is set to 48 kHz.
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Preparing to Capture Material
To specify audio capture quality:
1. Do one of the following:
t
From the NLE Tools toolbar, click Media IO > Capture Tool.
t
Select View > Single-Instance Views > Capture Tool.
2. Click the Video/Audio Capture Settings button.
For information about audio capture options, click the Help button.
3. In the Audio panel, select a sample rate from the Sample Rate list. The
higher the sample rate, the more accurate the capture process will be.
4. From the Bit Depth list, select a bit depth. The higher the value, the more
precise the audio will be.
5. From the Capture To list, select the disk array on which your audio
material will be stored.
The status of the storage device you select is displayed. If the storage
device is accessible in real time, the status marker is green. If the storage
device is not accessible in real time, the status marker is red.
The Time Available box indicates how much audio material you can
successfully capture based on your quality settings. If you have
insufficient storage space, consider deleting any unused media on your
disk array. For more information, see “Purging Media” on page 1087.
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Chapter 1 Capturing Material
Specifying Audio Input Settings
You can specify two types of audio input settings in the Capture Tool:
•
Audio format and channel routing
•
Settings for the external device
Setting the Audio Format
Your choices for audio format and available channels depend on the installed
audio hardware.
To set the audio format and assign audio channels:
1. In the Capture Tool, click the Input Monitor button.
2. Select the audio format from the Audio Format list.
f
For information about audio formats, click the Help button.
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Preparing to Capture Material
3. Use the channel routing matrix to assign the incoming audio tracks to the
desired audio channels of the clip.
Click in the appropriate boxes to make the assignments. The number of
available channels depends on the installed audio hardware and the
selected audio format. You should know, in advance, to which tracks the
audio has been recorded on the tape.
n
If you click on a square in the matrix and an empty circle appears, that
particular assignment is not available due to limitations of the audio
hardware.
For example, to switch the settings for track A1 and A2 so that track A1 is
assigned to Right (R) and track A2 is assigned to Left (L), click the R
square in column A1 and the L square in column A2. Notice that you can
have only one track assigned to one audio channel.
Old assignment
New assignment
Specifying Audio Settings for the External Device
Settings for the external device are determined by the selection you make from
the device list. This list includes presets that you create in the Deck
Configuration view. For more information, see “Configuring the External
Device” on page 440. You can change the audio settings for the preset in the
Capture Tool, but they are not saved with the preset.
To specify audio parameters for the external device:
1. In the Capture Tool, click the Audio Input Settings button.
2. Select the type of audio input from the Input list.
3. Select the priority for the audio input from the Priority list.
The options available depend on the Input selection.
4. Specify the audio output assignments in the physical patching
matrix—see “Using the Physical Patching Matrix” on page 444.
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Chapter 1 Capturing Material
Specifying Video Input Settings
If your system includes an Avid Nitris DNA, you must select the type of video
input signal: Serial Digital, component, composite, or S-Video (Serial Digital
is required for HD). For component, composite, and S-Video, you can
calibrate video input by adjusting the video parameters.
n
You cannot adjust input parameters for Serial Digital.
To select video input:
1. In the Capture Tool, click the Video Input Parameters button.
2. Select the input source from the Input Selection list.
To adjust video input parameters:
1. Connect a waveform monitor, vectorscope, or other equipment for
calibrating video input, depending on your production environment.
2. In the Capture Tool, click the Video Input Parameters button.
3. Select the input source from the Input Selection list.
4. Select Professional or Consumer, depending on the type of deck that is
connected.
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Preparing to Capture Material
5. Using color bars or a test pattern, adjust one or more video parameters by
dragging the slider or by clicking the minus (-) or plus (+) button.
For information about video parameters, click the Help button.
6. To save your settings, click the Save Parameters button.
You can save one set of parameters for each type of video input.
7. To restore the default settings for all video inputs, click the Factory
Settings button.
Specifying the Sync Source
For systems with an Avid Nitris DNA, you need to select the sync source for
reference timing: either tri-level sync or black burst sync (NTSC or PAL).
Avid DS Nitris requires that the deck and the Avid Nitris DNA be genlocked
to the same timing source when capturing.
HD formats whose frame rate aligns with 29.97 fps (NTSC) or 25 fps (PAL)
can use either tri-level sync or black burst sync. If you are capturing one of
these HD formats (such as 1080PsF 29.97 or 1080PsF 25), you can use either
tri-level or black burst as the sync source.
For a list of sync options for each format, see “Downconverted Output
Formats and Sync Sources” in the Help.
To specify the sync source:
1. In the Capture Tool, click the Sync button.
-
For HD sequences, the Expected Sync Source field displays the
format of the sequence or its interlaced equivalent.
-
For SD sequences, the field displays NTSC or PAL Black Burst.
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2. Select the sync source that is compatible with the sequence: Tri-Level,
Black Burst, or Any.
n
You can also set the sync source in the Output Tool.
Checking the Sync Source
The Sync (S) light (located on the right of the toolbar below the timeline)
indicates the sync source that is being used by the current sequence.
Sync light
•
Green: Indicates that the sequence is receiving the correct sync for the
frame rate.
•
Yellow: Indicates that the sequence is using internal sync from the Avid
Nitris DNA. For professional production you should make sure to connect
the correct external sync.
•
Red: Indicates that the sequence is not receiving the correct sync for the
frame rate. You should correct this situation.
Previewing Material
Before capturing video or audio material from a tape or live capture session,
you can preview it to decide how much preroll or post-roll to add, or to
monitor the audio levels (see “Monitoring Audio Input” on page 457). When
you preview audio material, you can use the Audio Input monitor to set
incoming audio levels, depending on your hardware.
To preview video or audio material:
1. In the Capture Tool, click either the Live button, the Tape button, or the
On-the-Fly button.
2. Use the transport controls to play the video or audio material you want to
preview.
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Preparing to Capture Material
Play button
Monitoring Audio Input
You can monitor your incoming audio in a panel in the Capture Tool or in the Audio Input Monitor
view. Each input strip in the input monitor corresponds to channels that are recorded from the source
Input monitor with mono tracks
Input strips
Peak
indicator
Level meter
device.
Strip
name
If you need to adjust the audio input signal, the method you use depends on
your system hardware:
•
If your system includes an Avid Nitris DNA, you should adjust the audio
level before it enters the Avid Nitris DNA. For example, you can adjust
the audio output on a deck or use an external mixer.
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Chapter 1 Capturing Material
•
If your system includes Equinox-Mykerinos hardware, you can lower the
incoming signal through faders on the audio input strips. However, you
cannot use the faders to boost the audio signal. Any audio level changes
are saved with the audio clip.When you later recapture this material,
Avid DS Nitris uses the levels that you set when you originally captured
the material.
You can adjust the audio after capturing by using the Avid DS Nitris
Mixer—see “Understanding the Mixer” in the Help.To monitor the audio
input levels:
1. In the Capture Tool, click the Live button, Tape button, or On-the-Fly
button.
2. Open the audio monitor in one of the following ways:
t In the Capture Tool, click the Input Monitor button.
t
Select View > Multi-Instance Views > Audio Input Monitor.
3. Set the audio format and assign the incoming audio tracks to the desired
audio channels of your clip—see “Setting the Audio Format” on
page 452.
4. Use the transport controls in the Capture tool to preview the audio.
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Logging and Capturing Material
Logging and Capturing Material
Depending on the source from which you are capturing material, you can:
•
Log and capture the material at the same time
•
Log the material and batch capture it later
•
Log a clip that is linked to material on a network
If you’re capturing material from a tape or other external device, you can log
the clips needed for your sequence and then batch capture them later. Logging
lets you specify the in and out-points for material on tape without actually
capturing the material.
As you log or capture your material, master clips are created in a bin in the
Avid Explorer. These clips contain information about the original media on
tape or file, as well as the source in and source out timecodes.
n
You can also create logged clips from the following sources:
•
AFE files (Avid Log Exchange)
•
AAF files (Advanced Authoring Format)
•
OMF files (Open Media Framework®)
•
EDLs (Edit Decision Lists)
•
ALEs (Avid Log Exchange)
For more information on logging clips from these sources, see:
•
Conforming with AFE Files
•
Conforming with AAF Files
•
Conforming with OMF Files
•
Conforming with EDL Files
•
Conforming with ALE Files
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Logging and Capturing Clips from Tape
The Capture Tool provides you with three modes in which to capture media
from an external device: Live, Tape, and On-the-Fly. Tape mode lets you
specify exact in-points and out-points, When capturing material using Tape
mode, you can capture the media between the selected in and out-points or log
empty master clips. The captured clips are displayed in a bin. Logged video
clips display the Avid DS Nitris clapboard icon in the Thumbnails and Script
view. Icons for the audio and video clips without media are red.
You can place logged clips on the timeline to create a sequence and then edit them like any other master
clip, even though they do not include media. Later, you can capture the media at any time directly from
In the Thumbnails view of a bin, video and audio clips
without media are displayed with red icons.
In the Details view of a bin, video and audio clips
without media are preceded by a red icon.
the timeline.
To log and capture clips from a tape:
1. Do one of the following:
t
From the NLE Tools toolbar, click Media IO > Capture Tool.
t
Select View > Single-Instance Views > Capture Tool.
2. Configure the external device, specify the capture quality, and other
perform other tasks listed in “Preparing to Capture Material” on page 439.
3. Click the Tape button.
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4. From the device list, select a deck preset.
5. (Optional) Set a custom preroll for the deck.
This setting temporarily overrides the setting in the deck template but
does not change it.
6. Click the Check button.
If the communication between the external device and your system is
operating properly, nothing happens. If there is a problem, a message box
appears, stating the possible cause of the problem.
You can also verify that the external device is operating within normal
parameters by checking the five items in the External Device Status area,
located beneath the transport controls—see “Transport Controls (Capture
and Output Tools)” in the Help.
7. Make sure the Timeline/Deck Control button is set for Deck.
8. Click the Log/Capture Mode button to either capture or log material.
9. In the Clip Name text box, enter a name to prefix all captured clips.
10. From the source name list, select the tape’s name.
If the tape is new, click the New Tape button and enter a name for the
tape. The tape name is added to the Tape Library—see “Managing Tapes”
on page 503.
c
It is very important to assign a unique name to every tape because
Avid DS Nitris uses it to identify the captured media.
11. From the Target list, select a location to hold the clips—see “Selecting the
Capture Target” on page 448.
12. Click the Video button to capture the video channel of the material.
13. Click the Audio button to capture one or more audio channels of the
material.
14. To record additional material before the in-point and after the out-point,
type the appropriate number of frames in the Heads and Tails text boxes.
15. Use the transport controls to play or shuttle the tape to the point where
you want to start the capture and click the Mark In button.
The timecode of the in-point you selected is displayed in the In timecode
box.
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Mark In
In timecode box
Mark Out
Out timecode box
16. Play or shuttle the tape to advance to the point where you want to end the
capture and click the Mark Out button.
The out-point is displayed in the Out timecode box. The Duration
timecode box displays the length of material to be captured.
n
Tip: If you already know the in and out timecodes, you can type them directly
in the In or Out timecode boxes. You can also enter a value for the duration
and Avid DS Nitris will calculate the out-point.
You can use the numeric keypad to enter in-points and out-points. Begin typing
the timecode and an entry box is displayed. When you finish typing, press the I
key to set an in-point or the O key to set an out-point. You can also type a
duration and press the D key. To go to a particular location on the tape, type
the timecode and press Enter.
17. Click the Start/Stop Capture button.
As the material is logged, or logged and captured, clips appear in the Avid
Explorer according to the in and out points that you specified.
You can add locators with comments while capturing. For more
information, see “Adding Locators While Capturing” on page 466.
n
n
462
If Avid DS Nitris is unable to capture the material on the first attempt, it will
try again. If it fails again, Avid DS Nitris will attempt the capture a third time
with an additional preroll of five seconds. If the capture fails again, an error
message is displayed with a possible explanation for the problem.
If you encounter problems capturing material from tape, you should deactivate
the viewer using the Viewer button in the status bar and try capturing again.
When capturing full resolution HD material at 29.97 and 30 frames per
second, the viewer is automatically deactivated.
Logging and Capturing Material
Logged video clips appear with an image of the Avid DS Nitris clapboard
icon, since they do not have any media. Both video and audio clip icons
are also red to show that no media has been captured. You can later
capture these clips in one batch directly from the Avid Explorer.
c
If any frames are skipped during the capture, the capture stops, and an
error message is displayed. Clips are created for the material that was
captured up to the point at which frames were dropped.
If Avid DS Nitris detects any problems during capture, the Capture Error
Log is displayed. The Capture Error Log dialog box displays the clip that
could not be captured, including tape source name, in-point, and outpoint. It also gives you a brief description of the type of error that
occurred.
a.
To save this log as an .html file, click the Save As button.
b.
In the Save As dialog box, navigate to an appropriate folder, type a
name for the log and click the Save button.
The log is saved as an .html file and can be viewed in any HTML browser.
n
Avid DS Nitris stops a capture session if it detects any timecode breaks on the
source tape. It creates a master clip from the in-point to the timecode break.
The capture session may stop a frame or two after the actual timecode break.
If this happens, you may have to cut or trim some of the unusable frames from
your clip.
To resume capture, enter new in and out-points in the In/Out timecode boxes
and click the Start/Stop Capture button.
n
If there is insufficient material for the deck to preroll before capturing, you will
not be able to capture the material. In this case, use the Live capture option to
capture the material.
Capturing Clips On-the-Fly
Capture on-the-fly mode lets you capture material from tape as it plays. You
start the capture and then set in and out-points for the material you want to
capture. After you stop the capture, clips are created in the Avid Explorer,
based on the in and out-points you set during playback. In this way you can
create multiple clips without having to start and stop playback.
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Chapter 1 Capturing Material
n
Avid DS Nitris creates a temporary media file for the complete capture and
then creates the individual clips. Make sure you have enough storage space for
the temporary media file and the created clips. Avid DS Nitris deletes the
temporary file after creating the clips.
Capture on-the-fly is similar to live capture because in both cases you capture
while the tape is playing. Capture on-the-fly, however, requires deck control
through an RS-422 connection and a valid timecode signal. As a result,
timecode is always accurately captured and clips can be recaptured.
To log and capture clips on-the-fly:
1. Do one of the following:
t
From the NLE Tools toolbar, click Media IO > Capture Tool.
t
Select View > Single-Instance Views > Capture Tool.
2. Configure the external device, specify the capture quality, and perform
other tasks listed in “Preparing to Capture Material” on page 439.
3. Click the On-the-Fly button.
4. From the device list, select a deck preset.
5. Click the Check button.
If the communication between the external device and your system is
operating properly, nothing happens. If there is a problem, a message box
appears, stating the possible cause of the problem.
You can also verify that the external device is operating within normal
parameters by checking the five items in the External Device Status area,
located beneath the transport controls—see “Transport Controls (Capture
and Output Tools)” in the Help.
6. Make sure the Timeline/Deck Control button is set for Deck.
7. Make sure the Log/Capture Mode button to set to Capture.
8. In the Clip Name text box, enter a name to prefix all captured clips.
9. From the source name list, select the tape’s name.
If the tape is new, click the New Tape button and enter a name for the
tape. The tape name is added to the Tape Library—see “Managing Tapes”
on page 503.
c
464
It is very important to assign a unique name to every tape because
Avid DS Nitris uses it to identify the captured media.
Logging and Capturing Material
10. From the Target list, select a location to hold the clips—see “Selecting the
Capture Target” on page 448.
11. Click the Video button to capture the video channel of the material.
12. Click the Audio button to capture one or more audio channels of the
material.
13. Click the Start/Stop Capture button.
The tape begins playback.
14. To set an in-point and an outpoint, do one of the following:
t
Click in the viewer to set an in-point, and then right-click in the
viewer to set an out-point.
t
In the Capture tool, click the In button and then the Out button.
t
On the keyboard, press the I key and then the O key.
A clip will be created for each of the in and out-points that you set.
Continue to set in and out-points on the material you want to capture.
You can add locators with comments while capturing. For more
information, see “Adding Locators While Capturing” on page 466.
15. To finish the capture session, do one of the following:
t
Click the Start/Stop Capture button.
t
Press the Esc key.
The On the Fly Capture Time Spans dialog box appears.
Start of
session
In point
Out point
End of
session
16. Click OK.
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Clips appear in the folder you selected for each of the in and out-points
that you set. The clips are named as follows: BaseClipName,
BaseClipName-001, and so on. Each clip’s timecode matches that on the
tape, making it possible for you to recapture the material at a different
compression rate or resolution.
n
If you encounter problems capturing material from tape, you should turn off
the viewer by deselecting the Viewer button in the status bar and try capturing
again. When capturing full resolution HD material at 29.97 and 30 frames per
second, the viewer is automatically deactivated.
Adding Locators While Capturing
You can add locators (markers) to the clips you are capturing from tape or onthe-fly. These markers are linked to a specific timecode and behave in the
same way as Clip locators.
You cannot add locators during Live capture.
For complete information on locators, see “Using Locators” in the Help.
To add a predefined locator:
1. Begin capturing from tape or on-the fly.
2. Do one of the following:
t
On the keyboard, press a locator button (F1 through F3).
t
In the Capture tool, click a locator button (F1 through F3).
The comments for predefined locators are:
n
-
F1: Needs color correction
-
F2: Needs scratch removal
-
F3: Start of good take
Locators F4 through F8 include the comments “Comment 4,” “Comment 5,”
and so on. You can change these comments on the Locator Properties property
page.
To add a locator with a custom comment:
1. Begin capturing from tape or on-the fly.
2. Type your comment.
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Logging and Capturing Material
3. Press the A key or click the Add button.
A red locator is added to the clip.
To add scene and take numbers:
1. Begin capturing from tape or on-the fly.
2. Press one or both of the following keys:
-
S key (Scene button): Adds a locator with the title “Scene x, Take x.”
Each time you click the Scene button, the Scene number is
incremented and the Take number is reset to 1. You can add a custom
message.
-
T key (Take button): Adds a locator with the title “Scene x, Take x.”
Each time you click the Take button, the Take number is incremented.
A red locator is added to the clip.
Performing a Live Capture
Live capture mode lets you capture a video stream from a deck, camera, or
other source, without the need for deck control. It is a quick but less accurate
way of capturing material.If there is a proper SMPTE or AES/EBU timecode
signal, the material is assigned the incoming timecode and the resulting clip
can be recaptured. If no timecode signal is present, Avid DS Nitris assigns an
arbitrary timecode to the clip, starting at 00:00:00:00. Clips starting with this
arbitrary timecode cannot be recaptured.
n
If the device you plan to use for recapture cannot be controlled with an RS-422
remote connection, Avid DS Nitris will let you recapture a clip, but it will most
probably not find the correct timecode.
Live capture is similar to capture on-the-fly because in both cases you capture
while the tape is playing. Capture on-the-fly, however, requires deck control
through an RS-422 connection and a valid timecode signal—see “Capturing
Clips On-the-Fly” on page 463.To perform a live capture:
1. Do one of the following:
t
From the NLE Tools toolbar, click Media IO > Capture Tool.
t
Select View > Single-Instance Views > Capture Tool.
2. Configure the external device, specify the capture quality, and perform
other tasks listed in “Preparing to Capture Material” on page 439.
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Chapter 1 Capturing Material
3. Click the Live button.
4. From the device list, select a deck preset.
5. Select the Timecode source:
-
VITC or LTC through the RS-422 serial connection on the computer
-
LTC through the LTC IN connection (XLR) on the Avid Nitris DNA
6. Click the Check button.
If the communication between the external device and your system is
operating properly, nothing happens. If there is a problem, a message box
appears, stating the possible cause of the problem.
You can also verify that the external device is operating within normal
parameters by checking the five items in the External Device Status area,
located beneath the transport controls—see “Transport Controls (Capture
and Output Tools)” in the Help.
7. Make sure the Timeline/Deck Control button is set for Deck.
8. Make sure the Log/Capture Mode button is set for Capture.
9. In the Clip Name text box, enter a name to prefix all captured clips.
10. From the source name list, select the tape’s name.
If the tape is new, click the New Tape button and enter a name for the
tape.
c
It is very important to assign a unique name to every tape because
Avid DS Nitris uses it to identify the captured media.
11. From the Target list, select a location to hold the clips—see “Selecting the
Capture Target” on page 448.
12. Click the Video button to capture the video channel of the material.
13. Click the Audio button to capture one or more audio channels of the
material.
14. If recording from tape, use the transport controls to play the tape.
15. Click the Start/Stop Capture button.
The capture begins and the progress bar displays the number of seconds of
material captured. This value updates while the capture is in progress.
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Logging and Capturing Material
n
If you encounter problems capturing material from tape, you should deactivate
the viewer using the Viewer button in the status bar and try capturing again.
When capturing full resolution HD material at 29.97 or 30 frames per second,
the viewer is automatically deactivated.
16. When you want to stop capturing, do one of the following:
t
Click the Stop button on the progress bar.
t
Click the Start/Stop Capture button.
t
Press the Esc key.
The captured material is represented by a clip in the folder you selected. If
the tape is playing, click Capture again to resume capturing.
Capturing Audio through a Microphone
You can create master clips for audio input by connecting a microphone to the
Mic inputs on the back of the Avid Nitris DNA and using the Capture Tool to
capture audio. You can use the following connectors:
•
Mic 1 or Mic 2 for a single microphone (mono)
•
Mic 1 and Mic 2 for two microphones (stereo)
•
Mic 1 and Mic 2 for two microphones (two mono channels)
You might need to use an external mixer to adjust the input levels.
To configure for microphone input:
1. On the Avid Nitris DNA, connect a microphone to the Mic 1 input or the
Mic 2 input, or connect two microphones, one to each input.
2. Open the Capture tool and click the Live button.
3. Select Microphone Input as the input device.
You can also activate the Microphone Input preset in the Deck
Configuration tool. See “Configuring the External Device” on page 440.
In this case ignore the External Device settings and accept the default
Audio settings (Input: Analog, Priority: Microphone).
4. Click the Input Monitor button to open the audio input pane.
5. From the Audio Format list, select Mono or Stereo to match your inputs.
6. In the channel routing matrix, assign the incoming audio tracks to the
desired audio channels of the clip.
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7. Use the input level meters to view the audio levels. If you are using a
mixer, adjust the input levels if necessary.
8. Select other capture settings. See “Logging and Capturing Clips from
Tape” on page 460.
9. When you are ready to record, click the Start/Stop Capture button.
10. To stop recording, click the Stop button on the progress bar.
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Capturing Material from File
Capturing Material from File
When capturing material from file, you can do any of the following:
•
Capture media from selected files
•
Log the selection as clips without capturing the media
•
Create linked clips, which act as pointers to source media located on a
local disk or anywhere on the network
You can capture material from video, audio, and image files. For a list of
supported file types, see “Capture File Formats” in the Help.When you capture
material from file, it’s important to select the correct media conversion mode,
pixel ratio, and premultiplication setting. The media conversion modes let you
determine how media of differing formats are converted when captured into
Avid DS Nitris. Files coming from different formats, such as NTSC, PAL, and
computer graphics, all have different file pixel ratios. If the pixel ratio of the
source file is different than that of the current sequence, then the file’s pixels
are scaled to match those of the current sequence. When you select the correct
premultiplication setting, you can avoid incorrect compositing results.
If you’re capturing still images, you can specify their duration on the Editing
property page of the User Preferences dialog box. By default, the duration of
captured still images is set to 1 second.
n
n
You can capture from a single file or a series of files at the same time.
You can import graphics without having to capture them. For more
information, see “Importing Images” in the Help.
To log and capture clips from file:
Show/Hide Panel
1. In the Avid Explorer, click one of the Show/Hide Panel buttons to display
a panel. Then click the arrow next to the button and select My System.
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Chapter 1 Capturing Material
2. In the tree, click My Computer or My Network Places and navigate to
the folder where the files that you want to capture are located.
The files are displayed in a bin.
3. In the bin, select the file or files that you want to capture.
To select a series of files, click the first file, hold down the Shift key, and
click the last file. To select multiple files, hold down the Ctrl key and click
each file name.
n
If you select a sequential list of still files of the same type, such as all .jpg or
all .bmp, during capture you are given the choice of combining the files into
one master clip or creating individual clips.
4. Right-click a file and select Capture Settings.
The Capture Settings dialog box opens.
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Capturing Material from File
Help button
For information about options in the Capture Settings dialog box, click the
Help button.
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Chapter 1 Capturing Material
5. In the Media Capture panel of the Capture Settings dialog box, select a
location to hold the clips—see “Selecting the Capture Target” on
page 448. If you select Auto-Source, master clips are created in a folder
named File Source.
6. From the Media Conversion list, select one of the following modes:
Mode
To
Center, Keep Original
Size
Center the media in the viewer along both the X and Y
axes. Any portion of the image falling outside the viewer
is cropped. This option does not modify the original size
of the media.
Scale to Fit
Scale the media in both the X and Y axes to fit the
sequence settings. This option may reduce image clarity.
Scale, Keep Aspect Ratio Scale the media in both the X and Y axes to fit the image
settings, but retain the ratio between width and height.
Keep Original Size and
Position
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Display the media in the viewer without modifying its
original size or position.
Capturing Material from File
The following illustrations show a 540x304 image captured using various
media conversion modes.
Center, Keep Original Size
Scale to Fit
Scale, Keep Aspect Ratio
Keep Original Size and Position
7. If the source image contains an alpha channel that you want to capture
with the clip, select the Keep Alpha option. Only image formats that
support alpha channels are applicable. For example, .bmp images do not
support alpha channels.
8. If you want to adjust the colors of the captured file to remove banding,
select Auto-Dither.
9. If you want to convert the frame rate of the video file you are capturing to
the same frame rate used by the sequence, select the Convert Video
Frame Rate option.
n
This option does not apply to still images or audio files.
If you capture an audio file with a sample rate different from than that
currently set in the Audio Sample Rate list, a message box opens, asking
you if you want to convert the audio file to the selected rate.
10. If you are sharing MXF audio files with other Avid applications, select
Import audio files into separate mono tracks.
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Chapter 1 Capturing Material
11. In the Source Description section, select the appropriate options for the
files you are capturing.
For information about these options, click the Help button, and then click
on the link for Media Capture Settings.
12. Close the Capture Settings dialog box to save your settings.
13. Right-click on the selected files and select one of the following:
Option
Description
Capture
Creates master clips and captures the media. This option takes
substantially longer because the media must be digitized.
Log
Creates master clips without capturing the media.
n
Link
Logged clips appear with the message “Media Not
Available” when they are placed in the viewer or timeline.
You can later capture these clips in one batch directly from
the Avid Explorer or the timeline.
Creates linked clips, which act as pointers to source media
located on a local disk or anywhere on the network—see
“Creating Linked Clips” on page 481.
As the material is logged or captured, clips appear in the target bin.
n
You can cancel the capture session at any time by clicking Cancel in the
progress bar. A message box opens, asking you if you want to keep the
material that was captured so far. If you click Yes, clips are created for the
material that was captured until you clicked Cancel.
Capturing from File by Dragging to a Bin
You can capture media from file by right-clicking the source file and dragging
it to the bin in which you want to create the master clip.
To capture from file by dragging to a bin:
1. Check the Capture Settings view to make sure your settings are
correct—see “Capturing Material from File” on page 471.
You don’t need to specify the capture target.
2. Right-click the file or files you want to capture.
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Capturing Material from File
3. Drag the files to the bin in which you want to create the master clips.
4. Release the mouse button, and select Capture Here.
As the files are captured, master clips appear in the target bin.
You can also use the menu to open the Capture Settings view, create a linked
clip, or create a logged clip. Other options let you copy or move files and
create shortcuts.
Capturing from Layered Adobe Photoshop Files
There are two ways to capture from Adobe Photoshop files into
Avid DS Nitris:
•
Select the file or files in a bin, right-click and select Capture.
•
On the Editing toolbar, click Generate > Import Photoshop.
The first option captures only the flattened Photoshop image as a still. If you
want to preserve all the layer information, you should use the second
option.When you capture from a layered Photoshop image into Avid DS Nitris
using the Import Photoshop command, a Targa image file is created for each
Photoshop layer. A sequence with one composite container clip is created in a
new bin in the Avid Explorer, along with a master clip for each layer. These
master clips are linked to the Targa files. Each layer in the Photoshop file is
recreated in the composite container clip as a layer and corresponding clip on
a composite track. Each layer is composited in the same order as the original
Photoshop file.
DVEs are applied to each clip to position them appropriately, and the opacity
of each layer is adjusted to match the opacity levels in the original Photoshop
file. An additional folder is created called Linked layers, which contains the
source Targa files to which the master clips are linked. Having access to these
source files makes it easier for you to delete them, if needed.
The Photoshop images must be 8 bit RGBA or grayscale files. Only normal
blending information is supported, and text and shape information are
rasterized when captured.
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Chapter 1 Capturing Material
Example
Every time you capture from a layered Photoshop file, a new bin is created in
the Avid Explorer. The bin is named after the Photoshop file you captured. The
sequence, master clips, and Linked layers folder are all stored in this new
folder. The master clips are named after the layer they represent followed by
the name of the Photoshop file in parentheses.
For example, if you capture from a Photoshop file called Poster.psd that
contains the following layers:
•
Sky
•
Sea
•
Boat
A new bin called “Poster” is created in the Avid Explorer. Within that bin, a
new sequence called “Poster” is created, a folder called “Linked layers” is
created, as well as the following master clips:
•
Sky (Poster)
•
Sea (Poster)
•
Boat (Poster)
The \Linked layers folder contains the following files:
•
Sky (Poster).tga
•
Sea (Poster).tga
Boat (Poster).tgaTo capture from layered Photoshop files:
1. In the Avid Explorer, select the folder in which you want the new folder to
be created.
2. If you are importing a file with a pixel ratio different from that of the
current sequence, click the Capture Settings button in the Avid Explorer
toolbar. In the Media Capture section, specify a custom pixel ratio.
3. In the Editing toolbar, click Generate > Import Photoshop.
The Import Adobe Photoshop dialog box opens.
4. Select the Photoshop file and click OK.
A message is displayed telling you that the clip was successfully saved.
5. Click OK.
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Capturing Material from File
A new folder is created in the Avid Explorer and named after the
Photoshop file. Within that folder, a folder called Linked layers is created
that contains the source Targa files. A sequence file with one composite
container clip is also created, along with a master clip for each layer. In
the composite container clip, each layer in the Photoshop file is recreated
as a layer and corresponding clip on a composite track. The lower-left
corner of the final composited image is placed in the lower-left corner of
the viewer.
Linked layers folder
contains Targa files.
A sequence file is created along
with a master clip for each layer.
New file created in Avid Explorer.
All layers are visible.
The lower-left corner of the final
composited image is place in the
lower-left corner of the viewer.
DVE applied to each clip.
Since the master clips are linked to the Targa files, the images maintain
their original size. To view images that are larger than the sequence
resolution, right-click in the result area of the layer view to turn off the
Output Frame Size option.
For more information, see “Working with Layered Photoshop Images” in the
Help.
Importing Encapsulated PostScript (EPS) Files
n
You can import EPS files into Avid DS Nitris, but they are treated differently
than other file imports. EPS files are imported from within the Graphics layout
and no master clips are created for the EPS file. Instead, the EPS information
is imported directly into your current graphics session. The color information
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in the EPS files is retained and each shape in the EPS file is a separate stroke
in Avid DS Nitris.You can import solid colors, but not gradients.
n
Avid DS Nitris can import files created with Adobe Illustrator 8.0 or earlier
versions. To work with Illustrator 9.0 files, save it as a version 8.0 file.
You can also import EPS files as brush strokes. For more information, see
“Creating Custom Brushes” in the Help.To import an EPS file:
1. With the position indicator over a clip in the timeline, switch to the
Graphics layout.
2. From the Tools toolbar, click Import > EPS File.
The Open dialog box opens.
3. Select an EPS file and click the Open button.
The EPS file is imported into your graphics session.
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Creating Linked Clips
Creating Linked Clips
By creating links to media files that are not stored on your disk array, you can
work with media files without having to capture them to your disk. These files,
called linked clips, can reside on a local disk or anywhere on the network until
you’re ready to output your sequence.Some projects may require you to work
with images at varying resolutions (sizes). When you capture these files, you
must convert the material to the working resolution of the current sequence.
By linking to the material instead, you can keep the material at its original
resolution regardless of the sequence’s frame size. Once you’ve completed
your edits, you can process the linked material, which creates a cache file of
the image area that is visible in the viewer.
Linking clips can also be useful when more than one person needs access to
the same file. You can capture the file as a linked clip, drop it into your
sequence, and continue to use it as a reference while another person continues
to work on the source media file. Changes made to the original file
automatically appear in the linked clip, both in the Avid Explorer and on the
timeline.
n
If another person tries to modify a file that’s linked to a clip in an open project,
they will not be able to save that file due to a sharing violation. You must close
the project that contains the linked clip for them to be able to save the original
file.
Once you’re ready to output the sequence, you can either capture the source
file or simply process the clip on the timeline. If you process the material, a
cache file is created. Once a cache is created, Avid DS Nitris no longer refers
to the source media file, but uses this cache file during playback. Any further
changes to the source file do not appear in the linked clip on the timeline. Like
any other cache however, the cache for the linked clip can be purged, which
relinks the clip to the source file. For more information, see “Purging Caches”
in the Help.
Linked clips appear in the Avid Explorer as regular clips, but their file type
icons are underlined in red, indicating that no actual media has been captured.
Some linked clips do not require processing and can be played back in real
time (such as .gen, .omfi, .mxf, .dpx, or .cin files).
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If the “Media Not Found” message appears in the viewer when using linked
clips, it’s possible that Avid DS Nitris has lost the connection to the linked file.
All you have to do is re-establish the link. For more information, see
“Relinking a Clip” on page 483.To create a linked clip:
1. In the Avid Explorer, open a bin and select the file (s) that you want to
capture as linked clips. To select a series of files, click the first file, hold
down the Shift key, and click the last file. To select multiple files, hold
down the Ctrl key and click each file name.
n
If you select a sequential list of still files of the same type (such as all .jpg or
all .bmp), you are given the choice of combining the files into one master clip
or capturing individual clips.
2. Right-click a file and select Capture Settings.
The Capture Settings dialog box opens.
3. Select the settings that apply to the files that you want to capture—see
“Capturing Material from File” on page 471.
n
Since linked files are brought into Avid DS Nitris at their original resolutions,
there is no need to convert them to the current sequence’s resolution. As a
result, the Media Conversion modes are not applicable when the Link option is
selected.
4. Close the Capture Settings dialog box.
5. Right-click the selected files and select Link.
As the material is linked, clips appear in the selected bin. The clip icons
are underlined in red to indicate that no media has actually been captured.
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Creating Linked Clips
Relinking a Clip
If you move the media of a linked clip to a new location, you need to reestablish the link. Avid DS Nitris lets you relink more than one clip at a time.
To relink a clip through the Media Properties dialog box:
1. Right-click the linked clip in a bin and select Properties.
The Clip Properties dialog box opens.
2. Select the File Info tab.
In the Status text box, the following message is displayed: “File is missing
from expected location”.
3. Click the Relink File button.
4. In the Relink File dialog box, navigate to the new location of the media
file, select it, and click OK.
5. Close the Clip Properties dialog box by clicking OK.
The link is re-established.
n
If you go back into the Clip Properties dialog box, you will see that the status
of the linked file has changed to “File is Present.”
To relink one or more clips through the Avid Explorer:
1. Right-click one or more linked clips and select Relink.
Avid DS Nitris tries to relink by using the most recent path used in a
relink operation. If the media file is not found in that path, the Relink
dialog box is displayed.
If you want to force the Relink dialog box to be displayed, hold down the
Control key while you select Relink.
2. In the Relink dialog box, navigate to the location of the media file, select
it, and click OK.
The link is re-established. If multiple clips are linked to media files in the
same folder, all links are re-established.
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Chapter 1 Capturing Material
Linking to a Sequence of Files
You can create a linked clip that represents a sequence of files based on the
contents of a Group folder (see “Avid DS Nitris Group Folders” in the Help).
For example, a Group folder that contains 117 files, named BottleFish1.pic
through BottleFish117.pic, is labeled:
BottleFish[1..117:117].pic
The clip linked to this folder is named BottleFish1.Clip.
Group folder
Pattern-based
linked clip
This pattern-based linked clip is especially efficient when working with digital
intermediate files (DPX) or other groups of sequential files (such as those
created by Softimage® XSI®).
Advantages to using a pattern-based linked clip are:
• Improved memory usage: A pattern-based linked clip uses much less
memory than a list-based linked clip. This is especially important for
scanned film files, for which a sequence of 16,000 files is not unusual.
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Creating Linked Clips
•
Creation of a complete master clip with an incomplete Group folder: A
pattern-based linked clip can represent thousands of files without the need
to have those files in a local directory.To create a linked clip you need only
the first and last files in a series. This feature lets you create a master clip
in advance of receiving all files. For example, if a 3D scene is being
rendered overnight, you can create a master clip based on preliminary first
and last files and begin to work with the clip immediately, while the
rendered files are added to the folder.
You can also link directly to a series of files, as described in “Creating Linked
Clips” on page 481, but this list-based linked clip does not provide the
advantages of a pattern-based linked clip. You can see the difference between
the two types of linked clips on the File Info tab of the clip’s property page.
Properties of a
list-based
linked clip
Properties of a
pattern-based
linked clip
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Chapter 1 Capturing Material
To create a pattern-based linked clip:
1. In the Avid Explorer, navigate to an Avid DS Nitris group folder.
2. Right-click the Group folder and select Capture Settings.
3. Select the settings that apply to the files that you want to capture. For
information about capture settings, click the Help button.
4. Close the Capture Settings dialog box.
5. Right-click the Group folder and select Link.
The clip appears in the selected bin. The clip icon is underlined in red to
indicate that no media has actually been captured.
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Batch Capturing
Batch Capturing
In an offline/online workflow, you first create an offline sequence by using
logged clips or compressed media. To create the final, online sequence, you
need to capture media for the logged clips or recapture compressed media in
uncompressed format. You can efficiently capture a group of clips from the
Avid Explorer or timeline in one pass. This is called batch capturing.
n
You cannot recapture from the timeline clips that were captured at one frame
rate and then converted to a different frame rate. You can recapture the
original clips from a bin, or recapture the clips from a sequence that matches
the original frame rate.
Recapturing at a Different Quality
If you have already captured clips with media, you can recapture media at a
different quality. You can initially capture clips at a lower quality to save disk
space and increase processing time, and then recapture at a higher quality for
the final output. You can also recapture media for clips that have been partially
or completely purged.
If you recapture media at a different quality, Avid DS Nitris lets you keep the
original media. In this case, the master clip represents two (or more) media files
of different qualities.
n
To see if a clip has more than one capture quality, right-click the clip in a bin
and select Properties. In the property dialog box, select the Media property
page.
When you place the clip in a sequence, Avid DS Nitris automatically uses the
media which has the same resolution as the sequence.You can set a preference
to display media that doesn’t exactly match the sequence settings. For more
information, see “Understanding Video Quality Matching” in the Help.
You can purge the original media at any time. For more information, see
“Purging Media” on page 1087.
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Chapter 1 Capturing Material
Capturing Clips from the Avid Explorer
When you log material, empty master clips (without media) are created in a
bin in the Avid Explorer. You can then capture source material from tape or
file. The master clips hold information about the in and out-points of material
from tape or about the location of an original file.Avid DS Nitris stops the
deck, rewinds and then prerolls before capturing material. If, however, it
detects two or more clips on the same tape and they are separated by less than
5 seconds, it will skip the preroll and capture both pieces of media in one pass.
This feature, known as streaming capture, can reduce the time to recapture
media especially if your clips are lined up one right after the other on a single
tape.To capture clips from Avid Explorer:
1. (Optional) If you want to view a list of clips to be captured, set a user
preference—see “Creating a Batch Capture List” on page 494.
2. From the NLE Tools toolbar, click Media IO > Deck Configuration.
Check the settings and activate the deck preset for the connected
deck—see “Configuring the External Device” on page 440.
3. In a bin, select the master clips that you want to recapture.
4. (Optional) To delete media associated with the clips, right-click the
selected clips and select Purge Media—see “Purging Media” in the Help.
5. Right-click the selected clips and select Capture Settings to specify the
video quality and audio quality settings—see “Specifying the Capture
Quality” on page 449.
6. Right-click the selected clips and select one of the following:
-
Recapture with Options to open a dialog box that lets you select the
video and audio tracks you want to recapture.You can choose not to
recapture tracks that you originally captured, but you cannot capture
new tracks. For example, if you created a clip by capturing video
only, you cannot recapture the clip with video and audio.
-
Recapture to begin the recapture process, using the settings specified
in the Recapture with Options dialog box.
7. If you selected Recapture with Options, the Explorer Recapture Options
dialog box opens.
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Batch Capturing
a.
Click the Video button to recapture the video portion of your media.
b.
Click the Audio button to recapture the audio portion of your media.
c.
Click the audio tracks (A1, A2, and so on) that you want to recapture.
By default, all audio channels are active. The actual number of
available channels depends on the installed audio hardware and the
selected audio format, as configured in the Capture Tool or Deck
Configuration. Configured channels are indicated by a filled-in
square.
d. If you want the capture to begin immediately, leave the Time Delay
option deselected. If you want to capture certain files at a specific
time in the future, select the Time Delay option.
For more information about options in the Explorer Recapture
Options dialog box, click the Help button.
e.
Click the Recapture button.
8. If you selected the Display Capture List option, the Batch Capture list is
displayed. If you are satisfied with the list, click OK.
If you’re capturing from a tape that is currently in the VTR, then capture
starts automatically. As the clips are captured, the progress bar updates.
n
n
If Avid DS Nitris is unable to capture the material on the first attempt, it will
try again. If it fails again, Avid DS Nitris will attempt the capture a third time
with an additional preroll of five seconds. If the capture fails again, the error
is displayed in the Capture Error Log, with the possible cause of the problem.
If you encounter problems recapturing material from tape, you should
deactivate the viewer using the Viewer button in the status bar and try
capturing again. When recapturing full resolution HD material at 29.97 and
30 frames per second, the viewer is automatically deactivated.
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If the tape is not in the VTR, the Insert Tape dialog box opens.
For information about options in the Insert Tape dialog box, click the
Help button.
a.
490
Insert the specified tape. Click the Skip Tape button to bypass
capturing all the clips with this tape’s source name.
Batch Capturing
b.
(Optional) Change the external device by selecting a deck preset from
the device list.
To create a deck preset, see “Configuring the External Device” on
page 440.
c.
Use the transport controls in the dialog box to cue the tape, if
necessary. For example, in the case of repeated timecode, cue the tape
so that the recapture starts at the correct position.
d. Click OK.
The capture begins.
If you selected the Time Delay option, the Start Capture At dialog box
opens. Enter the date and time at which you want the capture to begin
and click OK. The progress bar appears with the current date and
time, as well as the capture start date and time you specified.
9. If any problems are detected during recapture, the Capture Error Log
dialog box is displayed.
The Capture Error Log dialog box lists all the clips, including tape source
name, in, and out-points, that could not be recaptured. It also gives you a
brief description of the type of error that occurred.
10. To save this log as an .html file, click the Save As button.
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11. In the Save As dialog box, navigate to an appropriate folder, enter a name
for the log, and click the Save button.
The log is saved as an .html file and can be viewed in any Web browser.
Capturing Clips from the Timeline
When you log clips from a tape or file, or conform using an ALE file, AAF
file, OMF file, ALE file, or EDL, master clips without media are created in a
bin, in the timeline, or in both. You can edit these clips into the timeline, and
edit their in and out-points before capturing the media.You can also capture
media from clips on the timeline when the clips have media and you want to
use a different audio or video quality.
When you capture clips from the timeline, the new clips retain the audio and
video tracks used in the original clip.
n
When you capture from the timeline, all the frames in a clip are recaptured
unless otherwise specified.
Avid DS Nitris stops the deck, rewinds and then prerolls before capturing
material. If, however, it detects two or more clips on the same tape and they
are separated by less than 5 seconds, it will skip the preroll and capture both
pieces of media in one pass. This feature, known as streaming capture, can
reduce the time to recapture media especially if your clips are lined up one
right after the other on a single tape.To recapture clips from the timeline:
1. (Optional) To view a list of clips to be captured, you need to set a user
preference—see “Creating a Batch Capture List” on page 494.
2. From the NLE Tools toolbar, click Media IO > Deck Configuration.
Check the settings and activate the deck preset for the connected
deck—see “Configuring the External Device” on page 440.
3. Click Media IO > Capture Settings and specify the video quality and
audio quality settings—see “Specifying the Capture Quality” on
page 449.
4. (Optional) To delete media associated with the sequence, select Data
Management > Purge Media—see “Purging Media” in the Help.
5. If you do not want to recapture the entire sequence, select the tracks, clips,
or time span that you want to recapture.
6. From the NLE Tools toolbar, click the Media IO button and select one of
the following:
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Batch Capturing
-
Recapture Entire Timeline with Options to open a dialog box that
lets you change the heads and tails of the clip (handles) and set other
options.
-
Recapture Entire Timeline to begin the recapture process, using the
settings specified in the Recapture Entire Timeline with Options
dialog box.
-
Recapture Selection with Options to open a dialog box that lets you
set options.
-
Recapture Selection to begin the recapture process, using the
settings specified in the Recapture Selection with Options dialog box.
7. If your selection lets you set options, Timeline Recapture Options dialog
box opens.
a.
n
You can only add heads and tails to the clip on the timeline up to the length of
the original master clip. You cannot extend the clip beyond what was
originally captured.
b.
n
To record additional material before the in-point and after the outpoint, enter the appropriate number of frames in the Heads and Tails
text boxes.
To capture only the active frames of clips on the timeline, select the
Recapture Only Active Material option.
When you select this option, clips with time effects (Timewarp, Interlace,
Deinterlace, 3:2 Expand, or 3:2 Contract) are recaptured in their entirety
regardless of the active areas. For all other types of container clips, only the
active portions of the container clips are recaptured.
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c.
If you want the capture to begin immediately, leave the Time Delay
option deselected. If you want to capture certain files at a specific
time in the future, select the Time Delay option.
For more information about options in the Explorer Recapture
Options dialog box, click the Help button.
d. Click the Recapture button.
8. If you selected the Display Capture List option, the Batch Capture list is
displayed. If you are satisfied with the list, click OK.
If you’re capturing from a tape that is currently in the VTR, then capture
starts automatically. As the clips are captured, the progress bar updates.
n
n
If Avid DS Nitris is unable to capture the material on the first attempt, it tries
again. If it fails again, Avid DS Nitris will attempt the capture a third time with
an additional preroll of five seconds. If the capture fails again, the error is
displayed in the Capture Error Log, with the possible cause of the problem.
If you encounter problems recapturing material from tape, you should
deactivate the viewer using the Viewer button in the status bar and try
capturing again. When recapturing full resolution HD material at 29.97 and
30 frames per second, the viewer is automatically deactivated.
9. If the tape is not in the VTR, the Insert Tape dialog box opens.
a.
Insert the specified tape. Click the Skip Tape button to bypass
capturing all the clips with this tape’s source name.
b.
(Optional) Change the external device by selecting a deck preset from
the device list. To create a deck preset, see “Configuring the External
Device” on page 440.
c.
Use the transport controls in the dialog box to cue the tape, if
necessary. For example, in the case of repeated timecode, cue the tape
so that the recapture starts at the correct position.
d. Click OK.
The capture begins.
If you selected the Time Delay option, the Start Capture At dialog box
opens. Enter the date and time at which you want the capture to begin
and click OK. The progress bar appears with the current date and
time, as well as the capture start date and time you specified.
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Batch Capturing
For information about options in the Insert Tape dialog box, click the
Help button.
10. If any problems are detected during recapture, the Capture Error Log is
displayed.
The Capture Error Log dialog box lists all the clips, including tape source
name, in, and out-points, that could not be recaptured. It also gives you a
brief description of the type of error that occurred.
a.
To save this log as an .html file, click the Save As button.
b.
In the Save As dialog box, navigate to an appropriate folder, enter a
name for the log, and click the Save button.
The log is saved as an .html file and can be viewed in any Web browser.
Creating a Batch Capture List
When you have many clips to recapture, you might want to generate a list to
review what you’re recapturing. The capture list in Avid DS Nitris not only
lets you review what you’re capturing, but also lets you prioritize items, as
well as remove items from the list.
To create a batch capture list:
1. Select File > User Preferences.
2. Select the Capture tab.
3. Select Display recapture list.
4. Follow the recapture process described in “Capturing Clips from the Avid
Explorer” on page 487 or “Capturing Clips from the Timeline” on
page 490. Before the recapture process begins, the Capture List dialog
box opens.
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Clips with check
marks beside
them are part of
the list and will be
recaptured
5. Double-click an entry in the list to remove it from the list of clips to be
recaptured. Double-click it again to add it back to the list.
6. Use the Move Up and Move Down buttons to prioritize the capture list.
Clips at the top of the list are captured first.
7. Click the Source Name or Clips column heading to sort the list according
to the source name or the clip name.
8. Click OK to begin capturing.
If you are capturing from a tape that is currently in the VTR, then capture
starts automatically. As the clips are captured, the progress bar updates.
If the tape is not in the VTR, the Insert Tape dialog box opens. For more
information, see “Capturing Clips from the Avid Explorer” on page 487 or
“Capturing Clips from the Timeline” on page 490.
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Batch Capturing
Batch Capturing Without Interaction
You can set your user preferences so that a batch capture proceeds without
your needing to interact with the application for each tape.
To perform a batch capture without interacting with the application:
1. Select File > User Preferences and select the Capture tab.
2. Select the following options:
-
Eject the tape after digitize
-
No interaction when inserting new tape
-
Display recapture list.
3. Click OK.
4. When you are ready to start the batch capture, follow the recapture
process described in “Capturing Clips from the Avid Explorer” on
page 487 or “Capturing Clips from the Timeline” on page 490. Before the
recapture process begins, the Capture List dialog box opens.
5. Note the order of the recapture, and arrange the physical tapes in the same
order.
6. Click OK to begin recapturing.
The Insert Tape dialog box opens and asks for the first tape.
7. Insert the first tape in the capture list.
When all clips have been recaptured from the tape, the deck ejects it.
8. Insert the next tape.
c
Avid DS Nitris cannot distinguish between tapes so make sure you insert
them in the same order that is used in the capture list.
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Chapter 1 Capturing Material
Using Scripts to Capture Media
Avid DS Nitris lets you create scripts to automate the capture process. Instead
of defining the capture properties each time you capture media, you can do it
once, create a script based on what you did, and then run that script the next
time you capture. Creating a script can be as simple as copying the contents of
the History pane to the Editing pane of the Script Editor and then saving it.
n
You can use scripts to capture media from file only.
A script is a set of commands that can be executed in sequence as if they were
a single command. Simple scripts are a set of native Avid DS Nitris
commands. More advanced scripts use a third-party scripting language as the
glue that holds the commands together. With a scripting language, your scripts
can use variables, constants, conditional statements, loops, and procedures.
You can change the default scripting language in the User Preferences dialog
box (Scripting/Logging property page). For more information, see “Choosing
a Scripting Language” in the Help.
n
Tip: When using a script to capture media, make sure that the Start Capture
command appears only once at the end of your script. If your script contains
more than one Start Capture command, it will not work.
Creating a Script for Capturing Media
To create a script for capturing media:
1. Select View > Single-Instance Views > Script Editor.
The Script Editor view opens.
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Using Scripts to Capture Media
Menu bar
History pane
Editing pane
2. Select View > Multi-Instance Views > Capture Settings.
3. Configure the video and audio input.
Each command that you set is logged in the History pane of the
Script Editor.
4. In the Avid Explorer, select a file, right-click, and select Capture, Log,
or Link.
5. Once the capture is complete, select the contents of the History pane in the
Script Editor.
6. From the menu bar, click Copy or press Ctrl+C.
7. Click in the Editing pane and then click Paste or press Ctrl+V.
The contents of the History pane are displayed in the Editing pane.
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Chapter 1 Capturing Material
Copy contents from
History pane to Editing
pane to create a script.
8. Click the Save button.
The Save As dialog box opens.
9. Type a name for your script in the File name text box and click the Save
button.
By default, all scripts are saved in the DSScripts folder.
Running a Script for Capturing Media
To run a script for capturing media:
1. From the Script Editor, select File > Open.
The Open dialog box opens.
2. Browse through the folders to locate the script you want to run. Select the
file and click the Open button.
The contents of the script appear in the Editing pane of the Script Editor.
3. If you want to make changes to the script, you can modify the contents of
the script by cutting, copying, or typing directly into the Editing pane.
4. Click the Run button.
The script runs through each line and performs the associated commands.
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Using Scripts to Capture Media
c
Once a script is running, the only way to terminate it is to exit
Avid DS Nitris. Never test your script by running it on valuable
unsaved data.
To create a toolbar button for a script file:
1. Create a media input script and save it in the \DSScripts folder.
2. In the Avid Explorer, open the \DSScripts folder.
3. Select the script file you created, hold down the Ctrl key, and drag the file
to a toolbar.
The Add Script Command dialog box opens.
n
You can also create a toolbar button from one or more lines in the History or
Editing pane of the Script Editor. Select the contents of the script and then
drag them onto a toolbar. A toolbar button is created with the name
Scriptnumber.
4. In the Command Name text box, enter a name for the toolbar button.
By default, the Command Name is the name of the saved script file.
5. Specify a Command Name for Scripting. This is the name that is logged to
the command history when you click the toolbar button. You can also use
this name to invoke this script from within another script. The command
name for scripting cannot use spaces or punctuation.
6. If necessary, select the scripting language from the Language list. The list
contains the supported languages that are installed on your computer.
If you dragged lines from the Script Editor onto the toolbar, then the
default language is the one specified in your preferences—see
“Scripting/Logging Property Page” in the Help.
If you dragged a saved file, the default language is based on the file
name extension:
Scripting language
File extension
JScript
.js
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Chapter 1 Capturing Material
Scripting language
File extension
PerlScript
.pls
Python Active X Scripting Engine
.pys
VB Script Language
.vbs
7. Do one of the following:
t
If your script does not contain any procedures, there is nothing more
to do. Click OK to close the Add Script Command dialog box and
add the button to your toolbar.
t
If your script does contain procedures, continue with the following:
8. Click the Parse Script button.
The script is parsed and the procedures and arguments are “found”.
c
Parsing a script may execute global code, that is, any code that is not
within a defined procedure. In such cases, it will also run procedures that
are called from global code.
9. If your script contains procedures, you can specify which one to execute
when the button is clicked. Select a procedure from the Script Procedure
box. If you do not specify a procedure, only global code will be executed,
as well as any procedures that are called from global code.
c
Even when a procedure is specified, global code may be executed before
the procedure is called. This is a side-effect of parsing the script with
some scripting engines. To be certain that your script behaves predictably
in all situations, do not mix global code and procedures.
10. If the selected procedure contains arguments, they are listed under
Parameters. For each argument, specify the value to use when the script is
run by doing one of the following:
t
Enter a value in the corresponding Value box. This value will be used
whenever you click the button to run the script.
t
Click twice in the Value box, and select Prompt On Run from the list.
With this option, when you click the button to run the script, a dialog
box prompts you to enter a value.
11. Click OK.
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Using Scripts to Capture Media
The Add Script Command dialog box closes and the new button is added
to the toolbar.
n
If you want to go back and edit the script, right-click on the toolbar button and
select Edit Script. A dialog box opens and you are prompted to save your
script. Click No. The contents of your script are displayed in the Editing pane
of the Script Editor and are ready for editing.
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Chapter 1 Capturing Material
Managing Tapes
The Tape Library view lets you add tapes to a project and manage the tapes
associated with a project.
To access the Tape Library view:
t
In an Avid Explorer panel, open the Views folder and click Tape Library.
Bin toolbar
Tapes list
Bin tools
Clips and
sequences list
Bin tools
To view the clips and sequences associated with a tape:
t
Select one or more tapes.
The Tape Library view consists of two sections. The top section lists the tapes
in your project, and the bottom section lists the master clips and sequences that
are associated with one or more selected tapes.
If you import clips or sequences from another project, the associated tape is
added to the Tape Library. The name of the original project appears in
parentheses.
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Managing Tapes
You can perform the following tasks in the Tape Library:
•
Use Bin tools to change how tapes or clips and sequences are displayed.
•
Double-click a clip or sequence to display it in the Source viewer.
•
Right-click on a tape, clip, or sequence to perform tasks such as renaming,
purging, and deleting.
Adding a New Tape
You can use the Tape Library view to add a new tape.
To add a new tape:
1. Do one of the following:
t
t
In the bin tools section of the Tapes list, click the Fast Menu button
and select Add New Tape.
In the bin toolbar, click the New button.
The Add New Tape dialog box opens.
n
You can also add a new tape by clicking the New Tape button in the Capture
Tool.
2. Enter a name for the tape.
A tape name must be less than 64 characters and cannot contain the
following characters: / \ : ; * ? “ < > | . ^ #
3. (Optional) Enter a comment.
To display a comment, select the Details or Script view.
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Chapter 1 Capturing Material
4. If the tape from which you are capturing material contains timecode that
appears more than once, select the Manual Reel option.
This option deactivates the streaming capture functionality, and allows
you to manually cue the tape to the appropriate timecode. You can use this
option for any type of problem that requires user interaction, such as short
timecode breaks or other problem sections in a tape. You can also select or
deselect this option by right-clicking a tape icon.
c
If you have flagged a tape with the Manual Reel option during capture,
don’t deactivate it during recapture because it may cause recapture
errors.
5. Click OK.
The new tape appears in the top section of the Tape Library view.
Renaming a Tape and Changing the Comment
After adding a tape to a project, you can rename it or change the comment.
n
If you rename a tape that is shared between projects, the name is changed only
in the current project.
To rename a tape:
1. Right-click a tape and select Rename.
The Set Tape Name dialog box opens.
2. Enter a new name.
A tape name must be less than 64 characters and cannot contain the
following characters: / \ : ; * ? “ < > | . ^ #
3. Click OK.
To change a comment:
1. Right-click the tape and select Change Comment.
The Set Tape Comment dialog box opens.
2. Enter a new comment.
3. Click OK.
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Managing Tapes
Purging Media from Tape
You can purge media associated with a selected tape or tapes. Purging media
retains the master clips and sequences, so that you can later recapture the
media.
To purge media from tape:
t
Select a tape or tapes, right-click, and select Purge.
Recapturing from Tape
If you have purged media for a tape, you can use the Tape Library view to
recapture all master clips associated with the tape.
To recapture all master clips associated with a tape:
t
Select a tape or tapes, right-click, and select Recapture.
You can also recapture master clips from the Clips and Sequences List section
of the Tape Library view. You cannot recapture sequences by selecting a tape.
You must recapture from the bottom section of the Tape Library view, from a
bin, or from the timeline. For more information, see “Batch Capturing” on
page 486.
Deleting a Tape
You can delete one or more tapes from the Tape Library view.
c
Deleting a tape will delete all media, master clips, and sequences
associated with that tape.
Master clips and sequences shared with other projects are preserved, but their
media is deleted.
To delete a tape and its associated media, clips, and sequences:
1. Select one or more tapes, right-click, and select Delete.
A dialog box displays the media, clips, and sequences to be deleted and
asks for conformation.
2. Click OK.
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Chapter 1 Capturing Material
Using Tapeless Archive for Film Transfer
Film-originated television shows use the telecine transfer process as part of the
production workflow. The Tapeless Archive feature uses Avid DS Nitris
archiving technology to make the telecine transfer process faster and more
cost-efficient. Current methods of creating the final, best-light transfer use
either negative cutting or film-to-tape, tape-to-tape transfer, both of which are
time-consuming and expensive.A workflow that uses Tapeless Archive relies
on a log file for creating a new best-light transfer tape. Because this log file (a
“pseudo-archive”) is created in the same way as a Avid DS Nitris archive, it
allows for handles, duplicated use of shots, and efficiently combines
neighboring shots into single events. A telecine operator then uses the log (a
tab delimited text file) to create a final transfer tape. This tape is almost
identical to the over-length neg cut roll that would have resulted from the
traditional method. The resulting cost-savings is significant, especially for
high-definition footage.
The final conform process on the Avid DS Nitris system is faster and more
efficient because it can use streaming capture from a single tape, cutting HD
VTR costs. In addition, the Avid DS Nitris editor does not need to modify the
timecodes of the clips or edit the sequence for pulldown, as would be the case
with the traditional methods.
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Using Tapeless Archive for Film Transfer
The following illustration shows two parts of a Tapeless Archive workflow.
This workflow is described in the subsequent procedures.
Part 1: Creating the tapeless archive
Film sources
One-light transfer
to multiple tapes
A
A
B
B
Offline
Media
Composer
AFE file
C
C
Avid DS
Nitris
archivetape. log
Part 2: Finishing the project
Best-light
transfer to a
single tape
Film sources
A
archivetape. log
B
Avid DS
Nitris
A1
C
CUT
FInal cut
To enable the Tapeless Archive feature:
1. Right-click on a toolbar, such as the NLE Tools toolbar.
2. Select Customize Toolbar.
The Customize Toolbar window is displayed.
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Chapter 1 Capturing Material
3. Select Editing from the Command Categories list, select Tapeless Archive
from the Available Commands list, and drag it to an empty area of the
toolbar.
A button labeled Tapeless Archive is added to the toolbar.
Alternatively, you can add the command to an existing button, such as the
Editing button.
To use the Tapeless Archive for film transfer:
1. Transfer the film rushes onto beta SP tapes synced with audio as a lowcost, one-light transfer. Each rushes roll corresponds to a punched
negative roll.
2. On an offline system, capture from the transfer tapes, edit the sequence,
and export an AFE file. You can also output a digital cut to use for
reference.
3. On the Avid DS Nitris system, import the AFE file. Batch capture the
video and audio with the desired handles. Capture the digital cut for
reference.
4. Edit the sequence. Do not finish all effects, because you will be
recapturing the final media.
Select the Tapeless Archive command. The Source Tape List dialog box
appears.
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Using Tapeless Archive for Film Transfer
5. Select the tapes you want to include, add heads or tails, and select the inpoint to start the archive (in most cases 00:00:00:00).
The archive list allows for duplicated use of shots and combines
neighboring shots into single events, resulting an a list that minimizes the
required footage.
6. Click OK.
Avid DS Nitris creates the archive files.
7. Locate the archivetape.log file in the archive folder and send it to the
telecine suite. Use a floppy drive or other removable media or the network
to transfer the file.
8. The telecine operator opens the archivetape.log file in a spreadsheet
program and uses the log to create a best-light transfer, in most cases to a
single tape.
9. Restore the archived project, using the tape provided by the telecine
operator—see “Restoring Projects” in the Help.
10. Complete the effects and titling to finish the show. Drag the clip handles
to get more material if necessary.
11. Create the final master tape.
If, during finishing, you need to retransfer a particular clip (perhaps to get
longer handles), you can determine the original film and tape roll numbers and
timecode by right-clicking the clip and selecting Properties. Then have a
telecine transfer done on this clip, and recapture the clip.
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512
Chapter 2
Outputting Media
This chapter describes how to output your edited material to tape or file. It
includes the following topics:
•
Workflow: Outputting Media
•
Preparing for Output
•
Outputting Material
.
Chapter 2 Outputting Media
Workflow: Outputting Media
After you have constructed your sequence and processed any non-real-time
effects, you can output it to tape, file, EDL or OMF file (audio only). The
following illustration shows the steps for outputting your media.
1
Select the area to output.
Select the entire sequence.
2
or
Select a specific region.
Select the output destination, output tracks, and other output parameters.
If you’re outputting to tape, select the external device for recording.
3
Output media.
Output the sequence to tape.
or
Export it as a media or reference file.
or
Export it as an EDL or OMF file (audio only).
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Preparing for Output
Preparing for Output
Before you output your sequence, you need to process some effects and select
the area to output. If you are outputting to tape, you need to specify other
output settings as well.
When outputting media, Avid DS Nitris uses the video and audio quality
settings that you specified in your sequence preferences. However, if you
change these settings after capturing and processing media, you must
recapture and reprocess the media before outputting. For more information,
see “Working with Media of Different Qualities” in the Help.
n
If you are working in a sequence created in a custom format, you cannot
capture from tape or output to tape. Avid DS Nitris hardware does not support
custom formats.
Processing Effects
Before you output your sequence, make sure you process non-real-time effects
and software real-time effects. This processing ensures that you get fluid
output. For more information, see “Outputting Real-time Effects” in the Help.
n
During output to tape, the play button becomes red if any frames are skipped.
The output stops and a message box appears, stating the possible cause of the
problem.
If this problem continues to occur, try decreasing the throughput on the system
by creating audio container clips for your audio material. For more
information, see “Creating an Audio Container Clip” in the Help.
Selecting an Area to Output
You don’t have to output your entire sequence at once.You can select a specific
region, or only the contents of a container clip.
You can also choose to output only video or audio tracks, or a combination of
both.
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Chapter 2 Outputting Media
To select the output area:
1. Do one of the following:
t
From the NLE Tools toolbar, click Media IO > Output Tool.
t
Select View > Single-Instance Views > Output Tool.
The Output Tool opens.
2. In the Source box, select one of the following options:
-
Entire Sequence to output the entire timeline.
If you’re on the top timeline, the entire sequence is output. If you’re
within a container clip, only the clips on the container timeline are
output.
-
Sequence In/Out to output a section of the sequence marked by an
in-point and an out-point in the timeline.
The timecodes of the in-point and out-point are displayed in the In
and Out text boxes.
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Preparing for Output
3. If you want to record to tape using the timecodes specified in the timeline
(including in-point and out-points), click the To Tape button and select
the Use Timeline Timecodes for Edits option.
For example, if the first clip in your sequence begins at 01:00:30:00, and
you want to begin recording at 01:00:30:00 on a tape, select Entire
Sequence and Use Timeline Timecodes for Edits. If you want to
perform an insert edit for a specific region of a sequence, mark the inpoint and out-point, select Sequence In/Out, and select Use Timeline
Timecodes for Edits.
Monitoring Audio Output
You can use the Audio Output Monitor to display level meters that give you a
visual indication of the audio levels during playback and output.
The number of level meters in the Audio Output Monitor reflects the number
of output channels specified by your Avid DS Nitris mixer configuration. For
more iniformation, see “Understanding the Mixer” in the Help.
You can adjust how the meters are displayed through the User Preferences
dialog box. For more information, click the Help button in the User
Preferences dialog box.
To access the Audio Output Monitor:
t
Select View > Single-Instance Views > Audio Output Monitor.
Configuring the External Device for Output
If you are outputting to tape, make sure that you have configured the external
device.
It is especially important to check the Edit Mode selection. You can select one
of the following:
•
Auto: Select this option to record the sequence onto a prestriped tape (a
tape with prerecorded control track and timecode) This option lets you
add material to existing material on the tape. It also deactivates all
channels during capture to prevent any interruption of signal between the
deck and your system. The recording begins at the timecode that is set in
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Chapter 2 Outputting Media
the I field of the Output Tool. If you want to insert material at a particular
timecode on the tape (known as an insert edit), make sure the in-point of
the sequence matches the in-point that you set in the Output tool.
•
Assemble: Select this option to record the material onto a new tape
(without control track or timecode) or completely record over all tracks of
an existing tape. A blank tape must have enough stripe at the beginning to
allow for preroll. The selected sequence is recorded from the in-point of
the tape, which you must set in the Output Tool. If the Output Tool is set
for Assemble mode, the Edit mode indicator flashes red to bring your
attention to the selection.
Edit mode indicator
n
Due to the nature of assemble mode editing, a small portion of the tape is
erased beyond the end of your sequence, creating a series of garbage frames.
To work around this inherent limitation, you can set an in-point at the
beginning of your sequence, an out-point ten frames after the end of your
sequence, and then output from in to out. This records a series of black frames
between the end of your sequence and the garbage frames.
To configure and select an external device:
1. Connect the external device to your Avid DS Nitris system.
2. Do one of the following:
t
From the NLE Tools toolbar, click Media IO > Deck Configuration.
t
In an Avid Explorer panel, open the Views folder and click Deck
Configuration.
The Deck Configuration view opens.
n
You can also select the output device and set the Edit Mode in the Output Tool.
3. In the top section of the view, select the preset you want to use.
To configure and create a preset, see “Configuring the External Device”
on page 440.
4. Check the Edit Mode and Edit Field settings.
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Preparing for Output
5. If you made any changes, right-click the preset and select Save.
6. Right-click the preset and select Activate.
For more information, click the Help button.
Calibrating Video Output
For systems with an Avid Nitris DNA, the Output Tool lets you calibrate
output parameters for analog HD, component, composite, or S-Video signals.
For Serial Digital, you can adjust only the H Phase and Subpixel H Phase.
To adjust video output parameters:
1. Connect a waveform monitor, vectorscope, or other equipment for
calibrating output parameters, depending on your production
environment.
2. In the Output Tool, click the Video Output button.
3. Select the output signal from the Output list.
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Chapter 2 Outputting Media
4. For Analog HD, select the color space: YUV (video) or RGB (graphics).
5. Using color bars or a test pattern and calibration equipment, adjust video
parameters by dragging the slider or by clicking the minus (-) or plus (+)
button.
6. Click the Save Parameters button to save your settings.
You can save one set of parameters for each type of video output.
7. Click the Factory Settings button to restore the default settings for all
video outputs.
n
For more information about video parameters, click the Help button.
Specifying Downconvert Formats
On an Avid Nitris DNA workstation, the Output Tool lets you downconvert a
film or high-definition (HD) sequence into one of several standard-definition
(SD) or high-definition formats, depending on the original format of your
sequence. For example, if you are working with a 1080PsF 23.97 sequence,
you can output the sequence as NTSC Letterbox, NTSC Center crop, or NTSC
Anamorphic. In some cases, you can also convert to a different HD format.
n
If you select a downconvert format, you can output HD playback and SD
downconvert simultaneously through the Avid Nitris DNA. As a result, you can
monitor SD output or create an SD master at the same time you are outputting
an HD master. However, the sequence timecode is not recorded with the
downconverted output.
To specify downconverted formats:
1. In the Output Tool, click the Downconvert button.
2. Select the required output formats.
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Preparing for Output
For HD Output, Native represents the current video format.
The options that are available depend on the current video format. For a
list of the available formats, see “Downconverted Output Formats and
Sync Sources” in the Help.
n
You can also specify the Downconvert format in the Sequence Preferences
dialog box.
Specifying the Sync Source
For systems with an Avid Nitris DNA, the Output Tool lets you select the sync
source for reference timing: either tri-level sync or black burst sync (NTSC or
PAL).
HD formats whose frame rate aligns with 29.97 fps (NTSC) or 25 fps (PAL)
can use either tri-level sync or black burst sync. If you are outputting one of
these HD formats (such as 1080PsF 29.97 or 1080PsF 25), you can use either
tri-level or black burst as the sync source.
For a list of sync options for each format, see “Downconverted Output
Formats and Sync Sources” in the Help.
To specify the sync source:
1. In the Output Tool, click the Sync Source button.
-
For HD sequences, the Expected Sync Source field displays the
format of the sequence or its interlaced equivalent.
-
For SD sequences, the field displays NTSC or PAL Black Burst.
2. Select the sync source that is compatible with the sequence: Tri-Level,
Black Burst, or Any.
n
You can also set the sync source in the Capture Tool.
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Chapter 2 Outputting Media
You can use the Sync light to check the status of the sync source. For
information, see “Checking the Sync Source” in the Help.
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Outputting Material
Outputting Material
When you output a sequence from Avid DS Nitris, you’re taking all the
information contained in a sequence file, such as timecode information, source
media, and generated caches, and copying it to an external device or file.
Outputting to Tape
When you output to tape, the image size always matches the resolution set in
your Sequence Preferences.
To output to tape:
1. Do one of the following:
t
From the NLE Tools toolbar, click Media IO > Output Tool.
t
Select View > Single-Instance Views > Output Tool.
The Output Tool opens.
For information about options in the Output Tool, click the Help button.
2. Configure the external device and perform other tasks, such as selecting
the area to output—see “Preparing for Output” on page 515.
3. Click the To Tape button.
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Chapter 2 Outputting Media
4. Select the output device.
The currently active external device appears in the Device list. You can
select a another device preset from the list.
5. Click the Check button.
If the link between the external device and your system is operating
properly, nothing occurs. If there is a problem, a message box appears,
stating the possible cause of the problem.
You can also verify that the external device is operating within normal
parameters by checking the five items in the External Device Status area,
located beneath the transport controls. A green or red light beside each
item displays its status. Items that are grayed out are inactive.
6. Select the Edit Mode, either Auto (Insert) or Assemble.
This setting temporarily overrides the setting in the deck template but
does not change it. For more information about Edit Mode, see
“Configuring the External Device for Output” on page 517.
7. (Optional) Set a custom preroll for the deck.
Timeline/Deck
button
This setting also temporarily overrides the setting in the deck template but
does not change it.
8. Make sure the Timeline/Deck button is set to Deck.
9. Click the track buttons (V, A1, A2, and so on) for the video and audio tracks
you want to output.
10. (Optional) If you are recording LTC (longitudinal timecode) through the
LTC Out (XLR) connector on the Avid Nitris DNA, select the desired
LTC frame rate.
-
For 29.97 (NTSC) sequences, you can select 29.97 (non-drop-frame)
or 29.97 DF (drop-frame).
-
For 23.97 HD sequences, you can select 23.97, 29.97
(non-drop-frame), or 29.97 DF (drop-frame). If you want to output
NTSC timecode, make sure to select an SD Downconvert format (see
“Specifying Downconvert Formats” on page 521) so that the
converted timecode is displayed in the LTC menu.
11. If you are experiencing any frame delays in audio when you output your
sequence to tape, enter the number of frames in the Audio Propagation
Delay text box.
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Outputting Material
12. If you have not selected the Use Timeline Timecodes for Edits option
(see “Selecting an Area to Output” on page 515), specify the position on
the tape where you want the program to start recording. Use the transport
controls to locate the position or type a timecode in the I (In) field.
n
If you’re insert editing your material, make sure that your tape is properly
striped with timecode before attempting to output your material.
13. (Optional) Click the Preview button to view your sequence before
outputting to tape.
14. Click the Insert/Assemble button. The label on the button depends on the
Edit mode you selected.
The selected media in your sequence is output to tape.
Outputting to File
There are several options that you need to consider when outputting to
file.These options include:
n
n
•
File type: You can output your media as a sequence or as single frames.
Avid DS Nitris supports a wide range of video and audio file
formats—see “Output File Formats” in the Help.
•
Frame size: Output resolution is independent of the sequence frame size
or working resolution. By default, output resolution is set to the sequence
frame size, but you can select a different output frame size.
•
Compression: When outputting to the .avi, .wmv, or .mov file formats,
and some image formats, you can choose a compression codec
(compressor/decompressor) directly from within Avid DS Nitris. Every
codec installed on your workstation is available during output.
You cannot export a file at a frame rate different from that of the current
sequence. If you want to convert the frame rate of your file, you need to use an
external media conversion tool or encoding software.
AVI files have a size limit of 2 gigabytes. If you need to export a large sequence
as an AVI file, consider dividing the sequence or using a reference movie (see
“Exporting AVI or QuickTime Reference Movies” on page 536).Windows
Media files and QuickTime files do not have a size limit.
525
Chapter 2 Outputting Media
•
n
Audio: Avid DS Nitris can export both 16-bit and 24-bit audio. The
exported bit rate is determined by the sequence preference. If you are
exporting a 24-bit sequence through a codec that supports only 16-bit
audio, Avid DS Nitris converts the audio to 16-bit during the export. If
you have a problem playing audio in the output file, try changing the
audio to 16-bit in the Sequence Preferences.
Audio is not exported when the selected export format is an image format.
Similarly, video is not exported when the selected export format is an audio
format.
When you output to file, Avid DS Nitris uses all tracks in a sequence.
The Outsource effect lets you output an area of the timeline in the file format of
your choice, while keeping a link to the exported files—see “Outsource
Effect”in the Help.To output to file:
1. Process non-real-time effects and software real-time effects—see
“Processing Effects” on page 515.
2. Select the area you want to output—see “Selecting an Area to Output” on
page 515.
3. Select View > Single-Instance View > Output Tool.
The Output Tool opens.
4. Click the To File button.
526
Outputting Material
For information about options in the Output Tool, click the Help button.
5. From the File Type list, select a file type.
For some image file types, a dialog box opens and provides format
options. Options depend on the file type; for example, TIFF provides
options for bit depth and compression. Choose your settings and click
OK. The settings you selected are displayed in the Codec field. For a list
of supported formats, see “Output File Formats” in the Help.
6. If you choose a file type that supports compression, a dialog box opens.
Choose a compression codec, modify the settings to meet the quality you
require, and click OK.
7. Select one of the following options to determine the resolution (frame
size) of the output file:
527
Chapter 2 Outputting Media
-
Generic to pick a standard resolution from the list.
-
Custom to create a custom resolution. Create a custom resolution by
entering pixel values for the width and height in the appropriate text
boxes.
8. Select a Field Mode: Preserve, Invert, or Ignore.
If you are working with progressive or low-motion media in an interlaced
sequence, select Ignore to maximize the output quality. Otherwise select
Preserve to keep the field dominance, or Invert to change the field
dominance (from odd to even, or even to odd). The Preserve and Invert
options preserve field motion and prevent any field artifacts. This option is
automatically set to Ignore when you are working with a progressive
sequence. For more information, see “About Field Dominance” in the
Help.
9. Select the Output Levels.
This option specifies the how Avid DS Nitris interprets the pixel values
within a frame (Graphics or Video). Select Auto to export at the levels
used in the sequence. For more information, see “Preserving SuperWhite
and SuperBlack Values” on page 530.
10. Select the Preserve Alpha option to retain alpha channel information in
the output file.
This is useful if you plan to reuse the matte information in future
compositing or graphics projects. Not all file formats support alpha
channels, so check the list to make sure.
11. Select Use Advanced Settings to export a specific region of the frame.
For more information, see “Using Advanced Settings to Crop and Resize”
on page 531.
12. Click the Output button.
13. From the Export to File dialog box, select a folder in which to save your
material, enter a name for the file, and click Save.
The material is processed, if necessary, exported to file, and placed in the
selected folder.
For information, about exporting a seuqence in still image format, see
“Outputting a Series of Image Files” on page 534.
n
528
You can take a snapshot of the viewer and export it to file. For more
information, see “Creating an Image File from a Snapshot” in the Help.
Outputting Material
Preserving SuperWhite and SuperBlack Values
When outputting an image that has SuperWhite or SuperBlack information,
you must make sure that the file format to which you are outputting is able to
handle these “super” values. This will guarantee that the SuperBlack and
SuperWhite information is preserved if you choose to reimport the image to
Avid DS Nitris.
The following options in the Output Tool must be taken into account:
•
File Type
•
File Type (additional options). For some file types, you will be required to
enter additional options. For example, .tif, .tga, .jpg, and others
•
Output Level
For some image file
types, a dialog box
opens and provides
format options.
Set one of following to make sure that the file format supports the SuperWhite
and SuperBlack values:
•
Any file type can be used as long as the Output Level is set to Video.
529
Chapter 2 Outputting Media
•
Any YUV file type can be used regardless of the Output Level setting.
YUV files include .gen, .omf, .yuv, and .yuv16
•
Any file type with the Pixel Format set to Float, regardless of Output
Level setting.
For more information about SuperWhite and SuperBlack values, see “Media
Capture Settings” in the Help.
Using Advanced Settings to Crop and Resize
The Advanced Settings in the Output tool let you crop and scale the source
media and position it anywhere in the output file.These settings are based on a
grid that is determined by the dimensions of the source frame and the output
frame. For example, NTSC 720 x 486 video uses a grid with an X axis of 720
pixels (from pixel 0 to pixel 719) and a Y axis of 486 pixels (from pixel 0 to
pixel 485).
485
400
300
200
100
0,0
200
400
600
719
A PAL grid has an X axis of 720 (pixels 0–719) and a Y axis of 576 (pixels
0–575). Both NTSC and PAL SD use non-square pixels, which you need to
consider when outputting to file.
A 1080i HD grid has an X axis of 1920 (pixels 0–1919) and a Y axis of 1080
(pixels 0–1079). HD resolutions use square pixels.
530
Outputting Material
Note the following:
•
The Destination Region must be equal to or smaller than the output file.
•
If the Destination Region is smaller than the output file, black pixels are
used for padding.
•
The Source Region can be any size, including larger than the current
sequence frame.
•
If the Source Region is larger than the current sequence frame, black
pixels are assumed outside of the frame.
You can resize an image without using Advanced Settings. If the source
resolution and the output resolution (as set in the Output Resolution options)
are different, Avid DS Nitris automatically resizes the source media to the
dimensions of the output file.To set a customized region for export:
1. Set the Output Resolution (Generic or Custom).
This setting determines the dimensions of the output frame.
2. Select the Use Advanced Settings check box.
3. Set the source region by specifying the left-corner offset (X and Y
positions) and size (pixel dimensions).
These settings determine the region of the image to export.
4. Set the offset and size for the output region.
These settings determine where the region specified by the Source Region
settings should be positioned and resized in the output frame.
Example
For example, if you want to output a QuickTime movie for a DVD, you can
use this feature to resize SD source material (720 x 486 lines) to fit DVD
dimensions (720 x 480 lines).
531
Chapter 2 Outputting Media
1. Set a Custom Output Resolution of 720 x 480.
2. Set the source offset to X:0, Y:2 and the source size to 720 x 480.
The resulting source region is shown in the following illustration. Two
lines are cropped from the bottom, because you set the Y to 2 in the source
region, and four lines are cropped from the top, because you set the source
size to 480.
479
400
300
200
100
0,2
0,0
532
200
400
600
719
Outputting Material
n
These settings are preferable to cropping three lines from the bottom, because
they prevent the need for Avid DS Nitris to perform field interpolation to
preserve the field order.
3. Set the destination region to X=0, Y=0 and the destination size to
720 x 480.
After outputting the file, the destination region (720 x 480) completely fills the
dimensions of the output file (720 x 480).
479
400
300
200
100
0,0
200
400
600
719
Outputting a Series of Image Files
When you export a sequence to a still image format, such as .bmp or .tiff, each
frame is saved as a separate file.
For example, if you export your sequence to a file named “MyPicture.bmp”,
the output is saved as independent still image files. The files are numbered
sequentially: for example, MyPicture.001.bmp, MyPicture.002.bmp,
MyPicture.003.bmp, and so on.
533
Chapter 2 Outputting Media
To output a sequence to a specified series of image files:
t
Enter the following in the File Name text box:
prefix.[first..last;padding].extension
Property
Description
prefix
The shared part of the file name.
first
A number for the first file (frame) of the sequence. This
number must be a positive integer and smaller than last.
last
(Optional) A number for the last frame of the sequence. If
you do not include a number, Avid DS Nitris outputs all
the frames you have selected. This number must be a
positive integer and larger than first.
padding
The number of digits you want in the output file names.
Avid DS Nitris uses zeroes as placeholders. For example,
if you are exporting 1000 frames or more, your padding
should be 4 because 1000 has a total of four digits.
extension
(Optional) The file name extension.
For example, if you want to output a sequence to a series of image files
starting with the name Alpha.0100.pic to Alpha.1000.pic, enter the following:
Alpha.[100..1000;4].pic
If you are not sure of the total number of frames, enter the following:
Alpha.[100..;4].pic
534
Outputting Material
Exporting AVI or QuickTime Reference Movies
An AVI or QuickTime reference movie is a movie that contains only
composition information. These files do not contain media. Instead, they point
to the source media on your storage device. As a result, they are very quick to
output and are very small in size. When you play back the reference movie, the
movie references the source media files on your storage device. Any
application that can read AVI or QuickTime files can read a reference movie,
as long as the application can access the source media. Reference movies are
useful when you want to process them in third-party encoding applications.
Exporting a reference movie also lets you work around the 2-GB size limit of
AVI files.Note the following:
•
Compressed media: Reference movies do not support compressed
media. You can, however, output at lower resolutions, such as half or
quarter resolution, if they are available on your system (Avid DS Nitris
Editor only). You can output these files in either 4:3 or 16:9 format.
•
Windows Media: You can use AVI reference movies with the Microsoft
Windows Media® Player and Windows Media Encoder. Windows Media 9
requires DirectX, which is approved for installation.
•
QuickTime: You must have the QuickTime player installed on your
workstation in order to play back QuickTime reference movies. The
Avid DS QuickTime codec is installed automatically.
•
Moving a Reference Movie to Another Workstation: To move a
reference movie to another workstation:
-
Make sure that the media is located on a storage device that is shared
between the two workstations.
-
For QuickTime movies, copy the Avid DS codec siddsuds.qtx from
the C:\Windows\System32 folder of the Avid DS Nitris workstation
to the same folder of the other workstation.
-
For AVI movies, use the Avid DS AVI Reference Codec installer,
which is available from the Avid DS Support Center or on the Drivers
CD-ROM.
If you need to move a file to a workstation that does not have access to the
source media, then you need to export it as a standard AVI or QuickTime
file.
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Chapter 2 Outputting Media
Output Settings: Because reference movies point to the source media, the
output settings are the same as the current sequence settings.To export a
reference movie:
1. Process the entire sequence, including any real-time effects.
2. Select View > Single-Instance View > Output Tool.
3. In the Output Tool dialog box, click the To Ref Movie button.
4. Select QuickTime or AVI from the Reference Movie Type list.
5. For QuickTime movies, select or deselect the Include Scaling Matrix
option.
n
For information about the QuickTime scaling matrix, click the Help button.
6. Click the Output button.
7. From the Export to File dialog box, select a folder in which to save the
file, type in a name for the file, and click Save.
The reference movie is created and placed in the selected folder. Since the
reference movie points to the source media, the output settings will be the
same as the current sequence settings.
n
A reference movie becomes invalid if the media to which it points is modified.
Outputting a Sequence to Avid Media Composer
Avid DS Nitris allows you to generate an AAF and MXF file of your timeline
that can later be imported directly into Avid Media Composer.
536
Outputting Material
Before you begin, you must configure the storage areas where the MXF
media, as well as the generic Avid DS media, will be stored.
To configure your storage:
;
Step
†
Create folders for your MXF files. “Configuring Storages for MXF Files” (see the
Help).
†
Configure storage areas that point “Configuring the Media Indexing Service on your
to these MXF folders.
Workstation” in the Help.
Refer to
n
†
You must also have separate storage areas
configured for generic audio and video.
These storage areas are required for your
caches.
To output your timeline to Media Composer:
1. To export a sequence, you need to make sure that the entire timeline (from
top to bottom) is selected. This way, corresponding audio tracks, as well
as timeline and track effects, are also included.
Make the timespan selection on the timeline effect track. (This is the
topmost track on the timeline, named FX.)
2. From the NLE Tools toolbar, select Generate > Timeline to MC.
3. Select the appropriate options in the Timeline to Media Composer
Options dialog box.
For Track Types, select all the track types that you are using on the
timeline (i.e. Video, Background, Audio).
For detailed information on each of the fields, click the Help button.
4. Click OK.
During the export, Avid DS Nitris will process any necessary effects to
generate the MXF media. The MXF media will be saved in the MXF
media storage that you set up via the Media Storage Configuration tool.
Your AAF project file will be saved in the AAF Export directory location
that you specified in the above dialog box.
537
Chapter 2 Outputting Media
538
Conform
540
Chapter 1
Conforming & Finishing
Conforming is the process of bringing a project from an offline environment
into Avid DS Nitris, so you can recapture the media in its final resolution, and
continue with the editing and finishing process.
Finishing is the process of bringing in a project from an online environment
into Avid DS Nitris, with its media already in final resolution, and doing the
final finishing.
This section describes the conforming and finishing processes in
Avid DS Nitris.
n
In this information, the general term “Avid editing system” refers to Avid
applications other than Avid DS Nitris, such as Symphony™,
Media Composer®, Film Composer®, Avid Xpress®, and NewsCutter®.
Chapter 1 Conforming & Finishing
Beginning the Conform Process
Avid DS Nitris cannot directly open projects from other Avid editing systems.
To transfer bins, clips, or sequences to Avid DS Nitris, you must use an
intermediate file format. You can conform OMF, EDL, ALE, AFE, and AAF
files. For the highest level of support when conforming sequences with effects
and titles, use AFE (Avid File Exchange) files.
To begin your conform, follow these steps:
Follow these steps in the order that they are listed. Each time you link to a
topic within a Step, come back to the checklist after completing the procedure.
(Use the Previous View button in your Adobe Reader to return to the previous
link).
;
Step
†
On the Avid editing system, prepare your “Conforming Workflow”in the Media
sequence(s) for the conform process.
Composer Help.
†
Determine the best format to transfer your “Supported Conform Formats for
sequences and media from the offline
Avid DS Nitris”
editing system to Avid DS Nitris.
†
Once you have determined the format
“Conforming with AFE Files”
that you will use to transfer and conform
“Conforming with EDL Files”
your sequences, refer to the appropriate
“Conforming with OMF Files”
topic:
Refer to this section
“Conforming Audio”
†
Before you actually start conforming your “Before you begin your Conform”
sequences, read the notes relevant to
specific factors that could be part of your
project.
†
Determine how you will share the media
created on the Avid offline editing
system.
n
542
“Transferring or Sharing Media between
Avid Systems”
If you have used an AVX plug-in in the sequence you are conforming, you need
to make sure the same plug-in is installed on the Avid DS Nitris system. See
“Loading Plug-Ins”. The default path is drive:\Program
Files\Avid\AVX_Plug-ins.
Beginning the Conform Process
For information about support for Avid AVX plug-ins see the “AFE Effects
Support Table”. For information about third-party plug-ins, see the AVX web
page at www.avid.com/partners/avx.
Before you begin your Conform
Proper planning results in a more efficient workflow. Ideally you can plan the
project before the offline edit begins, but that’s not always possible. When
preparing your project or sequence for conform, you will also need to refer to
the appropriate sections to handle specific factors that could be part of your
project. For example, you may want to know how to handle still graphics such
as logos in your project.
•
Converting HD Formats
•
Notes on Conforming Graphics
•
Notes on Conforming Matte Keys and Alpha Channels
•
Notes on Conforming Titles
•
Notes on Conforming Effects
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Chapter 1 Conforming & Finishing
Supported Conform Formats for Avid DS Nitris
When transferring files between systems, note the distinctions between the
following:
Bin: A collection of the source material for a project—master clips, subclips,
effects, and sequences. (In Avid DS Nitris, the equivalent is the project folder.)
Sequence: The actual arrangement of audio and video clips on the timeline,
with information about edit decisions, and applied graphics and effects.
Media: The files containing the digital audio and video data needed to play
Avid clips and sequences.
The table below shows the different types of formats available for exchange
between systems.
Log (Bin) Formats
for Conform
Sequence Formats
for Conform
Video Media Formats
for Conform
ALE
AAF
MXF
AFE
AFE
OMFI
EDL
OMF
n
Avid DS Nitris creates media in GEN format (via capture or processing). This
media format cannot be shared with other Avid editing systems.
Subtopics
Log (Bin) Formats for Conform
Sequence Formats for Conform
Video Media Formats for Conform
Audio Media Formats for Conform
544
Supported Conform Formats for Avid DS Nitris
Log (Bin) Formats for Conform
Format
ALE
Description
Refer to
ALE (Avid Log Exchange) file is a
format specifically designed to hold
information about log files generated by
other Avid systems.
“Conforming ALE
Files”
ALE files only contain information about
the source material, so that you can
import a bin and its clips into a folder in
Avid DS Nitris. You can’t import
sequences, effects or other higher level
information.
Sequence Formats for Conform
Avid DS Nitris accomodates many different sequence formats as described in
the table below:
Sequence
Formats
AAF
Description
Refer to
AAF (Advanced Authoring Format) is an “Exporting AAF Files
industry standard, multimedia file format from Avid DS Nitris”
that allows interchange of media and
composition information between AAFcompliant applications.
545
Chapter 1 Conforming & Finishing
Sequence
Formats
Description
Refer to
AFE
AFE (Avid File Exchange) files are the
“Conforming with AFE
preferred method of conforming
Files”
sequences created on other Avid editing
systems as they offer the highest level of
conform capability. AFE files are based
on AAF (Advanced Authoring Format)
technology. AFE files, however, are
designed especially for sharing
information among Avid applications.
AFE files let you transfer one or more
bins, their contents, and information
about the contents, including master
clips, subclips, and sequences.
EDL
An EDL (edit decision list) is organized “Conforming EDLs”
into a series of chronological instructions
called events, that are used to create clips
or a sequence on the timeline.
Avid DS Nitris accommodates EDLs
from many different systems, as well as
CMX and GVG formats.
OMF
OMF (Open Media Framework) files can “Conforming OMF
contain both media and sequence
Compositions”
composition information. This format is
only recommended when exporting audio
sequences to Avid DS Nitris.
Video Media Formats for Conform
When transferring projects or sequences between editing systems, you can
also transfer their associated media, instead of recapturing the media again.
Avid DS Nitris can share compressed and uncompressed media with other
Avid editing systems. You can share media on Avid Unity™ shared storage or
by using removable SCSI drives.
546
Supported Conform Formats for Avid DS Nitris
Avid editing systems can share two media formats:
•
n
MXF: An industry-standard format that encapsulates media and
production metadata into a single file. Avid DS Nitris can link to existing
MXF files created on other Avid editing systems, and play them in realtime. Avid DS Nitris can also create or modify MXF files and share them
with other Avid editing systems. See “Sharing MXF Media”.
MXF media is conformed via an AFE file.
•
OMFI: Avid DS Nitris can link to OMFI files created on other Avid
editing systems, and play them in real-time. Avid DS Nitris cannot create
OMFI files, it can only read them.
Due to the file size limitation with OMFI media, we recommend using
OMF only for audio.
Avid DS Nitris does not support the following formats:
•
*Progressive resolutions
•
Multicamera resolutions
•
AVR resolutions
•
You cannot share caches or precomputes between Avid DS Nitris and
other Avid editing systems.
The following tables list how Avid DS Nitris supports the shared media
formats. Avid DS Nitris can relink to these formats through AFE files and play
the media in real-time (RT).
MXF Compression
Capture
Import
Export
(source)
Relink &
Playback
DNxHD (all 8-bit and
10-bit compressions)
RT
Yes
RT
Yes
For a list of shared DNxHD resolutions, see “Avid DNxHD Compressions”.
1:1 (uncompressed 8-bit
and 10-bit)
RT
Yes
Yes
RT
2:1, 3:1, 10:1, 20:1
(JFIF interlaced)
RT
Yes
Yes
RT
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Chapter 1 Conforming & Finishing
MXF Compression
Capture
Import
Export
(source)
Relink &
Playback
2:1s, 4:1s, 15:1s
(JFIF single-field)
No
Yes
Yes
RT
DV 25
No
Yes
Yes
RT
DV 50
No
Yes
Yes
RT
DV 100
No
No
Yes
RT
DVCPRO HD
No
No
No
No
MPEG2 IMX (30, 40, 50) No
Yes
Yes
RT
OMFI Compression
Capture
Import
(source) Export
Relink
1:1 (uncompressed)
No
Yes
No
RT
2:1, 3:1, 10:1, 20:1
(JFIF interlaced)
No
Yes
No
RT
2:1s, 4:1s, 15:1s
(JFIF single-field)
No
Yes
No
RT
DV25
No
Yes
No
RT
DV50
No
Yes
No
RT
MPEG2 IMX (30, 40, 50) No
Yes
No
RT
Audio Media Formats for Conform
If you want to use audio from another Avid editing system in Avid DS Nitris,
make sure the frame rates match. To transfer the audio, you can output your
sequence in OMF. Some frame rates may not be supported in OMF, but you
can still recapture the audio once the OMF sequence has been imported into
Avid DS Nitris.
n
548
You can also change the frame rate by using the Media Tool.
Supported Conform Formats for Avid DS Nitris
Refer to the following table for more specific information:
OK to
use
OMF?
Avid DS Nitris
format
30i NTSC (29.97 fps frame rate) Standard NTSC
Yes
NTSC (29.97 fps)
25i PAL (25 fps frame rate)
Standard PAL
Yes
PAL (25 fps)
24p NTSC (24 fps frame rate)
24 (NTSC)
Destination TC
rate depends on
output device.
Yes
1080 PsF, 24 fps
24p NTSC (24 fps frame rate)
23.976 (NTSC)
Noa
1080 PsF, 23.97 fps
23.976p NTSCb
23.976 (NTSC)
Yes
1080 PsF, 23.97
24p PAL
24 (PAL)
Yes
1080 PsF, 24 fps
Avid editor project
Digital cut
output format
a. See the article “How to Reduce the Audio Play Rate from 24 fps to 23.976” in the
Avid DS Nitris Support Knowledge Base (Previous Releases section)
b. Requires Symphony 4.5 or later, Media Composer or
Film Composer 11.5 or later, Media Composer Adrenaline 1.0 or later, Avid Xpress 5.5
or later, or Avid Xpress Pro 4.0 or later.
Avid DS Nitris can also share the following audio formats:
•
48k/16 bit, 48k/24 bit
•
44.1k/16 bit, 44.1k/24 bit
•
32k/16 bit, 32k/24 bit
•
96k/16 bit, 96k/24 bit
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Chapter 1 Conforming & Finishing
Transferring or Sharing Media between Avid
Systems
Before transferring or making your media available to Avid DS Nitris for final
editing, you should duplicate your sequence, and clean up unwanted frames
and media. This is done using the decompose and consolidate commands in
your Avid editing system.
Decomposing your Sequence in Avid Media Composer
Decompose allows you to create new, shorter master clips based only on the
material you have edited and included in your sequence, which saves system
disk space.
Decompose your sequence when you have a project to conform in Avid DS.
This is done when you are going to recapture the media once the sequence has
been imported into Avid DS Nitris.
To decompose your sequence:
t
n
Duplicate the finished sequence, copy the duplicate into a new bin, and
decompose the duplicate. Refer to “Saving Two Versions of a Sequence
When Recapturing” in the Media Composer Help.
The Avid editing system creates new master clips that use only the media in the
sequence, plus any handles you specify. These new clips are not linked to
media, but are intended for recapture. You can delete the decomposed clips
from the bin, because Avid DS Nitris recreates the clips during the conform
process.
Consolidating your Media in Avid Media Composer
Consolidating your sequence creates smaller source clips and media files,
thereby saving time and disk space. Use the consolidate command when you
want to finish a project in Avid DS Nitris. This is when you already have your
media in its final resolution and will be transferrring along with the sequence
to Avid DS Nitris. Refer to “Using the Consolidate Command” in the Media
Composer Help
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Transferring or Sharing Media between Avid Systems
Transferring your Media
To transfer your media:
You have the following options when handling media created on different
Avid systems.
•
If you are transferring files on a removable SCSI drive, make sure that you
can correctly transfer the drive.
-
Disconnect the drive from the offline system and connect it to the
Avid DS Nitris system. For information on disconnecting and
connecting removable drives, refer to your system setup guide and
operating system help.
•
If you are sharing media on an Avid Unity then you should first organize
the source media in separate folders on your storage device—see “Sharing
MXF Media” or “Sharing OMFI Media”.
•
If you are transferring media, rather than sharing in an Avid Unity
environment, then do the following:
-
Copy the files to the local storage device of the Avid DS Nitris
system.
Place the video files in an appropriate folder under the \VideoStorage
folder. For example:
D:\VideoStorage\AVl\Corporate\...
D:\VideoStorage\OMFI MediaFiles\
D:\VideoStorage\Avid MediaFiles\MXF\
-
Place the audio files in a similar folder on the \AudioStorage\ folder.
For example:
F:\AudioStorage\AVI\Corporate\...
F:\AudioStorage\OMFI MediaFiles\
F:\AudioStorage\Avid MediaFiles\MXF\
You will then need to configure these storage locations in Avid DS Nitris—see
“Configuring the Media Indexing Service on your Workstation”.
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Chapter 1 Conforming & Finishing
552
Chapter 2
Conforming with AFE Files
Conforming is the process of bringing a project from an offline environment
into Avid DS Nitris, so you can continue and finish the editing process. This
chapter describes how to load an Avid File Exchange (AFE) file into
Avid DS Nitris and recreate a sequence on which you can apply further edits
and effects.
You can also conform OMF, EDL, ALE, and AAF files, but AFE files have a
higher level of support for effects and titles.
n
In this information, the general term “Avid editing system” refers to Avid
applications other than Avid DS Nitris, such as Symphony™,
Media Composer®, Film Composer®, Avid Xpress®, and NewsCutter®.
This section includes the following topics:
•
Workflow: Conforming AFE Files
•
Exporting an AFE File from an Avid Editing System
•
Importing AFE Files
Chapter 2 Conforming with AFE Files
Workflow: Conforming AFE Files
In this workflow, an Avid editing system creates an AFE project that you can
conform in Avid DS Nitris.
If your media has already been captured in its final resolution by the Avid
editing system, then the corresponding MXF media can also be transferred to
Avid DS Nitris.
The following illustration shows the basic steps in the conform process using
AFE files.
1 Export an AFE file directly
from the Avid editing
system or through Avid
MediaLog.
Consolidate media if you
will be finishing in Avid DS
MXF media
stored on
an Avid
Unity
shared
storage
On an Avid DS Nitris
2 system, open the AFE file
in an Avid Explorer folder.
554
3
Drop the sequence
to the timeline.
5
Finish and output
the sequence.
4
Link to media on
Avid Unity shared
storage (for
finishing)
or
recapture media
from source tapes.
Workflow: Conforming AFE Files
To conform an AFE sequence in Avid DS Nitris, follow this basic
workflow:
Follow these steps in the order that they are listed. Each time you link to a
topic within a Step, come back to the checklist after completing the procedure.
(Use the Previous View button in your Adobe Reader to return to the previous
link).
;
Step
Refer to
†
On the Avid editing system, export your AFE.
“Exporting an AFE File from
an Avid Editing System”.
See also “Exporting Projects
and Bins Using AFE Files” in
the Media Composer Help.
“
On the Avid DS Nitris system:
†
Create a sequence with a frame rate that matches that
of the source tapes.
†
Import the AFE file.
“Importing AFE Files” (see
the Help).
†
Open the AFE file from DS Explorer and drag it to
the timeline.
“Create a Sequence and
Master Clips from an Imported
AFE File” (see the Help)
†
Make sure any storage devices or Avid Unity
workspaces are configured correctly.
“Configuring the Media
Indexing Service on your
Workstation” (see the Help).
†
Depending on the number and types of effects, you “AFE Effects Support Table”
may need to process or recreate effects. Refer to the for a list of supported effects
AAF/AFE Conform Log as you review the sequence. (see the Help)
†
Finish and output the project.
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Chapter 2 Conforming with AFE Files
Exporting an AFE File from an Avid Editing
System
Avid DS Nitris cannot directly open projects from Media Composer or other
Avid editing systems. To transfer bins, clips, or sequences to Avid DS Nitris,
you must use an intermediate file format.
AFE files are the preferred method of conforming sequences created on other
Avid editing systems. AFE files are based on AAF (Advanced Authoring
Format) technology. AFE files, however, are designed especially for sharing
information among Avid applications. AFE files let you transfer one or more
bins, their contents, and information about the contents, including master
clips, subclips, and sequences.
To export an AFE file from an Avid editing system:
1. On the Avid editing system, create a project and capture the source
footage in MXF format at a supported resolution.
Alternatively, you can capture in OMFI format and later use the Transcode
feature to convert the media into MXF format.
2. Do one of the following:
t
556
To create a file that includes all bins in a project, click the Project
window and select File > Export. The Export Project As”” dialog
box opens. Select Avid File Exchange. Select a location, name the
file, and Save .
Exporting an AFE File from an Avid Editing System
Or,
t
To create a file that includes the contents of a single bin, open the bin,
click the bin, and select File > Export. (Make sure no objects in the
bin are selected.) The Export Bin As dialog box appears. Select Avid
File Exchange (*.afe) from the “Export Bin As” list. Choose a
location, name the file, and Save .
Or,
t
To create a file that contains a clip or sequence, select the clip or
sequence and then select File > Send To > Avid DS.
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Chapter 2 Conforming with AFE Files
You cannot change options for this export, so click OK. The resulting file
includes the source bin as well as the object you chose, but does not
include other objects that might be in the bin.
3. Transfer the AFE file to a location that you can access from the
Avid DS Nitris workstation.
You can use removable media, a network server, or an Avid Unity shared
storage system—see “Transferring or Sharing Media between Avid
Systems”.
Exporting AFE Files Using MediaLog
You can export AFE files only from the Windows version of MediaLog. You
can run MediaLog on the Avid editing system or on the Avid DS Nitris
system.
n
558
MediaLog is shipped with your Avid DS Nitris system, and is also available in
the Download area of the Avid DS Nitris Support Center web site
(http://www.softimage.com/avidds).
Exporting an AFE File from an Avid Editing System
To export an AFE file from MediaLog v20.x or later:
1. On the Avid editing system, duplicate the finished sequence, copy the
duplicate into a new bin, and decompose the duplicate. For more
information on decomposing, see the documentation for your Avid editing
system.
2. If you plan to run MediaLog on an Avid editing system, close the Avid
editing application.
3. If you plan to run MediaLog on an Avid DS Nitris system, transfer the
Avid editing project folder to the \MediaLog\Avid Projects folder on the
Avid DS Nitris workstation or to an Avid Unity workspace. A project
folder has the same name as the project, and is usually located in the Avid
Projects folder on the Avid editing system. Alternatively, copy a single
bin, then create a new project and add the bin. Bins are located in the
project folder.
For information about the location of project folders, see the
documentation for your Avid editing system.
4. Open MediaLog by double-clicking the desktop icon or selecting Start >
Programs > Avid > Avid MediaLog.
c
Do not share user settings between MediaLog and the Avid
editing system. The settings might become corrupted.
The Select Project dialog box opens.
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Chapter 2 Conforming with AFE Files
Browse button
The user and user settings are determined by the system login. If the
project does not appear in the project list, use the Browse button to
navigate to the project you want to transfer. Select the project and click
OK.
5. In the Select Project dialog box, select the project and click OK.
The project opens.
Project window
560
Bin
Exporting an AFE File from an Avid Editing System
6. Do one of the following:
-
To create a file that includes all bins in a project, click the project
window and select File > Export. The Export Project As dialog box
opens. Select a location and click the Save button.
-
To create a file that includes the contents of a single bin, open the bin,
click the bin (make sure no objects in the bin are selected), and select
File > Export. Select AFE from the dialog box. In the Export Bin As
dialog box, choose a location and click the Save button.
-
To create a file that includes selected objects, open the bin, select the
objects you want to include in the file, and select File > Export.
Select AFE from the dialog box. In the Export As dialog box, choose
a location, name the file, and click the Save button.
MediaLog creates an AFE file.
c
n
Make sure to close MediaLog before opening Avid DS Nitris. If MediaLog
and Avid DS Nitris are open at the same time, Avid DS Nitris
performance is seriously affected.
AFE export to a network drive takes much longer than export to a local drive.
Avid recommends that you export to a local drive and then copy the exported
file to a network location.
7. If you are running MediaLog on an Avid editing system, make sure the
AFE file is in a location that you can access from the Avid DS Nitris
workstation.
You can use removable media, a network server, or an Avid Unity shared
storage system.
n
If you open a project in an Avid editing system after you have created an AFE
file from the project, the following message might appear: An incompatible (or
damaged) setting has been skipped. The original project should not be
affected.
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Chapter 2 Conforming with AFE Files
Importing AFE Files
After you have exported your AFE and media to a location where it can be
accessed by Avid DS Nitris, you can import the AFE into your project.
To import an AFE file:
1. Open an Avid DS Nitris project with a frame rate that matches that of the
source tapes.
2. Use the Avid Explorer to select the folder that holds the AAF or AFE file.
The file opens in the AAF/AFE View.
AFE file
3. Double-click the file, or drop the bin directly into the Avid Explorer.
The imported bin(s) will display.
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Importing AFE Files
Imported bin
4. Double-click an imported bin to display its contents.
Audio clip
Master clips
Sequence
The contents can include master clips, subclips, and sequences. For a
description of Avid editing system icons, see “AAF/AFE List” in the
Help.
The columns initially displayed match the columns displayed when the
AFE file was created. You can show additional columns or hide selected
columns, as described in “Customizing the Details and Script Views” in
the Help.
You can now create the sequence on the Avid DS Nitris timeline.
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Chapter 2 Conforming with AFE Files
Create a Sequence and Master Clips from an Imported AFE File
After you have imported the AFE file, you can drag a sequence onto the
timeline and create master clips that are associated with the sequence. You can
also create master clips by dragging an imported clip or sequence to a bin or
by dragging one or more bins to a folder.
To create a sequence and master clips:
1. Select the AFE file in the Avid Explorer.
2. If the AAF/AFE settings are not displayed, click the AAF/AFE Settings
button.
AAF/AFE Settings button
AAF/AFE
settings
3. In the AAF/AFE settings, select the Create Associated Clips option.
Select this option if you want to create master clips by dragging an
imported clip or sequence to the timeline.
Deselect this option if you have already created master clips and you want
to avoid creating a duplicate set. Duplicate clips are marked by the
addition of a sequential number (001, 002, and so on).
4. To append the original project name to the master clip source names when
creating master clips, select the Force Creation of External Tape
Sources option. This option distinguishes between clips that are created
564
Importing AFE Files
from tapes associated with the conform and clips that are not. Selecting
this option does not prevent you from linking to shared media files or
recapturing from the source tape.
For example, if you are conforming an AFE created on another Avid
system and you want Avid DS Nitris to link to the media captured by that
system, or recaptured media from the source tapes, select this option. If
you are conforming an AFE and you want Avid DS Nitris to link to media
that you have already captured (such as through an ALE file), do not
select this option.
5. Specify the path for the folder in which you want to create the master clips
after you drag a clip or sequence to the timeline. Click the browse (...)
button to navigate to the folder.
Avid DS Nitris checks the path to make sure the folder is within the
project folder.
6. To keep the same folder for any new master clips you create, select the
Lock Path option. Deselect this option to create master clips in folders that
match the names of the imported bins. Deselecting this option lets you
keep the original project structure when you conform with AFE files.
7. Open a new sequence in your project. Make sure the frame rate matches as
the AFE that you imported.
8. Create or open a sequence with a timecode starting at 00:00:00:00 and
drag a clip or sequence from the AAF/AFE View onto the timeline.
-
The timecode conversion in Avid DS is dependent on the type of
sequence that you have opened. If you drag a Media Composer bin to
the Avid DS Explorer that contains multiple sequences in both dropframe or non-drop-frame timecodes, they are automatically converted
to the timecode mode of the currently open sequnece. This might not
necessarily be the result that you want.
Therefore, you should first open a drop-frame sequence in Avid DS
and drag all the drop-frame sequences to a folder in the Avid DS
Explorer. Then open a non-drop frame sequence, and drag in all the
non-dropframe sequences to a separate folder.
n
You can also drag a sequence directly to the timeline. If you drag a drop-frame
sequence into a non-drop-frame sequence, the sequence will be conformed as
a non-drop frame sequence. You can then change the timeline display from
NDF to DF or from DF to NDF.
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Chapter 2 Conforming with AFE Files
-
Also, to make sure that the starting timecode on the Avid DS timeline
matches that of the sequence you conformed from the Avid editing
system, hold down the U key and drag the sequence to the timeline.
The conform begins and a progress bar is displayed during the process.
When the conform is complete, the sequence, its clips, and supported
effects are recreated in Avid DS Nitris. Titles are recreated only if they are
part of the sequence.
If you are sharing media, the clips are automatically linked.
If you are recapturing media, empty master clips are created in the folder
that you have specified. When you open the folder in a bin, the clip icons
are red since no media has been captured yet.
n
If you are linking to media that does not match the compression of the
sequence (for example, if you are linking to DV25 in an uncompressed
sequence), make sure to set the option “Use the Closest Media Available” in
the Sequence Preferences dialog box.
A message box displays a summary of the information contained in the
AAF/AFE Conform Log and asks if you want to view the log.
9. To view the AAF/AFE Conform Log, click Yes.
The AAF/AFE Conform Log window displays information about how the
effects and parameters were supported. Use this information to finish the
final sequence.
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Importing AFE Files
10. To save the log as an .html file, click the Save button.
11. When the Save As dialog box displays, navigate to an appropriate folder,
type in a name for the log, and click the Save button. Click OK to close
the log window.
12. Save the sequence.
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Chapter 2 Conforming with AFE Files
568
Chapter 3
Conforming with AAF Files
AFE files are the preferred method for transferring projects that have been
created on other Avid editing systems, to be conformed in Avid DS.
However, when transferring projects from Avid DS to other editing systems,
you should use the AAF format.
Chapter 3 Conforming with AAF Files
Exporting AAF Files from Avid DS Nitris
Avid DS Nitris lets you create an AAF file from a master clip. The AAF file
contains composition information in a format that can be shared with other
applications, such as Avid Media Composer. These files contain the metadata
for the master clip but not the media itself, so they need to be used through
shared storage.
For example, you might have finished an effects-intensive scene on
Avid DS Nitris, created from MXF media (see “Sharing MXF Media”). If you
need to send the sequence to Media Composer, first use the Timeline to Clip
command to create a new master clip in a shared storage area. Then export the
master clip as an AAF file, and import the AAF into Media Composer. On the
Media Composer system, relink the master clip to the media generated by
Avid DS Nitris.
Because Avid DS Nitris creates AAF files from master clips only, you need to
use the Timeline to Clip command to create an AAF file for a sequence.
You can import an AAF file from Avid DS Nitris into the following products:
•
Media Composer Adrenaline v1.5 or later
•
Avid Xpress Pro v4.5 or later
•
Avid Xpress DV v4.5 or later
•
NewsCutter Adrenaline FX v5.5 or later
•
NewsCutter XP v5.5 or later
To create an AAF file:
1. Right-click one or more master clips in a bin and select Export to AAF.
A browse dialog box is displayed. You cannot change any options; the
entire master clip is exported.
2. Navigate to the folder where you want to save the file or files and click
Select.
AAF files are created with the same names as the clips.
3. On the Avid editing system, import the AAF file and link to the media.
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Chapter 4
Conforming with ALE Files
This chapter describes how to load an Avid Log Exchange (ALE) file into
Avid DS Nitris and recreate a bin in the Avid Explorer.
Chapter 4 Conforming with ALE Files
Workflow: Conforming an ALE
The following illustration shows the basic steps in the conform process using
an ALE.
Import the ALE file.
1
Load the contents of the
bin into Avid DS Nitris.
2
Log as clips in the Avid Explorer.
3
or
Load directly onto timeline.
Capture media.
Recapture media
from tape or file into
Avid DS Nitris.
576
Conforming ALE Files
Conforming ALE Files
Avid DS Nitris supports ALE (Avid Log Exchange) files—a file format
specifically designed to hold information about log files generated by other
Avid systems. ALE files contain only information about the source material,
so you can’t import sequences, effects or other higher level information.
n
Although the ALE file format was designed for log files generated by Avid
editing systems, many other systems can output ALE files as well.
Importing an ALE File
ALE files can be imported and interpreted by Avid DS Nitris.
To import an ALE file
1. Select View > Single-Instance Views > ALE Import.
2. In the ALE Import view, click the Load ALE File button.
3. In the Open dialog box, select a file.
The selected ALE file appears in the ALE Import view.
Load ALE
Create Logs
ALE Info
For information about the ALE view, click the Help button.
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Chapter 4 Conforming with ALE Files
You can view the global properties of an ALE file, which includes the location
of the file and the values of various global properties, such as video/audio
format, fps, and more in the ALE Import view.
To get information on an ALE file:
t
Click the Info button.
Logging Clips from an ALE File
After you’ve imported an ALE file into Avid DS Nitris, you can select the
clips you want to log. However, before you can log master clips, the clips must
have associated values for the following properties:
•
End
•
Name
•
Start
•
Tape (or a global tape property)
•
Tracks
If any of these properties are missing an associated value, the Create Logs
button appears dimmed and you need to supply the missing value.
To log master clips from an ALE file:
1. Load an ALE file into the ALE Import view—see “Importing an ALE
File” on page 577.
2. Select the clip(s) you want to log in a bin by clicking them. To select more
than one clip at a time, select a clip, hold down the Ctrl key and click the
others.
n
If no clips are selected in the ALE Import view, Avid DS Nitris creates logs for
every clip.
3. In the ALE Import view, click the Create Logs button.
The Create Logs dialog box opens.
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Conforming ALE Files
Routing
matrix
4. Select the folder in which you want to create the logged clips. The default
folder is displayed in the text box at the top of the dialog box. Click the
browse (...) button to select a new folder.
5. To add material before the in-point and after the out-point of all tape
sources, type the appropriate number of frames in the Heads and Tails text
boxes.
6. If you need to reconfigure the audio tracks, select a tape name from the
Tape Name list and assign the audio tracks to the audio channels of your
clip by clicking in the audio channel routing matrix.
n
You can assign the audio tracks differently for each source name.
7. Click the Set button after you have assigned the audio tracks for each tape
name to save the settings.
8. Click the Create Logs button to begin creating logs from the ALE file.
In the Avid Explorer, master clips are created for each selected clip. Once
the clips have been logged, you can capture the media at any time.
n
Only source material from tape can be recaptured from clips logged from an
ALE file.
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Chapter 4 Conforming with ALE Files
Transferring ALE Files using MediaLog
You can use ALE files to transfer information from MediaLog to
Avid DS Nitris. MediaLog is a tool that helps you select and log footage
before your editing session. Although you can log footage with
Avid DS Nitris, using MediaLog can free up your Avid DS Nitris system for
editing and effects. After logging shots, you can use Avid DS Nitris to digitize
and edit the footage.
n
MediaLog is shipped with your Avid DS Nitris system. MediaLog is also
available in the Download area of the Avid DS Nitris Support Center web site
(http://www.softimage.com/avidds).
MediaLog 20.x and 21.1 do not support 24p PAL and 25p PAL projects. For
these projects, use MediaLog 21.3 or later, which is available for download.
You can import bins created in MediaLog into Avid DS Nitris. To do this,
either:
•
Export the bin as an ALE file. You can then load the ALE file into
Avid DS Nitris and create logs.
•
Export the project and bins as an AFE file.
For more information, refer to the Avid MediaLog User’s Guide or “Exporting
AFE Files Using MediaLog” on page 558.
n
To import an ALE file into Avid DS Nitris, make sure the following columns
are displayed in MediaLog:
•
End
•
Start
•
Tape
•
Tracks
You can display other columns as well. Only columns that are displayed in
MediaLog will be displayed in Avid DS Nitris.
580
Chapter 5
Conforming with OMF Files
This chapter describes how to load an Open Media Framework (OMF) file into
Avid DS Nitris and recreate a sequence on which you can apply further edits
and effects.
This chapter includes the following topics:
•
Conforming OMF Compositions
Chapter 5 Conforming with OMF Files
Conforming OMF Compositions
OMF (Open Media Framework) files facilitate the transfer of digital media
from one system to another. They can contain both media and composition
information. An OMF composition is basically an advanced form of an EDL.
It contains instructions for transitions, timewarps, keys, titling, and some other
effects information. Avid DS Nitris preserves all the layering information
from an OMF file, so that you can select events and layers that you want to
recreate on the timeline.
n
Avid DS Nitris supports many types of Media Composer and Symphony
effects. Avid DS Nitris can import only OMF 2.0 files. Support for OMF
media is limited to the import and export of audio media only.
Opening an OMF File
You can import OMF files created on other systems. By using the OMF file
format to transfer sequences from an offline system to Avid DS Nitris, you can
quickly import sequences with most of the offline editing and effects work
intact.
To open an OMF file:
1. Do one of the following:
t In the view switcher, click the OMF button.
t Select View > Single-Instance Views > OMF.
2. From the OMF view, click the Load OMF button and select a file from
the Open dialog box.
The selected OMF file is displayed in the OMF view.
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Conforming OMF Compositions
OMF tools
Record in-point
OMF tree
When you load an OMF file with more than one composition, you are
prompted to select the composition to import.
For more information about the OMF view, click the Help button.
Conforming an OMF File
You can log your clips in the Avid Explorer to create master clips that can be
reused in other sequences, recreate your sequence in Avid DS Nitris by
loading the OMF file onto the timeline, or both. It’s a good idea to do both, so
that when a clip is deleted from the timeline, you always have the master clip
in a folder. You also have the option of importing any audio media in the OMF
file.
Conforming an OMF File without Audio Media
To conform an OMF file without audio media:
1. Open a new sequence in your project.
2. Load an OMF file into the OMF view.
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Chapter 5 Conforming with OMF Files
3. In the OMF view, click the Conform OMF button.
The OMF Conform dialog box opens.
4. If you want to log clips, select the folder in which you want to create the
clips. The default folder is displayed in the text box at the top of the dialog
box. Click the browse (...) button to select a new folder.
5. Select one of the following options:
584
Option
To
Create Logs
Log the clips in the selected folder.
Create Timeline
Clips
Recreate the sequence on the timeline based on
the composition information in the OMF file.
Create Both
Log the clips in the selected folder and recreates
the sequence based on the composition
information in the OMF file.
Conforming OMF Compositions
6. To add material before the in-point and after the out-point of all tape
sources, type the appropriate number of frames in the Heads and Tails
text boxes.
7. To add the project name from the OMF file to the tape sources for the
master clips, select the Force creation of external tape sources option.
8. If you need to reconfigure the incoming audio tracks, select a tape name
from the Tape Name list and assign the audio tracks to the audio channels
of your clip by clicking in the audio channel routing matrix.
n
You can assign the audio tracks differently for each tape name.
9. Click the Set button after you have assigned the audio tracks for each tape
name to save the settings.
10. Click the Conform button to begin conforming the OMF.
The clips, transitions, and supported effects are recreated on the timeline
using the composition information and empty master clips are created in
the selected folder. When you open the folder in a bin, the clip icons are
red since no media has been imported yet.
Effects that are not supported by Avid DS Nitris are marked by effect bars
that have been deactivated. These effect bars indicate where the effect was
originally placed.
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Chapter 5 Conforming with OMF Files
If there are any unsupported effects, a message is displayed, asking if you
would like to view the error log. If you click Yes, the list is generated and
displayed in the Conform Error Log dialog box.
The Conform Error Log dialog box displays the in and out-points of the
effect, the name of the original effect, as well as a brief description of the
type of error that occurred.
11. To save this log as an .html file, click the Save button.
The Save As dialog box opens.
12. Navigate to an appropriate folder, type a name for the log and click Save.
The log is saved as an .html file and can be viewed in any HTML browser.
Conforming an OMF File with Audio Media
To conform an OMF file with audio media:
1. Open a new sequence in your project.
n
OMF files that are exported at a frame rate must be conformed in the timeline.
OMF files that are exported as sample-accurate must be conformed in an
audio container.
2. Load an OMF file which contains audio media into the OMF view.
3. In the OMF view, click the Conform OMF button.
The OMF Conform dialog box opens.
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Conforming OMF Compositions
4. If you want to log clips, select the folder in which you want to create the
clips. The default folder is displayed in the text box at the top of the dialog
box. Click the browse (...) button to select a new folder.
5. Select one of the following options:
Option
To
Create Logs
Log the clips in the selected folder.
Create Timeline
Clips
Recreate the sequence on the timeline based on
the composition information in the OMF file.
Create Both
Log the clips in the selected folder and recreates
the sequence based on the composition
information in the OMF file.
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Chapter 5 Conforming with OMF Files
6. To add material before the in-point and after the out-point of all tape
sources, type the appropriate number of frames in the Heads and Tails
text boxes.
7. If you need to reconfigure the audio tracks, select a tape name from the
Tape Name list and assign the audio tracks to the audio channels of your
clip by clicking in the audio channel routing matrix.
n
n
You can assign the audio tracks differently for each source name.
The audio media will be imported using the assignment specified in the audio
channel routing matrix and not those originally set in the file.
8. Click Set after you have assigned the audio tracks for each source name to
save the settings.
9. Select the Import Audio Data option.
10. Select one of the following options:
-
Import All Media to import all the audio media contained in the
OMF file into the current project.
-
Only Import Used Media to import only the audio media used in the
actual sequence into the current project.
11. From the Sample Rate list, select a sampling rate at which to convert your
audio media. The higher the sampling rate, the more accurate the
conversion will be.
n
n
Make sure the sample rate you select matches the sample rate of your current
sequence. If the sample rates do not match, no audio media will be available
for playback.
To play back the audio media, you would have to change the sample rate of the
sequence in the Sequence Preferences dialog box.
12. From the Bit Depth list, select a bit depth value. The higher the value, the
more precise the audio conversion will be.
13. From the Capture To list, select a storage area on which your audio media
will be stored.
14. Click the Conform button to begin conforming the OMF.
Depending on the settings you chose, any of the following will occur:
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Conforming OMF Compositions
-
The clips, transitions, and supported effects are recreated on the
timeline using the composition information.
-
Master clips are created in the selected folder.
-
The audio media is imported to your disk array.
Since no video media was imported, the video clip icons that appear when
you open the folder in a bin are red, indicating that no media has been
captured yet.
Effects that are not supported by Avid DS Nitris are marked by effect bars
that have been deactivated. These effect bars act as markers to indicate
where the effect was originally placed.
n
Although Avid DS Nitris may not be able to import certain effects, it will keep
any keyframed information, which you can use as a reference to recreate the
effect.
If there are any unsupported effects, a user message is displayed that asks
you if you would like to view the generated list. If you click Yes, the list is
generated and displayed in the Conform Error Log dialog box.
The Conform Error Log dialog box displays the in and out-points of the
effect, the name of the original effect, as well as a brief description of the
type of error that occurred.
15. To save this log as an .html file, click the Save button.
The Save As dialog box opens.
16. Navigate to an appropriate folder, type a name for the log and click the
Save button.
The log is saved as an .html file and can be viewed in any browser.
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Chapter 5 Conforming with OMF Files
Exporting an OMF File from Avid DS Nitris
If you need to do some audio finishing on another system such as Digi Pro
Tools, you can create, save, and export OMF files for the audio portion of your
sequence. When you create and save an OMF file from within Avid DS Nitris,
both the audio media and its composition information can be included.You can
then transfer the file to another system.Note the following:
•
Only the audio portion of your sequence can be exported to an OMF file.
Any video clips on the timeline are ignored when you create an OMF file.
•
No audio effects are exported, but edit points are created to show where
effects were originally placed.
•
You need DigiTranslator™, a Pro Tools option, to convert the OMF files
into a format that Pro Tools can read. If DigiTranslator is not supplied
with your Pro Tools application, you need to purchase and install it. See
the Digidesign web site www.digidesign.com.
•
Avid DS Nitris exports only OMF 2.0 files. See “OMF Level of Support”.
•
OMF files have a size limit of 2 GB. If you are unable to export an OMF
file for a large sequence, you need to divide the sequence into smaller
segments.
To create and save an OMF file with audio media:
1. From the OMF view, click the Timeline to OMF button to create an OMF
file of the audio portion of the current sequence.
The Export Composition dialog box opens.
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Exporting an OMF File from Avid DS Nitris
2. Select the Embed Media option to include the media in the OMF file you
are creating.
3. Select the Consolidate option to include only the media that is being used
on the timeline.
n
If the Consolidate option is not selected, the entire audio clip will be included
in the OMF file.
4. From the Bit Depth list, select 16 (16-bit audio) or 24 (24-bit audio). The
higher the bit depth value, the more precise the audio conversion will be.
5. In the Handles Length box, do the following:
-
Add a number in the Heads text box if you want to add extra frames
before the material used on the timeline. These additional frames will
be included in the OMF file for source material coming from tape
only.
-
Add a number in the Tails text box if you want to add extra frames of
material after the end of the material used on the timeline. These
additional frames will be included in the OMF file for source material
coming from tape only.
6. Click OK.
The Save As dialog box opens.
7. Navigate to an appropriate folder, type a name in the File Name text box,
and then click the Save button.
All the information obtained from the audio tracks on the timeline are
saved as an OMF file in the location you specified. You can now transfer it
to another system.
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Chapter 5 Conforming with OMF Files
592
Chapter 6
Conforming with EDL Files
This chapter describes how to load an Edit Decision List (EDL) into
Avid DS Nitris and recreate a sequence on which you can apply further edits
and effects.
This chapter includes the following topics:
Chapter 6 Conforming with EDL Files
Conforming EDLs
Avid DS Nitris supports the import of edit decision lists (EDLs). An EDL is a
detailed list of the edits contained in a sequence, including all the timecode
and supported effects information required to recreate the sequence in an
online session. Avid DS Nitris accommodates EDLs from many different
systems. It is compatible with the standard EDLs, as well as CMX, GVG, and
OMF formats.
The EDL file is organized into a series of chronological instructions called
events. You can use these events to create clips or to completely recreate the
sequence on the timeline.
About the Avid EDL Processor
About the Avid EDL Manager
Avid EDL Manager is an application that lets you convert between different
EDL formats, such as Sony, GVG, or CMX. You can also convert EDL files to
OMF 1.0 files. Since Avid DS Nitris only supports OMF 2.0 files, you will
need to further convert the OMF 1.0 files, so that they can be read by
Avid DS Nitris.
You can use the Avid EDL Manager to read EDL files from RT-11 disks and
then save the files in CMX or GVG format for import into Avid DS Nitris.
Avid DS Nitris cannot read RT-11 disks.
You can also use the Avid EDL Manager to create an EDL that displays
additional types of information, such as comments or patches. You can specify
the different audio and video tracks in the sequence, as well as specify the
assembly modes that the online edit controller uses when creating your
sequence. For more information, refer to the Avid EDL Manager User’s
Guide.
The Avid EDL Manager application and guide are available on the Avid web
site.
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Conforming EDLs
About the Avid EDL Processor
The EDL Processor is an application that lets you modify and save EDL files.
You can use the application to modify the EDL content in many different way,
from changing its title to converting timecodes. One use of the application is
conversion of a sequence’s timecode from 30 fps to 24 fps.
The EDL Processor and Help file are available for download from the Utilties
page of the Avid DS Support Center at http://www.softimage.com/avidds.
Conforming an EDL File
When conforming your EDL, you have the choice of logging the events in the
Avid Explorer, recreating the list of events on the timeline, or both. Once the
events are logged, you can capture the media at any time from either the Avid
Explorer or the timeline. For more information, look up “Batch Capturing” in
the Help.
Before conforming your EDL, you should check if there are any layers to be
composited. Offline editors often create multiple EDLs because the
convention is to put separate layers into separate EDLs. Any audio or video
events in the list are automatically loaded onto the appropriate tracks.
During the conform process, you can set up the appropriate heads and tails
values for each clip. This is important if you need additional material at the
beginning and end of each clip to do minor changes during the final stage of
the edit. You can also configure the audio channel patching for each tape.
If you recreate your sequence on the timeline, you may want to process a
rough cut and proof it against the original EDL. You can do this by reloading
the EDL onto a new video track, adding a fade or crop effect to the video track
and processing it, and then playing the sequence to make sure that the cuts and
transitions on the two tracks occur in sync.
If the proofing session is successful, you can then remove the video track you
added and continue to add effects and finishing touches to the original
sequence.
To conform an EDL file:
1. Open a new sequence in your project.
2. Import or open an edit list in the EDL view.
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Chapter 6 Conforming with EDL Files
3. From the EDL view, click the Conform EDL button.
The EDL Conform dialog box opens.
n
You can capture all events in the edit list, or hold down the Ctrl key and click
the EDL events associated with the source material you want to capture.
4. If you want to log clips, select the folder in which you want to create the
clips. The default folder is displayed in the text box at the top of the dialog
box. Click the browse (...) button to select a new folder.
5. Select one of the following options:
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Option
To
Create Logs
Create a log of events in the selected folder.
Create Timeline
Clips
Recreate the events on the timeline.
Create Both
Create both a log of events in the selected folder
and a sequence based on the events in the EDL.
Conforming EDLs
6. Select the Overwrite Video Track option to overwrite clips on the
timeline at the same timecodes. If this option is not selected, the clips will
be added to a new video track.
7. To add material before the in-point and after the out-point of all tape
sources, type the appropriate number of frames in the Heads and Tails text
boxes.
8. If you need to reconfigure the audio tracks, select a tape name from the
Tape Name list and assign the incoming audio tracks to the audio channels
of your clip by clicking in the audio channel routing matrix.
Audio channel routing matrix
n
You can assign the audio channels differently for each tape name or you can
multi-select the tape names, and make the audio channel assignment the same
for all of them.
9. Click the Set button after you’ve assigned the audio tracks for each tape
name to save the settings.
10. Click the Conform button to begin conforming the EDL.
The events are recreated on the timeline as empty clips, and master clips
are created in the selected folder for each event. When you open the folder
in a bin, the clip icons are red since they have no media yet.
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Chapter 6 Conforming with EDL Files
n
Audio events in the edit list do not support stereo clips. When a stereo clip (two
streams) is created on the timeline, it is split onto two mono tracks; each track
holds one stream.
Creating Layers from an EDL
Receiving multiple EDLs for different levels in a composite occurs frequently.
For example, there may be an EDL for the background and another for the
foreground. When this happens, both layers must be in sync on the timeline.
You can either place the layers on video tracks, which allows more than one
layer to be active at a time, or you can place these two layers in a container
clip.For more information, see .
To create a layer from an EDL:
1. Open a new or existing sequence in your project.
2. Import or open an edit list in the EDL view.
3. From the EDL view, click the Conform EDL button.
The EDL Conform dialog box opens.
4. Select one of the following:
598
-
Create Timeline Clips to recreate the events on a video track.
-
Create Both to create both a log of events in the selected bin and a
sequence based on the events in the EDL.
Conforming EDLs
5. Deselect the Overwrite Video Track option, so that each EDL is
recreated on an individual video track.
6. Set the Heads and Tails and configure the audio inputs as required—see
“Conforming an EDL File”.
7. Click Conform to recreate the events on a video track on the timeline.
n
Avid DS Nitris ignores the current setting of the Ripple mode when performing
an EDL to timeline. By default, all EDL conforms are performed with the
Ripple mode off.
Opening an EDL File
The EDL view lets you import an EDL file produced on any external system,
and capture material based on the edits in that EDL. When you import an EDL
into Avid DS Nitris, it appears in the EDL view, where you can see the list of
events. After importing your EDL into Avid DS Nitris, you can select the
events that you want to recreate. To do this, you can either log the events as
master clips in the Avid Explorer, or edit the list onto the timeline, or both.
You can then capture media from either the clips in the Avid Explorer or on
the timeline.
n
You can only recapture logged clips created from an EDL that originated on
tape. Avid DS Nitris does not support recapture from file for logged clips
created from an EDL.
Clip names are created from the event number. If you have more than one EDL
in a project, however, there will be at least two clips with the same name. To
avoid the conflict, the name of the EDL is appended to the clip name.
For example:
001 (NewYork1)
001 (NewYork2)
After the clips are created, you can rename them at any time. For more
information, see .
To open an EDL:
1. Do one of the following:
t In the view switcher, click the EDL button.
t
Select View > Single-Instance Views > EDL.
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Chapter 6 Conforming with EDL Files
The EDL view is displayed.
2. To load a new EDL, click the Load EDL button.
The Open dialog box opens.
3. Select an EDL. If you know the system from which the EDL was
generated, select the appropriate file type (DS, CMX, GVG).
4. In the Comment Placement box, indicate whether you want comments
placed above or below the corresponding edit.
5. Click the Open button.
The selected EDL is displayed in the EDL view.
If you selected the wrong file type, you are prompted to convert the file to
the appropriate type.
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Conforming EDLs
EDL name
EDL tools
Record in-point
Edit list
For more information about the EDL view, click the Help button.
Setting EDL Properties
You can specify options for the currently displayed EDL in the EDL
Properties dialog box, such as displaying timecodes as drop frame and
determining comment placement.
To set EDL properties:
1. Right-click the main area of the EDL view and select Properties.
The EDL Properties dialog box opens.
2. Use the controls in the EDL Properties dialog box to set the EDL
properties.
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Chapter 6 Conforming with EDL Files
For information about the EDL Properties dialog box, click the Help button.
Modifying an EDL File
Avid DS Nitris lets you modify certain properties of the EDL after you’ve
loaded it into the EDL view. You can change the name of the source tape, as
well as ripple the source timecodes.
Changing the Source Tape Name
If your source tape name is too long, or the name of the tape has changed
between the offline and the online, you can modify the name of your tape
directly in Avid DS Nitris. Once you’ve loaded an EDL into the EDL view,
you can modify the source name of any one of the sources.
To change the source name of a tape in an EDL:
1. Load an EDL into the EDL view.
2. Right-click the main area of the EDL view and select Change Source
Name.
The Change Source Name dialog box opens.
3. From the Old Source Name list, select the name of the tape you want
to change.
4. Type the new name in the New Source Name text box and click OK.
The Source Name is changed in the EDL view.
Rippling the Source Timecodes
If there’s a time delay between your master tapes and the offline EDL list, or
the time of an event has changed, you can push or ripple any one of the source
timecodes forwards or backwards directly in Avid DS Nitris.
To ripple all source timecodes in an EDL:
1. Load an EDL into the EDL view.
2. Right-click the main area of the EDL view and select Ripple Sources.
The Ripple Sources dialog box opens.
3. In the Ripple By timecode box, type the amount by which you want the
source timecodes to move.
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Conforming EDLs
n
To ripple the source timecode backwards, type the amount preceded by a
minus (–) sign in the Ripple By timecode box.
4. Click OK.
The source timecodes of all your source tapes are modified by the amount
you specified.
To ripple the source timecode of one event in an EDL:
1. Load an EDL into the EDL view.
2. Select the event in the Edit list.
3. Right-click and select Ripple Sources.
The Ripple Sources dialog box opens.
4. In the Ripple By timecode box, type the amount by which you want the
source timecode to move.
n
To ripple the source timecode backwards, type the amount preceded by a
minus (–) sign in the Ripple By timecode box.
5. Click OK.
The source timecode of that one event is modified by the amount
you specified.
To ripple the timecodes of all events from one source:
1. Load an EDL into the EDL view.
2. Right-click the main area of the EDL view and select Ripple Sources.
The Ripple Sources dialog box opens.
3. Select the Apply To All Edits From This Source option to modify the
source timecode of one of your source tapes.
4. Select the name of the tape from the list.
5. Type the amount by which you want the source timecodes to move in the
Ripple By timecode box and click OK.
All the timecodes for that one source tape are modified by the amount
you specified.
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Chapter 6 Conforming with EDL Files
Exporting an EDL File
If you want to perform certain tasks on another system, you can create an EDL
of your current sequence, save it to file, and then transfer it.
Avid DS Nitris creates an EDL for each track of your current sequence and for
some effects. Depending on the track, the EDL contains information about the
timecode, transitions, and supported effects. Once you’ve created EDLs of
the current sequence, you can save them and transfer the information to
another system.
To create and save EDLs of the current sequence:
1. From the EDL view, click the Timeline to EDL button to create one or
more EDLs of the current sequence.
2. If Avid DS Nitris created more than one EDL, select the EDL that you
want to display from the EDL name list.
3. Click the Save EDL button to save your EDL to file.
The Save As dialog box opens.
4. Navigate to an appropriate folder, type a name in the File Name text box,
and click the Save button.
The EDL is saved in the location you specified.
Printing an EDL File
When you need a hard copy of your EDL for review or want to keep a hard
copy as a reference, you can print one out from within the EDL view. You can
set the number of copies to print, as well as the orientation of the page.
To print an EDL file:
1. Load an EDL into the EDL view.
2. From the EDL view, click the Print button.
The Print EDL dialog box opens.
3. In the Number of Copies text box, type the number of copies you want
to print.
4. Select a page orientation for the EDL.
5. Click the Print button.
The EDL is printed on your default printer.
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Conforming EDLs
n
To change your default printer, modify the printer settings in Windows.
Proofing an EDL
If you recreated your sequence on the timeline, you may want to process the
rough cut, and proof it against the original EDL to make sure that the timing
is correct.
To proof the EDL to timeline:
1. Reload the EDL onto a new video track. Make sure you deselect the
Overwrite Video Track option.
2. Add a diagonal wipe or crop effect to the video track.
3. Process the effect.
4. Play the sequence to make sure that the cuts and transitions on the two
tracks occur in sync.
If the proofing session is successful, you can remove the video track and
continue to add effects and finishing touches to the original sequence.
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Chapter 6 Conforming with EDL Files
606
Chapter 7
Conforming Audio
Instead of recapturing or linking to audio media, you can capture or import an
audio mix.
Possible workflows are:
•
Creating a digital cut of the final audio mix in Media Composer (or other
Avid editing system) and capturing the audio in Avid DS Nitris.
•
Exporting an OMF file with embedded audio media from an Avid editing
system and importing it into Avid DS Nitris.
•
Instead of recapturing or linking to audio media, you can capture or
import an audio mix. For more information, see “Audio Media Formats
for Conform”.
This chapter includes the following topics:
•
Exporting and Importing OMF Audio
•
Capturing Audio as Separate Mono Tracks
Chapter 7 Conforming Audio
Exporting and Importing OMF Audio
The following procedure outlines the workflow for exporting audio as an OMF
file from an offline Avid editing system, transferring the audio to
Avid DS Nitris, and importing the audio to Avid DS Nitris.
To export and import audio as an OMF file:
1. Make sure the project frame rates match—see “Audio Media Formats for
Conform”.
2. On Media Composer or another Avid editing system:
t
See “Preparing Audio for the Online Session” in the Avid Media
Composer Help.
t
Export a sequence, project, or bins as an AFE file
t
Export the audio track as an OMF file (composition and audio media)
If you are transferring the audio to Avid DS Nitris, embed the audio media
and export it as OMF 2.0.
For more information on creating an OMF file, see the Help or the
documentation for the Avid editing system.
3. Transfer the OMF file to the Avid DS Nitris workstation and import.
For more information, see “Conforming an OMF File” on page 583.
4. Create a new sequence and conform the OMF file.
n
n
Conforming an OMF file requires a new sequence, so conform the OMF file
before conforming the AFE file.
OMF files that are exported at a frame rate must be conformed in the timeline.
OMF files that are exported as sample-accurate must be conformed in an
audio container.
5. Conform the AFE file by dragging the sequence from a bin to the
timeline.
6. Batch capture the video media. Optionally, capture the audio if you want
to use it for a scratch track.
7. Sync the sweetened sound.
8. (Optional) Delete the audio scratch track.
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Capturing Audio as Separate Mono Tracks
Capturing Audio as Separate Mono Tracks
By default, Avid DS Nitris creates a single .wav or MXF file and track from a
multi-stream audio file. This is the most efficient way to work with audio files
in Avid DS Nitris. However, other Avid applications cannot link to a multistream file. If you are capturing multi-stream audio to share with other Avid
editing applications, you need to select the “Import audio into separate audio
tracks” option. Selecting this option causes Avid DS Nitris to create multiple
single-stream files.
You can set the option in the following dialog boxes: Capture Settings, New
Sequence, New Project, and Sequence Preferences (Audio property page).
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Chapter 7 Conforming Audio
610
Appendix: Conforming Notes
When you start conforming sequences and projects, you should be aware of
specific factors that could affect the conform process. Read the following
sections if they pertain to your project:
•
Naming Conventions when Conforming
•
Notes on Conforming Titles
•
Notes on Conforming Graphics
•
Notes on Conforming Effects
•
Notes on Conforming Matte Keys and Alpha Channels
•
Notes on Conforming Audio
Appendix: Conforming Notes
Naming Conventions when Conforming
To make it easier to move files between products and across platforms, use the
following guidelines when naming files:
612
•
Do not use the following characters in project, bin, or other file names: / \
:*?”<>|
•
The Windows system does not recognize these characters in file names
and will substitute other characters, possibly making the file name
unrecognizable or causing other problems.
•
Do not add spaces at the beginning or end of a file name. The Windows
system will display such files, but might be unable to open them.
•
Do not use a period at the end of a file name. The Windows system will
display such files, but might be unable to open them.
•
On Avid Macintosh systems, you can enable a setting that prevents you
from using Windows restricted characters in file names and automatically
adds the correct file name extensions to files for your project. When you
select the Use Windows Compatible File Names setting, the file name
extension .avp is added to project files and .avb is added to bin files when
they are saved. These file name extensions are attached to existing files as
well.
•
Media Composer Macintosh systems, and other Macintosh-based Avid
editors, cannot use MXF media created by Avid DS Nitris, due to a 31character file name limit. This situation occurs when an Avid DS Nitris
system creates a storage on a Unity volume to share with other Avid
editing systems. This problem does not affect Windows systems.
Notes on Conforming Titles
Notes on Conforming Titles
•
Place titles in the original sequence before you create an AFE file so that
the title is conformed as part of the sequence. Avid DS Nitris does not
conform titles as master clips. Titles promoted to 3D are not supported.
•
Titles in downconverted projects: For HD projects offlined on a Media
Composer or other Avid editing system, the preferred downconversion
format is 16:9 anamorphic. Titles created in this 16:9 aspect ratio (created
in the 16:9 viewer) conform correctly. However, if the sources were
downconverted to 16:9 letterbox and titles were created in the 4:3 viewer,
they do not conform correctly. There are two options to correct this
problem:
In the Avid editing system:
In Avid DS Nitris:
Create the titles in a 16:9 viewer. If the
titles are centered near the bottom of the
screen (such as subtitles), they will
conform correctly. For more precise
titles, use the Avid DS Nitris option.
After importing the AFE file, adjust the
titles individually.
1. In the graphics layout, select the title.
2. In the Object Properties list, click the
Transformations button.
3. On the Transformations property page,
change the Scale X value to 2.0.
•
If the project includes titles and you are moving between Macintosh and
Windows systems, make sure you have the same font with exactly the
same name (preferably from the same manufacturer) on both the
Macintosh and Windows systems. Check the font carefully because the
same font can have slightly different names. For example, Times New
Roman on the Macintosh system is named Times New Roman Regular on
the Windows system.
In some cases, you might need to convert the Macintosh font to a
Windows font by using a font conversion program.
For information on how Avid DS Nitris substitutes title fonts, see “Font
Substitution for Titles”.
•
For best results, use TrueType or PostScript fonts. Bitmap fonts can cause
scaling problems.
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Appendix: Conforming Notes
•
All fonts used must be made available for the online session. Copy them
to a disk or a shared folder in the same path as the folder used in the
offline editing session. As a best practice, you should always have a list of
the fonts and foundry.
Subtopics
•
Creating Real-Time Graphics from Conformed Titles
•
Font Substitution for Titles
•
AFE Titles Support Table
•
AFE Effects Support Table
Creating Real-Time Graphics from Conformed Titles
After you have conformed the sequence, you might need to adjust conformed
titles, so that they play as real-time graphics. The basic guidelines for real-time
play are:
•
All graphics objects must be applied on RGB channels (not on RGBA
channels).
•
Apply the Graphics effect directly on the clips and remove the filler.
In addition, make sure the graphics objects meet the following real-time
conditions:
•
Only the Airbrush, Color Blend, and Cutout effects can be played in real
time. Color Gradient cannot be played in real time.
•
Properties of the graphics objects must not be animated, except for the
translation. Only translations in the X or Y axes can be played in real time.
•
Animation that moves at different speeds cannot be played in real time.
Make sure all graphics objects move in the same direction (either X axis
only or Y axis only) at the same speed.
To create real-time graphics from conformed titles:
1. With the conformed titles on the timeline, double-click the corresponding
Graphics effect.
The Graphics layout is displayed.
2. Select all graphics objects.
3. On the Masks property editor, deselect the Alpha option in the Paint on
Channel box.
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Notes on Conforming Titles
4. Switch back to the Editing layout.
5. Select the Graphics effect and cut it by pressing Ctrl+X.
6. Select the clip below the Filler (if any) and paste the effect on it by
pressing Ctrl+V.
7. Delete the Filler.
For more information, see “Processing Graphics” in the Help.
Font Substitution for Titles
If there is no exact match for the font used in a title, Avid DS Nitris substitutes
a similar font. If none of the specified fonts are available, Avid DS Nitris
substitutes the Arial font.
n
Avid editing
system font
Avid DS Nitris font
Chicago
System or Mac Chicago
Courier
Courier New
Geneva
MS Sans Serif or System
Helvetica
Arial
Monaco
Terminal
New York
MS Serif
Palatino
Times New Roman
Times
Times New Roman
In some cases, you might need to convert the Macintosh font to a Windows font
by using a font conversion program.
AFE Titles Support Table
The following table lists the level of support for conforming titles created in
the following Avid editing products:
•
Symphony 4.0 and later
615
Appendix: Conforming Notes
•
Media Composer and Film Composer 11.0 and later
•
Media Composer Adrenaline 1.0 and later
•
Avid Xpress 5.0 and later
•
Avid Xpress DV 3.0 and later
•
Avid Xpress Pro 4.0 and later
Titles from previous versions might not have the same level of support. For
detailed information, consult the AAF/AFE Conform Log that is displayed at
the end of the conform process.
n
When conforming a title, Avid DS Nitris always uses the Scale to Fit setting,
rather than the Conversion Mode setting in Sequence Preferences.
For an explanation of the support level, see “Legend”.
Support
level
Comment
Video formats
A
4:3, 16:9 (NTSC and PAL) supported.
Format conversion
A
All formats supported.
Crawling and rolling
titles
B
Might appear different because of different interline and
intercharacter metrics. See the Text section of this table.
Marquee titles
B
The following attributes are not supported:
Category
General
616
•
Edge effects (Profiles)
•
Enable Image Blur option
•
Use Main Surface Alpha shadow property
3D titles
D
Avid DS Nitris substitutes a 3D DVE effect. Title text and
objects are not supported.
Background
A
Color and video both supported
Safe color
NS
Not supported
Object locking
A
Supported
Notes on Conforming Titles
Category
Object grouping
Support
level
Comment
NS
Objects are imported as ungrouped.
Blend color 8 directions B
(gradient)
Appears slightly different, especially with 4 diagonal
directions.
Low-pass filter
B
Avid DS Nitris applies antialiasing on individual
graphics.
Effect parameters
B
All supported except crop parameter (no equivalent in
Avid DS Nitris).
Position
B
Supported, but might appear different because
Avid DS Nitris and other Avid editing systems use
different metrics for interline spacing.
Font
B
Supported, with substitution if necessary. Arial is the
default font for substitution.
Font size
B
Supported, but might appear different because
Avid DS Nitris and other Avid editing systems use
different font metrics.
Font style
A
Supported
Justification
A
Supported
Pair kerning
A
Supported
Global and per
character kerning
NS
Not supported because Avid DS Nitris and other Avid
editing systems use different metrics for intercharacter
spacing.
Leading
B
Supported, but might appear different because
Avid DS Nitris and other Avid editing systems use
different metrics for interline spacing.
Fill
B
Supported, except for blend transparency (no equivalent
in Avid DS Nitris).
Text
Video fill is not supported.
Outline
B
Supported, except for blend transparency (no equivalent
in Avid DS Nitris). Maximum outline width is 10.
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Appendix: Conforming Notes
Category
Shadow
Support
level
Comment
B
Supported, except for shadow type depth (no equivalent
in Avid DS Nitris). Maximum offset of 200.
Position and size
A
Supported
Fill
B
Supported, except for blend transparency (no equivalent
in Avid DS Nitris).
Outline
B
Supported, except for blend transparency (no equivalent
in Avid DS Nitris).
Shadow
NS
No equivalent in Avid DS Nitris.
Objects (line, rectangle,
oval)
618
Notes on Conforming Graphics
Notes on Conforming Graphics
•
If you are conforming a sequence that includes still graphics, the graphics
will link automatically if you copy them to a folder in the same path as the
folder used in the offline edit. For example, if the offline sequence
includes graphics imported from a folder named Graphics at the top level
of drive D (D:\Graphics), create a folder named D:\Graphics on the online
editing system and copy the graphics to it.
•
Layered Photoshop graphics: Layered Photoshop graphics that have
been imported as layers in the original sequence are not conformed
correctly. You need to import the original layered graphic into
Avid DS Nitris using the Generate > Import Photoshop command.
•
If the original sequence includes graphics that use video levels (ITU-R
601 levels, which include “SuperBlack” and “SuperWhite”),
Avid DS Nitris preserves information about the video levels when
creating master clips (through AFE files). When you recapture the
graphics, Avid DS Nitris automatically recaptures them at the original
levels.
619
Appendix: Conforming Notes
Notes on Conforming Effects
•
Level of support: Be aware that not every effect in the original sequence
will be completely conformed.
For specific information, see “AFE Effects Support Table”, and “AFE
Titles Support Table”, and the Avid DS Nitris release notes. Also, during
the conform process, you can view a log which lists any effects and
parameters that are not supported.
•
Multi-cam: Multi-cam groups are not conformed. Only the selected clip
is conformed.
•
Soft Cuts and Short Transitions: Most Avid editing systems use a
special interpolation for transitions to provide support for soft cuts and
very short transitions (such as a four-frame dissolve). Avid DS Nitris does
not yet support this type of interpolation, so these transitions will not
conform totally and might require some adjustment after the conform
process.
•
Color Correction: Color corrections made in Color Correction mode
with the Symphony Color Correction tool are not conformed. For color
corrections to be conformed, you must apply the Color Correction effect
from the Effect Palette, as described in the Avid Symphony Color
Correction Guide. This problem does not occur if you use the Avid Color
Correction tool (available with Avid editing products other than
Symphony).
Secondary color correction is not conformed.
In Avid Symphony, the gamma is applied in RGB space between the
superblack and superwhite range while in Avid DS Nitris, the RGB
gamma is applied between the black and white range. Therefore, there is a
small discrepancy in conform when conforming color corrected sequences
from Avid Symphony with applied HSL gamma, particularly for gamma
values close to 0 or much larger than 1.
620
•
On the Avid editing system, always apply effects directly to a clip or use
nesting to apply an effect to multiple clips.
•
Foreground level and effects on V1: Avid DS Nitris always displays
images on video track V1 as completely opaque and ignores any setting to
Foreground Level (Opacity in Avid DS Nitris). On the Avid editing
system, add Generated Black (created through the Title Tool or as an
imported graphic) beneath any effects that use Level in this manner.
Notes on Conforming Effects
•
Effects applied to filler: Color Correction and Pan and Scan applied to
filler on the top track of the original sequence are conformed correctly in
Avid DS Nitris, but other effects are not. Clips on lower tracks are not
affected by the effect applied to the filler. For example, if a Color Effect is
applied to filler on V2 and used to desaturate all the clips beneath it on
V1, none of the clips will be desaturated when the sequence is conformed.
On the Avid editing system, always apply effects directly to a clip or use
nesting to apply an effect to multiple clips.
•
Motion effects: Like titles, source-side motion effects are conformed only
as part of a sequence.
The following points apply to Timewarp (record-side) motion effects:
-
Timewarp effects that use speed ramp adjustments require the anchor
frame to be on the first key value in order to conform correctly. If this
is not the case, then the AAF/AFE Conform Log displays a message.
To fix the effect in Avid DS Nitris, you need to adjust the Base Frame
property accordingly.
-
Timewarp effects with speed graphs from some older versions of Avid
editing systems, such as Media Composer Adrenaline v1.5.1, do not
conform. Timewarp effects from Media Composer Adrenaline HD 2.0
conform correctly.
AFE Effects Support Table
The following table lists the level of support for conforming effects through
AFE files created in the following Avid editing products:
•
Symphony 4.0 and later
•
Media Composer and Film Composer 11.0 and later
•
Media Composer Adrenaline 1.0 and later
•
Avid Xpress 5.0 and later
•
Avid Xpress DV 3.0 and later
•
Avid Xpress Pro 4.0 and later
Effects from previous versions might not have the same level of support.
For information about special cases, see “Beginning the Conform Process”.
621
Appendix: Conforming Notes
For information about effects that did not conform or did not conform
completely, consult the AAF/AFE Conform Log that is displayed at the end of
the conform process.
n
AAF files created in the following products do not support many of these
effects:
•
Media Composer Adrenaline v1.5 or later
•
Avid Xpress Pro v4.5 or later
•
Avid Xpress DV v4.5 or later
•
NewsCutter Adrenaline FX v5.5 or later
•
NewsCutter XP v5.5 or later
You can use AFE files instead.
Legend
622
Support level
Description
A
Effect supported. The effect is imported as a corresponding
Avid DS Nitris effect. All parameters and keyframes are set to
match, as much as possible, the original effect.
B
Imported with some parameters and keyframes. See the
Comment field for information about each effect’s parameters.
C
Imported without parameters or keyframes. Avid DS Nitris
loads a preset that matches the defaults of the imported effect.
D
Replaced when imported. Avid DS Nitris loads a similar effect
without any parameters set.
NS
Not supported. The effect is ignored by Avid DS Nitris.
Notes on Conforming Effects
623
Appendix: Conforming Notes
Notes on Conforming Matte Keys and Alpha
Channels
•
Matte Key clips: Place matte keys in the original sequence before you
create an AFE file so that the matte key is conformed as part of the
sequence. Avid DS Nitris does not conform matte keys as master clips.
•
If your sequence includes any three-layered matte keys, collapse the effect
in the Avid editing system. Make sure that the foreground, background,
and matte effect are in the collapsed effect. Any effects over a filler layer
should be moved onto the video layer they are affecting. Only Blend
Masks and Pan & Scan effects should be applied to a filler layer.
•
Traditional matte keys (Matte Key effect): On the Avid editing system,
Foreground (fill) and Matte elements must be nested inside the Matte Key
effect or the effect will not be conformed correctly. Use the Collapse
function on the fill and matte before you apply the Matte Key effect. Then
replace the Submaster effect with a Matte Key effect.
•
Matte Key effects are conformed as Matte containers. If the fill and matte
were not nested on the Avid editing system, you can fix the problem in
Avid DS Nitris by cutting the fill element and pasting it into the container.
For more information, see Working with Mattes in the Help
•
Imported matte keys: Matte keys created from still graphics and imported
to an Avid editing system are conformed as Matte containers with all
parameters intact.
However, imported graphics promoted to 3D Matte Keys are not
conformed. Avid DS Nitris replaces the 3D Matte Key as a DVE within a
Composite container without the original effect parameters.
To set up the matte key correctly:
624
-
Open the composite container.
-
In Layers View, marry the fill and matte by dragging the matte to the
fill layer.
-
Invert the alpha channel.
-
Delete the old matte layer and the DVE effect on the alpha channel.
-
Apply a Layer DVE inside the container or a DVE clip to the outside
and recreate any animation.
Notes on Conforming Matte Keys and Alpha Channels
•
QuickTime movies: Imported QuickTime movies with alpha are not
conformed correctly. You need to manually invert the alpha channel using
the Avid DS Nitris Matte container properties.
•
Sequential file formats: Sequential file formats with alpha channels that
have been imported to an Avid editing system are now conformed
correctly.
625
Appendix: Conforming Notes
Notes on Conforming Audio
•
Audio pan, Audio EQ, and AudioSuite plug-ins are not conformed. In the
original sequence, you can mix down the areas that contain these
adjustments or effects and then output an audio mix—see “Audio Media
Formats for Conform”.
•
If you are conforming a clip or sequence captured from a BWF (Broadcast
Wave Format) source, Avid DS Nitris marks the master clip as a tape
source. As a result, you cannot recapture media from the source BWF file.
To work around this problem, do one of the following:
-
Directly relink to the original media through shared storage
-
Import the media from an OMF file containing embedded media.
-
On the Avid editing system, transfer the media to tape. On the
Avid DS Nitris system, recapture the media from that tape.
However, you cannot relink to BWF .aif media nor can you import an
OMF file containing BWF .aif or .mxf media captured in one of the
following products:
-
Media Composer Adrenaline
-
Avid Xpress Pro
-
Avid Xpress DV
-
NewsCutter Adrenaline FX
-
NewsCutter XP
For these products, relink to .wav or .mxf media, or import an OMF file
with embedded .wav media.
626
Editing
This book includes information about editing with Avid DS Nitris. For
links to specific information. see the following topics:
•
Working with Projects
•
Working with Sequences
•
Opening a Film-based Project
•
Building a Rough Cut
•
Trimming Clips
•
Applying Image Transition Effects
•
Processing
•
Working with Effects and Transitions
•
Working with Time Effects
•
Animating Objects
•
Mixing Audio
•
Working with Audio Effects
•
Working with Effects and Transitions
Related Topics
Editing Reference
628
Chapter 1
Working with Projects
This chapter describes how your project files and media are handled in
Avid DS Nitris. Since project organization plays a key part in the editing
process, you will learn how to create projects, and use the Avid Explorer to
organize your media into folders.
The following sections describe how to work with projects and media:
•
Starting a Work Session
•
Managing Files and Folders
•
Working with Bins
•
Viewing Events
Chapter 1 Working with Projects
Starting a Work Session
When you start Avid DS Nitris, the Open Project dialog box is displayed, so
that you can view and manage all projects anywhere on the network. Each
project has its own associated sequences. When you open a sequence, you
have access to all the master clips and custom presets in the project.
Projects contain
master clips,
sequences, and
any special presets
and/or scripts you
create.
Sequence files
contain information
about your edit
decisions, composites,
and any effects you’ve
applied to your clips.
Master clips are
representations of the
digitized media stored
on your storage
device.
Master clips can be
shared between
sequences within the
same project.
By default, all projects created with Avid DS Nitris are stored in their own
folder under the DS Projects folder. It’s important that you keep all the files
related to a project inside the project folder, so that they can be archived,
restored, and/or purged.
n
If you’re running more than one version of Avid DS Nitris on your
workstation, new projects will be classified by version and stored in a
subfolder of the DS Projects folder.
To filter the list of projects, you can:
630
•
Hide individual projects using the appropriate button.
•
Refresh the list of projects by clicking the Refresh button.
•
Reveal all hidden projects by pressing Ctrl + Refresh button.
Starting a Work Session
To start Avid DS Nitris, do one of the following:
n
t
Double-click the Avid DS Nitris icon on the Windows desktop.
t
Click Start > Programs > Avid Products > Avid DS Nitris >
Avid DS Nitris vx.x.
Tip: If you selected the Load Last Sequence at Startup option in the User
Preferences dialog box and want to bypass this option, press Shift and
double-click the Avid DS Nitris shortcut on the desktop. This starts the
application and displays the Open Project dialog box from which you can
select a different project.
The Open Project dialog box is displayed.
You can now create or open an existing project or sequence.
Creating a New Project
When you first start Avid DS Nitris or when you want to start a new project,
you are prompted to name your project, designate a location for it, and set
the project’s preferences. Once you’ve done this, a project folder is created at
the specified location. By default, all sequences associated with this project
are saved in this folder.
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Chapter 1 Working with Projects
To open a new project:
1. Do one of the following:
t
From the Open Project dialog box, click the New Project button.
t
Select File > New > Project.
Browse
button
2. In the New Project dialog box, enter a unique name for your project in the
Project Name text box.
3. In the Location text box, type the path where you would like the project
files to reside. You can also use the browse (...) button to locate the folder
in which to save your project.
4. Set the appropriate preferences for your project.
632
Starting a Work Session
Project preferences define the way your material is captured, processed,
and output by Avid DS Nitris. Once you set the project preferences, they
become the default settings for the sequences that you create in this
project. Most of these preferences can be changed during the course of
your work.
For detailed information on setting these preferences, click the Help
button.
5. Click OK to save the project preferences.
The Editing layout is displayed for you to start building your sequence,
and the Avid Explorer displays your project as the favorite.
Opening an Existing Project
Once you’ve created a project, it is available to all other users in your
workgroup. Opening any sequence in the project gives you access to all master
clips and presets used in that project.
n
A project can only be opened by one user at a time.
To open an existing project on your workstation:
1. Select File > Open > Project.
The Open Project dialog box is displayed.
2. From the Select a Project list, select a project name.
3. From the Select a Sequence list, do one of the following:
t
Click New DS Sequence and then click New Sequence.
t
Double-click an existing sequence name.
t
Select a sequence and click Open.
If you created a new sequence, the New Sequence dialog box is displayed
for you to set the sequence preferences—see “Setting Sequence
Preferences” on page 675.
A new or existing sequence is opened.
To open an existing project on another workstation in your workgroup:
1. Select File > Open > Project.
The Open Project dialog box is displayed.
2. Select All Projects on workgroup_name.
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Chapter 1 Working with Projects
3. From the Select a Project box, choose a project under the appropriate
workstation.
4. From the Select a Sequence box, select a New DS Sequence or open an
existing one.
You will be notified if another user has this project opened.
n
If you need to work on a sequence within that project, but it is heavily used by
other users, you should create a project on your own workstation and then
import the sequence into your project. Avid DS will automatically link to the
media. When you have completed the sequence, you can import it back to the
original project—see “Importing Sequences and Master Clips from Another
Project” on page 673.
Setting User Preferences
You can work more efficiently by setting some personal preferences, such as
automatic saves, number of undo levels, animation preferences, and the
number and type of tracks to display when you open a new sequence. You can
also set editing preferences, such as pre-roll and post-roll frames.
After setting the preferences, they become part of your user profile under your
user name. The next time you start Avid DS Nitris, these preferences are used.
c
Do not customize the fonts, windows scheme, or taskbar properties on the
Windows desktop or Avid DS Nitris may not function properly.
To open the User Preferences dialog box:
t
634
Select File > User Preferences.
Starting a Work Session
For information about the User Preferences options, click the Help button.
Choosing a Scripting Language
Avid DS Nitris supports several popular scripting languages. To use a
scripting language with Avid DS Nitris, you must first install the scripting
engine for that language.
Although Avid DS Nitris logs commands in its History pane using VBScript
syntax, you can write and run scripts using any language that is
ActiveX-compliant. ActiveX is a technology for sharing data between
programs. Some ActiveX-compliant scripting languages include:
•
ActivePerl
•
JScript
•
Python ActiveX Scripting
•
VBScript (default)
To set a preferred scripting language:
1. From the User Preferences dialog box, select the Scripting/Logging tab.
2. From the Scripting Language list, select your preferred scripting
language.
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Chapter 1 Working with Projects
n
No matter what language you’ve specified in your preferences, Avid DS Nitris
logs commands using the VBScript syntax.
The Scripting Language list contains the ActiveX scripting languages whose
engines are installed on your workstation. If you just installed an engine and
it’s not listed, restart Avid DS Nitris. If it still isn’t listed, restart your
computer.
Setting Up the Command Log
Avid DS Nitris not only creates a command log in the History pane of the
Script Editor, but can also create a separate log file that is saved to disk for
each Avid DS Nitris session.
You have the option of setting a limit to the number of commands logged in
the History pane. You can also save a log file to disk, containing all commands
used in each Avid DS Nitris session.
To set the command log size:
1. From the User Preferences dialog box, select the Scripting/Logging
property page.
2. The number of commands kept in the History pane of the Script Editor by
default is 200. To modify this number, click in the Lines text box and type
a new number. To set no limit to the number, select the Unlimited option.
To activate the log file:
1. On the Scripting/Logging property page, select the Log Commands to
File option to create a command log file.
A log file will be created the next time you start Avid DS Nitris.
2. To specify a location for the log file, type a path in the File Name
text box.
n
Avid DS Nitris overwrites the existing command log file each time you start a
new session. If you want to keep the log file, make sure you rename it before
starting Avid DS Nitris.
You can only use the logging and scripting tools to capture media.
636
Managing Files and Folders
Managing Files and Folders
After you start a project, you can organize your project files to suit your
project’s needs. When you work with files, folders, and the windows that
contain them, you are working in the Avid Explorer view.
Working with the Avid Explorer
The Avid Explorer is a view that opens by default when you start a project. By
using the Avid Explorer, you can
•
Navigate and view the entire contents of your workstation
•
Organize a project’s clips, sequences, and effects in a tree structure of
folders.
•
Capture from file and import clips from other projects
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Chapter 1 Working with Projects
Avid Explorer tools
Help button
Panel 1
Panel 2
Bins
Bin
tools
Avid Explorer button
View switcher
Any files or applications that you can open on your Windows desktop you can
also open in the Avid Explorer. For example, imagine that you are working on
a commercial and the producer sends you a Microsoft® Word document that
lists the latest changes. You can open the document within the Avid Explorer
and refer to it while you are editing, without needing to switch back and forth
between application windows. You can also open files associated with your
Web browser through the Avid DS Nitris Web viewer, which you launch by
selecting View Multi-instance Views > Web.
638
Managing Files and Folders
When you select a folder, the folder’s contents are displayed in a bin. For more
information, see “Working with Bins” on page 648.
n
You can include the Avid Explorer as a single-instance view or a
multi-instance view in any views that you create.
To access the Avid Explorer from another view:
t
From the view switcher, click the Avid Explorer (Main) button.
Using the Avid Explorer Views
The left side of the Avid Explorer includes two panels. Each panel can contain
one of three views: My System, Shortcuts, or Project.
The My System view shows the
contents of your workstation in a
hierarchical tree structure.
The Shortcuts view shows
shortcuts to files, folders, or
applications.
The Project view shows the
folders for the current project.
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Chapter 1 Working with Projects
To show or hide a panel:
t
Click the Show/Hide Panel button.
Show/Hide Panel buttons
The Show/Hide Panel button is highlighted for the panel that is displayed.
To choose a view to display in a panel:
t
Click the pop-up menu next to a Show/Hide Panel button and select
My System, Shortcuts, or Project.
A check mark indicates which view is displayed.
Using the Shortcuts View
The Shortcuts view lets you create and access shortcuts that suit your work
requirements. For example, you can create a shortcut to a folder with your
favorite presets or to a graphics application. Any shortcuts you can create in
Windows can be created in the Shortcuts view.
The Shortcuts view is divided into two tabs: System and Project.
•
Shortcuts that you create on the System tab are available in all projects.
•
Shortcuts that you create on the Project tab are available only when the
project in which you created them is open.
System tab
Project tab
640
Managing Files and Folders
To switch between tabs:
t
Click the System tab or the Project tab.
To create a shortcut, do one of the following, depending on what is
displayed in a bin:
t
Drag a folder or file from a bin to either tab in the Shortcuts view.
t
Drag the folder icon from a bin’s address bar to either tab in the Shortcuts
view.
t
In either tab of the Shortcuts view, right-click an empty area and select
New Shortcut. The Windows Shortcut Wizard is displayed. Follow the
instructions to create a shortcut in the Shortcuts view.
To delete a shortcut, do one of the following:
t
Right-click the shortcut and select Delete.
t
Select a shortcut and press Delete on the keyboard.
To access the Shortcuts context menus:
n
t
Right-click the background. Use this context menu to change the way
shortcuts are displayed (large icons, list, thumbnail) and how they are
sorted and arranged.
t
Right-click a shortcut. Use this context menu to cut, copy, paste, delete,
and other system functions.
The Create Shortcut command, which is displayed when you right-click an
object, does not create a shortcut in the My System view or Project view.
Organizing Your Project Folder
Before you start capturing material and editing sequences, create subfolders in
your project folder to hold master clips, sequences, and custom presets. You’ll
find that creating subfolders helps organize your project, so that you can locate
files quickly and easily.
Also, when Avid DS Nitris archives a project, it gathers and archives all the
files in the project folder. Therefore, it is important that you keep all the
project files within the project folder.
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Chapter 1 Working with Projects
When you create a new project in Avid DS Nitris, a project folder is
automatically created and displayed in the Avid Explorer. It also creates
subfolders for DSPresets and scripts. This default structure can be customized,
so that all projects you create are already organized. For more information, see
“Creating a Standard Folder Structure” on page 644.
There are ways to set up your folders that make tasks, such as recapturing,
much easier. Here is an example of a simple but effective folder setup:
Project view
Show/Hide Panel
Bin
Project folder
Subfolders
n
When capturing clips, you can select Auto-Source as the capture target. This
automatically creates a folder for your master clips with the same name as the
tape from which you are capturing material.
Creating or Deleting Folders
To create a folder:
1. In the Project view, select your project folder.
The contents of the folder are displayed on the right in a bin.
2. Do one of the following:
t In the bin toolbar, click the New button.
t
Right-click an empty area of the bin and select New > Folder.
The new folder is displayed in the bin with the name New Folder
highlighted.
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Managing Files and Folders
3. Type in a new name and press Enter.
4. Continue adding as many folders as you need. You can create subfolders
under your new folders. Simply click the new folder in the Project view
and then right-click the bin to add a new folder.
To delete a folder:
t
In the Project view or bin, right-click a folder and select Delete from the
Windows section of the menu.
Moving Files between Folders
You can rearrange the files in your project folders by dragging them to a
new folder.
To move a file to another folder:
t
n
Drag a file from a bin to a folder in the Project view or to another bin.
The No Entry icon changes to a Move icon when you place the pointer
over a folder in the Project view.
You cannot move clips or sequences between projects, but you can import
sequences and master clips into another project. For more information, see
“Importing Sequences and Master Clips from Another Project” on page 673.
To make a copy of a file:
t
Select the clip or sequence that you want to copy, press Ctrl and drag the
clip to an empty area in the current folder, or to another folder in the tree.
Renaming Project Files
You can rename a master clip, sequence, or folder in your project.
n
You cannot change the name of a clip or sequence if it is open or when
previewing it in the Source viewer.
To rename a clip, sequence, or folder:
1. In a bin, click the name of a clip, sequence, or folder.
2. Type in a new name and press Enter.
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n
When you rename a clip, sequence, or other Avid DS Nitris file, make sure to
keep the file extension (.Clip, .Segment, and so on). Avid DS Nitris cannot
manage the file properly without the extension.
A file name can contain up to 255 characters and include spaces. It cannot
contain any of the following characters: \ / : * ? " < > |
Creating a Standard Folder Structure
If you want Avid DS Nitris to create a standard folder structure for new
projects, you can create an .ini file that will specify the folders that will appear
in the Avid Explorer when a new project is created. The .ini file must be called
folder.ini and must be stored in the \Preferences\username folder. You can
have different .ini files for each Avid DS Nitris user.
To create a standard folder structure for new projects:
1. Open a text file using a text editor.
2. On the first line of the file, type the following in uppercase letters:
[FOLDERS].
3. Type the names of the folders you want to appear in the Avid Explorer,
one on each line. For example:
Graphics
Master Clips
Sequences
Trash
n
The order of the folders is not important, as they will be sorted in alphabetical
order or according to the sorting method used in the Avid Explorer.
4. Save the file as folder.ini and save it in the following location:
C:\Program Files\Avid\DS_vx.x\Preferences\username
Any new projects that are created will contain the folders specified in
the .ini file.
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Managing Files and Folders
n
The DSPresets, Scripts, and Views folders are created by default.
Avid DS Nitris Group Folders
As part of a project’s workflow, you might need to work with groups of
sequential files, such as a series of scanned image files or files from a graphics
program. Typically these files share a file name that increments by a single
digit, such as beach001.jpg, beach002.jpg, and so on. The Avid Explorer
automatically combines these files into a special kind of folder, called an
Avid DS Nitris Group folder, or virtual folder. You can then capture and
manage the sequential files more easily.
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The following illustration shows a list of Avid DS Nitris Group folders.
The folder is identified with the following syntax:
filename[first..last:#files].extension
For example, a folder that contains 66 files, named CatchFish1.pic through
CatchFish66.pic, is labeled:
CatchFish[1..66:66].pic
To view the individual files:
t
Double-click the Avid DS Nitris Group folder.
If a group does not include a complete series of numbers, a yellow circle and
exclamation point is displayed over the icon. The folder name displays the
total number of files, indicating that one or more files are missing. For
example, if CatchFish30.pic is missing, the folder is labeled:
CatchFish[1..66:67].pic
n
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Sequential Avid DS Nitris files (*.Clip, *.Segment, *.Preset) are not grouped
in a folder.
Managing Files and Folders
n
When a folder contains a file that does not conform to the pattern of the group,
Avid DS Nitris isolates the file and the part of the group that is affected. To
combine the files into a single folder again, remove or rename the nonconforming file.
Grouping Files as Frames or Fields
By default, Avid DS Nitris groups files as a series of frames. If, however, the
file names of a group include field numbers (Frame01.1.jpg, Frame01.2.jpg,
Frame02.1.jpg, and so on), you should deselect the default option. The folder
name then includes the total number of files followed by the letter F (field).
For example,
Frame[01..06:12;F].jpg
To group files as frames or fields:
1. Select File > User Preferences.
2. Select the Avid Explorer property page.
3. Select or deselect the Group files as frame option.
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Working with Bins
A bin is a window that displays the contents of a folder or other object. Bins
appear within the Avid Explorer view. You can minimize, maximize, resize,
and close bins using standard Windows control methods. You can also cascade
and tile bins.
The following illustration shows three bins within the Avid Explorer view.
Each bin displays its contents in a different view.
Details view
Storyboard view
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Thumbnail view
Working with Bins
To open a bin:
t
Select a folder or other object in the tree.
If a folder in the tree is already selected, double-click it.
To open additional bins, do one of the following:
t
Press Shift and click a folder or other object in the tree.
If a folder in the tree is already selected, press Shift and double-click it.
t
n
Press Shift and double-click a folder in a bin.
You can open one or more Avid Explorer windows that are not docked in the
Avid Explorer view. From the View menu, select Multi-Instance Views > Avid
Explorer. These windows include only bin tools. You can include this Avid
Explorer window as a multi-instance view in any views that you create.
Changing the Bin View
You can display a bin in one of five different views:
•
Large icons: Displays files with large icons
•
List: Displays files with small icons in list format
•
Details: Displays files as a list with details, using columns. You can
choose and save which columns to display—see “Customizing the Details
and Script Views” on page 654.
•
Thumbnail: Displays the files as pictorial icons. This view is especially
useful for media files. You can rearrange the thumbnails in any order
within the bin by clicking and dragging.
•
Script: Displays the files as pictorial icons with an area for comments.
Clip information is displayed above the text box.
To change the bin view:
t
Click a button at the bottom of the bin.
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Chapter 1 Working with Projects
Large Icons
List
Details
Script
Bin view list
Thumbnail
Changing the Frame in Thumbnail and Script View
By default the first frame of a clip is displayed in Thumbnail or Script view.
Avid DS Nitris lets you select a different frame to display.
To change the frame displayed in the Thumbnail or Script view:
1. Open the clip in the Source viewer.
2. Go to the frame you want to display.
3. Click the Update Thumbnail button, located below the Source viewer.
Identifying File Types
Each file in a bin is identified by an icon. Because a bin displays the same files
as your workstation, you see the same icons that appear in your Windows
Explorer.
n
Files that are specific to Avid DS Nitris display a generic icon when viewed in
the Windows Explorer.
Avid DS Nitris media files have their own icons, which appear on or beside
clips in a bin. When an icon is highlighted in red, it means that Avid DS Nitris
could not find any media associated with a clip. This clip must be recaptured
before you can work with it.
Icon
File Type
Audio clip
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Icon
File Type
Background or composite
container clip
Working with Bins
Icon
File Type
Icon
File Type
Video clip
Sequence
Combined audio and video clip
Still image
Audio container clip
Linked still image
Displaying File Properties
Each master clip or sequence contains information about its location on the
storage device, the name of the project to which it belongs, the start, end, and
duration of the clip, as well as your own comments. In addition, master clips
contain information on the clip type, quality, resolution, dominance, color
space, bit depth, coverage, and location. For a description of these properties,
click the Help button.
To view master clip properties:
1. In a bin, right-click a master clip, and in the Avid DS Nitris section select
Properties.
The Properties dialog box is displayed.
2. Select the Media tab to view information about the media associated with
the master clip.
The Media property page displays information about the selected clip.
Audio and video media files are listed separately.
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Chapter 1 Working with Projects
n
The Media property page displays the types of media associated with the clip
you selected in the Avid Explorer. Purged media is indicated by a red dot on
the icon. It is possible to have one type of media indicated as purged and
another not.
3. Select the General tab to view the file properties.
The location of this file, its in and out times, and duration are displayed.
You cannot edit these properties, but you can add notes for the file in the
Comments text box, unless the clip is displayed in a viewer.
4. Select the File Info tab to view information about how the original file
was captured.
The original file location, resolution, capture settings, and file status are
displayed. This information is read-only and cannot be modified, except
to re-establish a link for a linked file that has been moved from its original
location.
5. Select the Track Patching tab to view information about the audio format
(such as mono or stereo) and the audio input assignment for master clips
that were captured from tape.
You can use this property page to reassign hardware inputs to different
audio channels if necessary when recapturing audio media.
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Working with Bins
To view sequence properties:
t
In a bin, right-click a sequence, and in the Avid DS Nitris section select
Properties.
The Properties dialog box is displayed. These properties are read-only.
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Chapter 1 Working with Projects
Customizing the Details and Script Views
Avid DS Nitris lets you customize the columns of information in Details and
Scripts views by displaying and hiding file parameters.
You can choose from Avid DS Nitris parameters, parameters from the
Windows operating system, or parameters that have been added to your
Windows system from other applications. You can also rearrange the order of
columns, adjust the size of columns, and save the arrangement.
You can select a preset bin view from the Bin View column at the bottom of
the bin. These bin views display columns that are appropriate to a particular
task and include Editing, Audio Management, Video Management, and
Presets. You can also create and save your own bin view—see “Saving or
Deleting a Bin View” on page 656.
Bin view list
n
To display information specific to media files, such as Video Compression, you
must have media files displayed in the bin. Use the Avid Explorer or Media
Tool to display media files.
To create a more compact display, Avid DS Nitris parameters do not include
the product name in the column heading. Column headings for these
parameters use a darker shading.
To hide or display bin columns:
1. Do one of the following:
t In the bin tools, click the Settings button.
t
Click the Fast Menu button and select Settings > Add/Remove
Columns.
A dialog box is displayed, either within the bin or separately. The
currently displayed column headings are marked by colored bands.
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Working with Bins
For a description of the bin columns, click the Help button.
2. Do one or more of the following:
t
Select the columns that you want to display.
Selected columns are highlighted by a colored band.
t
Deselect highlighted columns that you do not want to display.
t
Click the All/None button to select all columns.
t
Click the All/None button again to deselect all columns
3. Click the Apply button to apply your changes.
4. Click the Close button to close the dialog box.
To display a preset bin view:
t
Select a preset view from the Bin View list.
To rearrange columns:
1. Click the heading of the column that you want to move.
The entire column is selected.
2. Drag the column to the desired position.
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Chapter 1 Working with Projects
The column is displayed in the new position.
To change the width of a column:
t
Drag the border of a column heading.
Saving or Deleting a Bin View
If you change the bin view by adding columns, changing the order of columns,
or other customization, an asterisk is displayed at the end of the bin view
name. Avid DS Nitris lets you save and display this customized bin view.
To save a bin view:
1. Click the Save Current Column Setting button.
The Save As dialog box is displayed.
2. Accept the current name or type a new one, and click OK.
The Bin View list includes the new bin view.
To display a bin view:
t
From the Bin View list, select the view you want to display.
To delete a bin view:
1. From the Bin View list, select the view you want to delete.
2. With the Bin View list displayed, press the Delete key.
A confirmation box is displayed.
3. Click Yes.
Sorting Files
By default, clips in Details view are sorted by name, in ascending alphabetical
order (from A to Z). You can change the way clips are sorted, using the
information in any column or combination of columns.
You can change the sorting for any files that you view through the Avid
Explorer.
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Working with Bins
To change the way clips are sorted:
1. In Details view, click the column that you want to act as the primary
sorting criterion.
The clips are sorted according to the information in that column. The
number zero (0) is displayed in the title bar of the column indicating the
primary sorting status. An upward or downward pointing arrow is also
displayed, specifying the direction in which the information is sorted
(ascending or descending).
2. Press Ctrl and click a new column to act as the secondary sorting criterion.
Any clips with the same criterion in the primary sort are now sorted
according to the information in the second column. The number one (1) is
displayed in the title bar of the column, indicating the secondary sorting
status. An upward or downward pointing arrow is also displayed,
specifying the direction in which the information is sorted.
3. Continue pressing Ctrl and clicking the columns to further refine your
column sorting.
n
When performing a single-column sort, click the column a second time to
change the direction in which the column is sorted. Click again to remove the
sorting.
When performing multi-column sort, press Ctrl and click a column a second
time to change the sorting direction. Press Ctrl and click again to remove the
sorting.
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Chapter 1 Working with Projects
Example
In this example, clips are first sorted by channel. Notice that all video clips are
grouped together. Since they are all the same, you can sort them further using
another criterion. In this example, they are sorted further by duration.
Clips sorted by
channel in
alphabetical order.
(primary sort)
Each channel type,
such as Video, is
further sorted
according to
duration (secondary
sort).
Sifting Files
By sifting files, you can customize any window that you view through the
Avid Explorer so that it displays only those files that meet a specific set of
criteria.
For example, in a bin that contains master clips, you can create a custom sift to
display only clips from a particular tape or only clips with a name that
contains the letters CU (for close-up). Sifting is not limited to clips; you can
use it with any files that you view through the Avid Explorer. You can also use
it to modify the files displayed in the Media Tool (see “Using the Media Tool”
on page 1075).
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Working with Bins
The Custom Sift dialog box provides ten types of criteria (such as Equals or
Contains) and lets you set up to six sets of criteria.
n
Tip: To view bin columns, click the D (Details) button in the bottom bar of the
bin. To change the visible bin columns, click the Settings button in the Avid
Explorer toolbar.
To sift clips or sequences:
1. In an open bin, click the Fast Menu button and select Custom Sift.
The Custom Sift dialog box is displayed.
2. From the Column list, select an Avid DS Nitris column heading to which
you want to apply the criterion.
t
To view all column headings on your system, select the Show All
Columns option.
t
To clear the Column entry, select None from the Column list.
3. From the Criterion list, select one of the sifting options.
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Chapter 1 Working with Projects
4. In the Value text box, and type the text that you want to use as a sift
criterion.
Type the text exactly as it is displayed in the column. For example, to view
clips with a duration of more than 5 seconds, select Greater Than as the
criterion and type 00:00:05:00.
An exception is size. For example, to view clips greater than 54 KB, select
Greater Than as the criterion and type 54000.
5. Repeat these steps to add additional sift criteria (up to six sets).
6. To clear all data, click the Clear button.
7. To preview the results of your selections, click the Apply button.
8. To save your view:
a.
Click the Save button.
The Save As dialog box is displayed.
b.
Type a name for the sifted view and click OK.
9. In the Custom Sift dialog box, click OK.
Only the clips or sequences that meet your criteria are displayed in the
bin.
Displaying a Sifted or an Unsifted View
After you have sifted the clips in a bin, you can switch between the unsifted
view and the currently selected sifted view.
To switch between a sifted and an unsifted view, do one of the following:
t
In a bin, click the Fast Menu button and select Show Sifted.
t
In the Avid Explorer toolbar, click the Sifting button.
Loading and Deleting a Sifted View
You can load or delete a saved set of criteria.
To load a sifted view, do one of the following:
t
660
In the Custom Sift dialog box, select the view that you want to load from
the Load/Save list, and click Apply or OK.
Working with Bins
t
Click the Fast Menu button, select Load Sift, and select the view you
want to load.
To delete a sifted view:
1. Select the view that you want to delete from the Load/Save list.
2. Keep the menu open and press the Delete key on your keyboard.
3. In the dialog box, click Yes.
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Chapter 1 Working with Projects
Viewing Events
While working with Avid DS Nitris, you can track important processes, such
as the start up and shut down of Avid DS Nitris applications, Avid DS Nitris
RP processing messages, or errors when a folder cannot be accessed. This is
done using the event logging service in Avid DS Nitris. The event-logging
service stores events from various sources in a single collection called an event
log. Notifications of events include informative messages, errors, and
warnings.
The event log records important software and hardware events to help you
determine the conditions that caused the error and the context in which it
occurred. By periodically viewing the event log, you may be able to identify
problems before they cause damage.
The event logging service does not replace direct messages that are displayed
when an action is necessary. The event log simply lets you to view the results
of any actions.
A reasonable amount of disk space is reserved for the event log. When the log
is full, older events are erased to make room for new ones.
The following Avid applications log events in the event log:
•
Avid DS Nitris
•
Avid Media Indexer
•
Avid Project Indexer
Viewing the Avid Event Log
The event logging system consists of two parts, the viewer and the event log
file. The Avid Event Log is a list of all previously logged events.
To view the Avid event log,
1. Do one of the following:
662
t
Select View > Multi-Instance Views > Avid Event Log.
t
In an Avid Explorer panel, select Avid Event Log in the Views folder.
Viewing Events
The Avid Event Log view is displayed in a bin, along with a list of
software and hardware events that have occurred. If you open the log from
the Views folder, bin tools are displayed at the top of the bin.
For more information on the Avid Event Log, click the Avid Explorer
Help button.
2. Double-click an event log entry to display additional information.
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Chapter 1 Working with Projects
Viewing the Windows Event Log
If you cannot start Avid DS Nitris due to a fatal error, Windows also has an
Event Viewer so that you can browse through the event logs. In the Windows
Event Viewer, events from all open applications, the operating system, and
other system services are logged.
To view the Windows event log:
1. On the Windows desktop, right-click the My Computer icon and select
Manage.
2. Click System Tools > Event Viewer.
A list of event logs is displayed for different Windows applications.
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Viewing Events
3. Double-click the Avid Event Log to view the Avid DS Nitris events.
Sorting Columns and Events
You can reorder the columns and events that are displayed.
To set the column order:
t
Click on a column heading and drag it left or right to a new position.
To sort the list of events:
t
n
Click on the column heading to sort the contents below the column in
ascending or descending order.
You can perform secondary sorts on multiple columns for better grouping of
events. For instance if you want to sort the events by type and then by time,
click the Type column heading, press Ctrl and click the Date - Time heading. A
(0) and a (1) appear in the respective columns.
You can also sort the columns in the reverse order by pressing Ctrl and
clicking the column heading again. An up or down arrow appears in the
column heading to indicate the direction of the sort.
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Chapter 1 Working with Projects
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Chapter 2
Working with Sequences
This chapter describes how to work with sequences, search for sequences, and
set your video and audio preferences.
•
Workflow: Working with Sequences
•
Opening Sequences
•
Setting Sequence Preferences
•
Working with Media of Different Qualities
•
Saving Sequences
•
Searching for Sequences
•
Deleting Sequences
Chapter 2 Working with Sequences
Workflow: Working with Sequences
Before you open a sequence, you must first select the project to which it
belongs. The following illustration shows a simple editing scenario in
Avid DS Nitris.
1
Open project and sequence.
Select project
Select sequence
2
3
Set sequence preferences.
Construct sequence
on timeline.
Sequence preferences can be
changed during the course of a
project so that you can work
with media at different qualities.
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Opening Sequences
Opening Sequences
You can easily create, open, and manage the sequences in your project using
the Open Project dialog box. A sequence is an arrangement of clips on the
timeline; it contains information about edit decisions, applied graphics and
effects, animation settings, and working preferences.
When you open a sequence in the timeline, you can immediately begin
audio/video editing, compositing, painting, titling, or audio mixing. Because
the Avid DS Nitris environment is nonlinear, these tasks can be performed in
any order, changed at any time, and moved to any location.
Avid DS Nitris also gives you the flexibility to work with different media
qualities within your sequence. For example, working with media at a higher
resolution increases processing time, so initially, you may want to process
your clips at lower resolution to obtain quicker results. When you’re ready to
output the final sequence, you can recapture the media at a higher resolution,
and reprocess the effects.
Sequence
Overview area
Video tracks
Audio track
Sequences always belong to a particular project. To access your sequences,
you must first select the project to which it belongs. To get a quick view of all
the projects on any workstation in your workgroup, use the Open Project
dialog box.
To access the list of projects and sequences:
1. Select File > Open > Project.
The Open Project dialog box is displayed.
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Chapter 2 Working with Sequences
Sequences within a selected project
Projects on all
workstations in
workgroup
2. If you want to see all projects and sequences in your workgroup, select All
Projects on workgroup_name.
For detailed information on the Open Project dialog box, click the Help
button.
Creating a New Sequence
You must create sequences from within a project. You can either select a
project from the Open Project dialog box and then create a new sequence, or if
your project is already open, you can create a new sequence directly from the
File menu.
To create a sequence:
1. Select File > Open > Project.
The Open Project dialog box is displayed.
2. From the Select a Project box, select the project to which your sequence
will belong.
The Select a Sequence box opens any other sequences that belong to
this project.
3. From the Select a Sequence box, select New DS Sequence from the list.
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Opening Sequences
4. Click the New Sequence button.
The New Sequence dialog box displays the sequence preferences.
By default, the sequence preferences are inherited from the settings
established when the project was created. These settings can be changed. For
more information, see “Setting Sequence Preferences” on page 675.
n
Avid DS Nitris requires at least 10% of your system memory (RAM) to be free
at all times. If not, you may not be able to create sequences with custom
formats that have resolutions much greater than the standard video resolution,
such as 2000×1500.
5. Click OK to accept the settings.
A new sequence is opened and the Editing layout is displayed.
To create another sequence within the current project:
1. Select File > New Sequence.
If the sequence you’re currently working on has not been saved, you are
prompted to do so.
2. Click Yes to save the sequence.
A new sequence is opened in your current project with the same
preferences as those of the project.
n
If you want to create a new sequence with preferences that are different from
the project, select File > New > DS Sequence.
For detailed information on these sequence preferences, click the Help button.
Opening an Existing Sequence
You can open a sequence in one of three ways:
•
From the File menu (if you want to open a sequence from the current
project)
•
From the Open Project dialog box (if you want to open a sequence from
another project)
•
By double-clicking the sequence in the Avid Explorer
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Chapter 2 Working with Sequences
n
Each time you start Avid DS Nitris, you can automatically load the last
sequence on which you were working by selecting the Load Last Sequence at
Startup option in the User Preferences dialog box. For more information, see
“Setting User Preferences” on page 634.
To open a sequence from the File menu:
1. Select File > Open > Sequence.
If the sequence you are currently working on has not been saved, you are
prompted to do so.
2. Click Yes to save the current sequence.
The Load Sequence dialog box is displayed.
3. Browse through the folders and select a sequence. (All sequences are
indicated by the sequence icon.)
4. Click OK or double-click the sequence to open it.
To open a sequence from the Open Project dialog box:
1. Select File > Open > Project.
If the sequence you are currently working on has not been saved, you are
prompted to do so.
2. Click Yes to save the current sequence.
The Open Project dialog box is displayed.
3. From the Select a Project box, select the project to which your sequence
will belong.
The Select a Sequence box displays all sequences that belong to
this project.
4. From the Select a Sequence box, select a sequence and click the Open
Sequence button.
To open a sequence from the Avid Explorer:
t
672
Double-click the sequence in the Avid Explorer.
Opening Sequences
Importing Sequences and Master Clips from Another Project
If you need to use the same sequence or master clips in more than one project,
you can import the sequence and/or master clips from one project to another
(as long as that project is on a workstation in your workgroup).
You then have the option of linking to the existing media or creating copies of
the media. By creating a link to the media, the media is shared between the
two projects, which saves space on your storage device.
n
If you import a sequence or master clips from a workstation in another Avid
DS workgroup, you cannot link to or copy the media. You will have to
recapture this media once the sequence/clip has been imported to your project.
Importing of sequences is useful when there are one or more users in the
workgroup that need to work on the same project. A project can only be
opened by one user at a time. Therefore, if you need to work on a sequence
within a project that is heavily used by other users, you should create a project
on your own workstation, and then import the sequence into your project. Avid
DS will automatically link to the media. When you have completed the
sequence, you can import it back to the original project.
n
A shared storage device can be a storage area on your local workstation or
anywhere on the network. The limitation with media sharing is that, unless you
are connected to an Avid Unity™ system, the storage device may not have
sufficient bandwidth to provide real-time access to the media for more than
one user at a time.
If you are not getting real-time playback on effects, you can either reprocess
your effects or copy the media from the shared storage to your local storage.
For more information, see “Copying Media” on page 1084.
To import a sequence or master clips from another project:
1. In the Avid Explorer, locate and open the folder that contains the sequence
or master clips you want to import.
2. Right-click the sequence or master clips and select Import to
Current Project.
The Sequence and Master Clip Import dialog box is displayed.
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3. Select an option:
-
Link to original media links the new sequence or master clips to the
original media
-
Make new copies of media creates copies of the media at the
locations you specify for the new video and audio media.
4. Click OK.
A new folder is displayed in the current project folder, entitled “Imported
from project projectname”, containing the sequence and master clip files.
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Setting Sequence Preferences
Setting Sequence Preferences
Sequence preferences define the format and quality of the audio and video
clips in your sequence. By default, the sequence preferences are inherited from
the settings you created for the current project.
During the course of building your sequence, you can switch your sequence
preferences to work with video at a lower resolution, or with compression.
Working at a lower resolution is useful when producing a rough cut of your
sequence, because your clips are processed at a much faster rate. Working with
compressed media lets you save storage space on your storage device. For
more information, see “Working with Media of Different Qualities” on
page 679.
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For descriptions of all the options in this dialog box, click the Help button.
To set the sequence preferences:
1. In the Video Settings box, select a video format from the Format list.
When you select a video format other than Custom, Avid DS Nitris
automatically sets frame rate, frame size, field dominance, aspect ratio,
and pixel ratio based on the format you chose—see “Understanding Video
Settings” on page 681.
c
These settings cannot be changed after you save your sequence
preferences.
2. Set the Precision at which you want to process the effects in this
sequence—see “About Bit Depth” on page 692.
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The precision applies to all effects in the sequence but can be changed when
you process effects individually.
3. Set the Timecode Start if other than 00:00:00:00.
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If you select a drop-frame video format, such as NTSC, you have the option of
displaying timecode as either drop frame or non-drop frame. This option only
affects the timecode display and not the sequence frame rate. For more
information, see “About Video Format” on page 682.
4. Set the number of Video, Background, and Audio tracks you will require
in your sequence.
5. In the Storage Settings box, make a selection from the Resolution list.
Setting it at Full resolution results in large, high-quality media and cache
files, while lower resolutions result in smaller, lower-quality media and
cache files—see “About Video Quality” on page 684.
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For film-based formats (2K or 4K). Use the Real-time Proxy resolution to play
your effects in real-time while you’re editing. The Real-time Proxy resolution
is actually HD resolution which is an excellent visual quality for editing your
sequences, while giving you the efficiency of using lower resolution media. In
this mode, playback is supported in the Viewer, but not in the external monitor.
In addition, any RT effects will need to be processed.
Setting Sequence Preferences
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For HD formats. On some workstations where the processing power and
bandwidth does not allow you to work with HD media at full resolution, you
can work in quarter resolution mode to play your effects in real-time. On these
workstations, there will be additional options for Quarter Resolution working
mode.
6. Set the Color Space to be used for your media.
The options you have available depend on your video format and
resolution.
7. Set the Bit Depth to be used for your media. This is the default setting
that will be used when storing your processed media.
The bit depth capacity list varies depending on your resolution and color
space settings.
8. Select one of the following options:
-
Uncompressed to work with media that is not compressed.
-
Compressed to work with compressed media. From the Preferred
Ratio list, select a compression ratio that best suits your needs.
9. Since Avid DS Nitris supports multiple qualities for your video material,
you can select the version of the captured/processed media that you want
to use. For more information, see “Understanding Video Quality
Matching” on page 686.
Select one of the following options:
-
Use the closest media format available if it is not crucial that you
have an exact video media match with your sequence preferences. If
Avid DS Nitris cannot find an exact match, it finds and displays the
closest alternative.
-
Display a “media not available” message if you only want to work
with video media of a specific quality.
Avid DS Nitris uses only the media that matches the selected
resolution and compression settings. If it cannot find an exact match
for both, a “Media Not Available” message is displayed in the viewer
as you playback your clips. This serves as a good indicator when
you’ve captured video that does not conform to your sequence
preferences.
10. Select a Sample Rate for the audio in your sequence. The higher the
sampling rate, the more accurate the audio—see “Understanding Audio
Quality Matching” on page 690.
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Audio quality defines the sample rate and bit depth at which an audio
signal is captured. You can set the sample rate conversion quality, so that
Avid DS Nitris can convert audio material that has a different sample rate
than the current sequence. The higher the sample rate, the more accurate
the digital representation of the signal. A higher sample rate, however,
does use more disk space.
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When you place audio clips on the timeline that contain different sampling
rates than the current sequence, you are prompted to convert the clip to match
the current sequence sampling rate. If you do not convert the clip, you will not
have access to the audio media unless you change the sequence preferences.
11. Select a Bit Depth value from the list. The higher the value, the more
precise the audio will be.
12. Drag the SR Conversion Quality slider in the direction of one of
the following:
-
Fast to convert the sample rate quickly, but at a low quality.
-
High to preserve quality, but this setting takes longer to convert the
sample rates.
13. Select Import audio into separate audio tracks to import a multi-stream
audio file into single-stream files.This is especially important if you are
going to share the audio file with another Avid editing system. For more
information, click the Help button.
14. Click OK to save your settings.
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When working with sequences of custom formats with resolutions that are
much greater than the standard video resolution, such as 2000×1500, a
minimal amount of system memory (RAM) must be kept available at all times.
Otherwise, you may notice significant slowdown when working on your
system.
Working with Media of Different Qualities
Working with Media of Different Qualities
The resolution that you set for your sequence controls the default resolution at
which your media is processed (for example, for effects, transitions, layers,
etc.) and also affects how media is displayed in the viewer and/or external
monitor.
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The Nitris DNA workstation supports Full and Real-time Proxy resolution.
Half or Quarter resolution is available when working in an HD sequence on
non-Avid Nitris DNA workstations only.
Depending on your hardware, you can work in different resolutions and with
compressed media at different ratios. This multi-quality feature lets you
balance image quality and system performance during the different phases of
your work. The working video settings (compression and resolution)
determine the quality in which your media is displayed in the viewer, as well
as the quality at which it is processed by Avid DS Nitris. You can change the
video settings at any time if you want to display or process media at a different
quality.
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The video format cannot be changed once you create the sequence.
The quality you choose to work with at any given time depends on the task at
hand. Media can use up large amounts of disk space, and the higher the quality
of the media, the more disk space is consumed.
If you want to conserve disk space, you can do your rough cut on material
captured at low resolution or in compressed form. When your sequence is
ready for finishing, you can redigitize a specific clip, so that you can work at
the quality at which you will be outputting.
When you’re ready to output the entire sequence, you only need to recapture
the portions of the master clips actually used in the sequence at full,
uncompressed resolution before you output to tape.
If you’re working with only compressed media, you can mix different
compression ratios within a sequence. If you’re working with both compressed
and uncompressed media, you may encounter circumstances where both
cannot be used at the same time within the same sequence.
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To change the sequence preferences:
1. Select File > Sequence Preferences.
The settings that you chose for this sequence are displayed.
For descriptions of all the options in this dialog box, click the Help
button.
2. In the Processing box, select the Type of processing.
This selection depends on the type of source material that you have—see
“Processing in Fields versus Frames” on page 693.
3. Set the Precision at which you will process the video effects.
4. From the Conversion Mode box, select a mode for Presets and Media.
From now on, when you place clips or sequences on the timeline, they
will be converted using the mode you selected—see “Understanding the
Working Conversion Mode” on page 693.
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You can still change the conversion mode for an individual clip on the timeline
by right-clicking the clip and selecting Properties.
Working with Media of Different Qualities
5. Set the video resolution, bit depth, and compression at which you will be
capturing your media—see “About Video Quality” on page 684.
6. To change the audio settings, select the Audio tab.
7. From the Sample Rate Conversion box, select the Conversion on Drop
option if you want to convert all sample rates imported into your sequence
to the sample rate of the current sequence.
8. Drag the SR Conversion Quality slider in the direction of one of
the following:
-
Fast to convert the sample rate quickly, but at a low quality.
-
High to preserve quality, but this setting takes longer to convert the
sample rates.
9. Click OK to save the new settings.
Understanding Video Settings
Although Avid DS Nitris automatically sets the industry-standard video size
and frame settings for the video format you choose, you may want to read
about the various video settings, especially if you intend to work on a custom
format.
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About Video Format
Video format refers to the size or aspect ratio of a picture frame. Depending on
your hardware configuration, you can work in a variety of video formats, such
as PAL D1, NTSC D1, 720p, 1080i, 1080p, or other custom formats. When
you select a video format (other than Custom), Avid DS Nitris automatically
sets the industry-standard video size and frame settings.
Drop Frame versus Non-Drop Frame
Some formats such as NTSC (the standard North American video format),
may require a timecode adjustment if you are making a video that has to fill an
exact time slot.
NTSC video runs at 29.97 frames per second, and since timecode counts at 30
frames per second, it means that the timecode will gain on actual time at a rate
of about 3.6 seconds per hour.
Using non-drop timecode (which runs at 30 frames per second), will gradually
differ from actual time. If you use drop frame timecode, however, it will make
slight adjustments by skipping frame numbers periodically to keep the
timecode synchronized with real time. Depending on your purpose, you may
either keep the timecode synced with real time or count the frames exactly. It
is important to understand that no frames in the video are actually dropped
when you choose drop frame. The video is identical in both cases with only
the timecode counter being modified.
About Frame Size
The frame size is the dimensions of a picture frame in Avid DS Nitris. These
measurements are based on pixels.
720
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An NTSC D1 4:3 image by default
has a frame size of 720×486
pixels.
A PAL D1 4:3 image, however,
has a default frame size of
720×576 pixels.
A 16:9 HD image can have a
variety of frame sizes, such as
1920×1080 pixels or 1280×720
pixels.
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About Pixel Ratio
Aspect ratio is the numerical ratio of picture width to height. The standard
aspect ratio for NTSC and PAL video and television is 4:3. For material shot
on film or HD, 16:9 is the standard aspect ratio. You can also create nonstandard aspect ratios.
Pixel ratio refers to the shape of one pixel. Different video standards have
different pixel ratios. NTSC and PAL pixels have ratios of 0.9 and 1.07
respectively, while computer-generated image, typically have square pixels
with a ratio of 1.0.
Avid DS Nitris can compensate for different pixel ratios so that a captured
image does not appear distorted. When you capture material from file, you
must set the file’s pixel ratio, which tells Avid DS Nitris the original state of
the material. For example, if you are importing a computer-generated image,
set the pixel ratio to 1.0.
About Field Dominance
Video images are displayed half a frame at a time, where each half, referred to
as a field, is comprised of alternate lines of video information (odd and even).
The two fields are combined (interlaced) to form one frame.
Even fields
Odd fields
Two fields are
interlaced to form
one frame
Frames
The order in which odd and even fields occur over time is referred to as field
order or field dominance. With even field dominance, even fields come first. In
odd field dominance, odd fields come first. With NTSC, the first field contains
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all the odd numbered scan lines and the second field contains all the even. PAL
is the opposite of NTSC in terms of field dominance. That is, field 1 contains
all the even-numbered scan lines and field 2 contains all the odd lines.
NTSC, PAL, and HD video material can either be interlaced or progressive,
such as 1080i or 1080p. Interlaced video contains two fields, which make up
every frame. Progressive video, however, creates full frames by scanning each
line sequentially. As a result, field dominance is not an issue.
When you need to invert your fields, you can apply the Field Invert effect. This
is useful when retouching clips or creating paint animation and field-based
rotoscopy.
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If you drop a clip of a different frame rate on the timeline, it might not have the
same field dominance as the current sequence. You can either apply the Field
Invert effect to the clip, or if you already have a time effect on this clip, you
might need to select the Invert Fields option in the effect’s property editor to
compensate for the difference in field dominance.
About Color Space
Color space determines how the color components of the video signal are
stored in Avid DS Nitris. There are three pixel formats available in
Avid DS Nitris: YCbCr 4:2:2 (601), YCbCr 4:2:2 (709), and RGBA.
Avid DS Nitris converts all imported material to the color space of the
sequence. All material imported in RGBA color space uses 32 bits per pixel,
even if you did not import the alpha channel. YCbCr 4:2:2 uses 16 bits/pixel
and YCbCrA (YCbCr with alpha) 4:2:2 uses 24 bits/pixel.
Cache media, created from processed effects, transitions, or composites, is
treated the same way as source media. Some effects, however, require an
internal conversion to RGBA. As a result, some banding may occur when
you’re working with a YCbCr sequence with these effects. To solve this
problem, you can apply the RGB-YCbCr Dither effect. For more information,
see “Color Space Adjustment Effect” in the Help.
About Video Quality
Video media quality is determined by three factors:
•
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Resolution, which is the amount and degree of detail in a video image,
Working with Media of Different Qualities
•
Compression, which is a technique used to reduce the amount of space
necessary to store video data, and
•
Bit depth, which is the number of bits per pixel, per channel.
The resolution of an image depends on the number of pixels in the image, and
the bit-depth of each of those pixels. Naturally, the larger your image format,
the higher the clarity of the image, and the larger the number bytes required
for storage.
For example:
Format
Size (in pixels)
SD
720 x 576
720-HD
1280 x 720
1080-HD
1920 x 1080
2K Film
2048 x 1536
The resolution quality that you set in Avid DS Nitris (Full, Proxy, Half or
Quarter), affects the size of the captured or processed media. The higher the
resolution, the larger the media. Setting the resolution to ‘Half’, reduces the
pixels along the width and the height by half. For instance, for 720-HD media,
half resolution would be 640 x 360 pixels.
Similarly, the higher the bit depth, the more tones (grayscale or color) that are
available for storage, and more accurate color representation in the digital
image. Higher bit depth also increases file size.
When you’re performing a rough cut, you can increase throughput and limit
storage requirements by working at low resolution. Later on in the editing
process, you can use high-resolution media to obtain better results.
Compression is a technique used to reduce the amount of space necessary to
store video information. Compression keeps the same amount of pixels in the
original image, but uses some form of encoding to lower the byte size of the
media. Compressed data can suffer some loss or degradation from the original
source (depending on whether you choose lossy- or lossless-type
compression).
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You can compress material at capture time to reduce the size of the media file.
High compression is useful when you capture media for your initial edit. This
lets you store large amounts of material using the least amount of storage
space. After you’ve done a rough cut, you can purge the compressed media,
and recapture the edited material with less or no compression. For more
information, see “Working with Media of Different Qualities” on page 679.
Understanding Video Quality Matching
When you set your video storage sequence preferences, such as the working
resolution, bit depth, compression, or sample rate, you defined the quality at
which clips are previewed and processed. If a video clip was captured at a
different quality than the option set in your sequence preferences,
Avid DS Nitris can either:
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•
Display no media, or
•
Use the media which best approximates the resolution, compression ratio,
bit depth, or audio sample rate.
Quality matching is different for audio than it is for video—see
“Understanding Audio Quality Matching” on page 690.
Working with Exact Media Matches
If you choose to display only the media that matches your sequence
preferences, Avid DS Nitris looks for an exact match when the position
indicator passes over the clip on the timeline.
1. Resolution: Checks if there is media captured or processed at the
specified resolution.
2. Precision: For caches only. Checks if there are caches processed with the
same precision as the sequence settings.
3. Aspect ratio: Checks if the aspect ratio matches that of the current
sequence.
4. Frame rates: Verifies that the frame rates are identical.
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Linked clips use the frame rate of the sequence.
5. Compression ratio: Checks if there is media captured or processed at the
specified compression. For the purposes of quality matching,
uncompressed media has a compression ratio of 1.0.
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6. Field dominance: Checks if the field dominances are compatible. For this
criteria, the match does not have to be exact, since some media files, such
as stills, can be tagged as having a field dominance of None. The
matching criteria works as follows:
Media Quality
Field Dominance
Sequence preference
None
Even
Odd
None
Yes
Yes
Yes
Even
Yes
Yes
No
Odd
Yes
No
Yes
7. Image formats: Verifies if the following are identical:
-
Color space
-
Frame size
-
Pixel ratio
-
Bits per Channel (Number of bits used to encode a channel)
8. Compatible Resolution: Checks if the current hardware settings support
real-time effects in this resolution.
9. Compression type and ratio: Checks if there is media captured with the
same cache and at the same ratio than the sequence settings.
10. Only caches generated in Exact match mode are accepted in exact match
(This restriction does not apply to media).
The checks are done sequentially. If it finds video media that meets all the
criteria, then the media is displayed in the viewer. If any one of the criteria
fails, then the “Media Not Available” message is displayed in the viewer.
Working with Closest Media Matches
If you choose to display media that is closest to your sequence preferences,
Avid DS Nitris first verifies that you have media that matches your frame rate.
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1. Frame rate: Verifies if the frame rate is identical, except for linked clips.
If, after this search, no candidates are found, the “Media Not Available”
message is displayed in the viewer.
If more than one candidate is found, Avid DS Nitris uses the following criteria
to determine which media file is a closer match and will be displayed:
2. Captured versus linked media: Captured media is considered a closer
match than linked media.
3. Conversion needs: Media with an image format, size, resolution,
compression, bit depth, or field dominance that does not need to be
converted to match the preferences of the current sequence is a closer
match than media that needs to be converted.
4. Compression: If the compression type or ratio of the two qualities are
different, then a quality match will be based on criteria in the following
order:
-
its codec type and ratio exactly matches those of the sequence.
-
its codec type is the same as the sequence but not its ratio.
-
its codec type can be read in real-time by the hardware.
5. Resolution width: If none of the candidates match the resolution width of
the current sequence, then the media with the greater resolution width is
the closest match.
6. Resolution height: If none of the candidates match the resolution height
of the current sequence, then the media with the greater resolution height
is the closest match.
7. Image format: Uses the exact or closest match.
8. Aspect ratio: Uses the closest match.
-
Width in square pixels: If none of the candidates have the same
width as the current sequence, then the media with the greater width
is determined to be a closer match.
-
Height in square pixels: If none of the candidates have the same
height as the current sequence, then the media with the greater height
is determined to be a closer match.
9. Bit depth: If none of the candidates has the same bit depth as the current
sequence, then the one with the greatest bit depth is the closest match.
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10. Processing precision: For caches only. If none of the candidates has the
same precision as the current sequence, then the one with the higher
precision is preferred.
Once it finds the candidate that is the closest match, Avid DS Nitris
determines if it needs to convert the media to fit into the current sequence. The
conversion method is based on the following properties:
1. Image format: If the image format is different than the current sequence,
it will need to be converted.
2. Image size: If the image size is different than the current sequence size, it
will need to be converted.
3. Resolution: If the resolution is different than the current sequence, it will
need to be converted.
4. Field Dominance: If the field dominance is set to None, then no
conversion is needed. Odd and even are incompatible, so a field
conversion is required. The following table shows where conversion is
required:
Media Quality
Field Dominance
Sequence preference
None
Even
Odd
None
No
No
No
Even
No
No
Yes
Odd
No
Yes
No
5. Compression: If the compression type is not hardware real-time playable,
a conversion is needed.
Quality Matching Example
Here’s an example of video quality matching. Your sequence preferences have
been set to:
•
4:3 aspect ratio
•
Full resolution
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•
4:1 compression
•
Use the closest media format available
You have the following media available on disk:
•
Quality 1 – 4:3 aspect ratio, Full resolution, uncompressed
•
Quality 2 – 4:3 aspect ratio, Full resolution, 2:1 compression
•
Quality 3 – 4:3 aspect ratio, Full resolution, 3:1 compression
•
Quality 4 – 16:9 aspect ratio, Full resolution, 3:1 compression
Using the quality matching formula in Avid DS Nitris:
Step
Discards
Reason
Step 1
None
All media segments are at the same resolution.
Step 2
None
No match for compression ratio. Keeps all but notes that
the smallest compression ratio will be the closest.
Step 3
Quality 4
Does not match the aspect ratio.
Between Quality 1, 2 and 3, Quality 1 is chosen because it is the least
compressed of the three.
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Processed media (caches) are also created based on the video resolution and
compression settings. The same quality matching method is used to select the
quality of the cache during playback.
Understanding Audio Quality Matching
An audio clip can have media at multiple sample rates, just like a video clip
can have media at multiple resolutions, compression ratios, or aspect ratios.
With audio, Avid DS Nitris first tries to play media that matches the sample
rate set in your audio sequence preferences. If it doesn’t find such media, the
audio tracks turn red and you’re prompted to convert the audio media to the
sample rate of the current sequence.
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Working with Media of Different Qualities
If an exact audio media match is found, then that audio media is used. If more
than one candidate meets this match, then Avid DS Nitris looks at the
following criteria:
1. Captured versus linked media: Captured media is considered a closer
match than linked media.
2. Bit Depth: If none of the candidates match the bit depth, media with a
greater bit depth is the closest match.
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Understanding the Processing Settings
The media resolution, bit depth, compression, or sample rate that you set in
your Sequence preferences define the quality at which clips are captured.
During processing, you can use these same settings, or you can change them to
process the captured media at a different resolution, bit depth, or compression.
This is useful if you want to process your effects at a lower quality for preview
purposes, and save on processing time. When your sequence is ready for
finishing, you can change the settings back to a higher quality and reprocess
the effects.
About Bit Depth
Bit depth is used to describe the number of bits used to store information about
each pixel of an image. The higher the depth, the more colors that are available
for storage and more accurate color representation in the digital image.
In Avid DS Nitris, this is known as the Storage format bit depth, and is used
when storing captured media and processed media (caches).
Avid DS Nitris supports 8 or 10-bit storage bit depth for SD or HD nonCustom sequences, and up to 16 and 32-bit for film or custom sequences. The
bit depth is also dependent on your resolution and color space settings.
Setting the Processing Bit Depth
Effects can be processed at 16 or 32-bit depth. This is known as Precision.
Avid DS Nitris supports 8, 10, 16 or 32-bit media and caches. This Precision
can be set for the individual effects that support these levels, or it can be set in
your sequence preferences and applied globally to all effects that support these
levels. For a list of 16 bit/32 bit float effects, see “Effects Supporting 16 or 32
Bits (Float) Processing” in the Help.
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Although Avid DS Nitris can support higher bit depths during processing,
the caches may be stored at a lower bit depth depending on your
resolution and color space settings. Note that, using a higher precision bit
depth generates smoother effects during processing, and still produces
better quality output even though the quality may be downgraded when
storing the cache at the lower bit depth.
Working with Media of Different Qualities
Processing in Fields versus Frames
When applying effects, you must decide whether to apply the effect to each
frame or each field. This will usually depend on the type of source material
you’re using. Knowing how your source material was created will play a role
in determining how to process your effects. If processed incorrectly, you may
notice unwanted jittering or unusual artifacts.
•
Field to convert the image to fields, which processes each field of your
effects and graphics separately (using different property values if there is
animation), and then reconverts the video information to frames to display
the results. This option is better for animated effects, such as dissolves,
fades, and motion paths.
•
Frame processes the entire frame (both fields together) using the same
property values. Use this option with frame-based source material. Static
graphics images, 30 fps film, and 30 fps CGI (computer-generated
images) are some examples of frame-based material.
Understanding the Working Conversion Mode
Since Avid DS Nitris is resolution independent, you can work with media and
sequences with different size and resolutions, all within the same sequence.
When dealing with media of different formats, you can specify how
Avid DS Nitris should handle the conversion.
There are different situations in which media is converted:
•
When media is imported
•
When linking to media from within a sequence
•
When using media of different formats than the current sequence
When you digitize or import media, it is digitized according to the video
sequence preferences or capture settings—see “Understanding Video
Settings” on page 681.
Since the scale/pan settings applied to the media are fixed, you cannot change
these settings when you recapture the media.
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In the second and third cases, you’re dealing with how clips are converted
when they’re placed on the timeline. The conversion mode you select
determines how clips and sequences of different resolutions are displayed
when they’re placed on the timeline. You can set the conversion mode in the
Sequence Preferences dialog box.
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The clips that are already on the timeline will not be affected. Only clips
placed on the timeline after the sequence preferences are changed will be
converted.
You can also set the conversion mode for each clip individually using the
conversion mode settings in the Clip Properties property page. This overrides
the conversion mode in the Sequence Preferences dialog box.
As previously explained, when you place a clip on the timeline which has a
different resolution than the current sequence, the image will be converted
using the method you set in the Sequence Preferences dialog box.
However, when you place a sequence on the timeline, the conversion becomes
a little more complicated, since you may be dealing with various resolutions
within that sequence. Avid DS Nitris treats the clips within that sequence as a
single unit in order to preserve the relationship between the clips. By doing so,
Avid DS Nitris ensures that the ratio between each clip remains the same.
Once the clips are grouped together, Avid DS Nitris uses the conversion mode
you set in the Sequence Preferences dialog box to convert all the clips as a
single unit.
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If your clip is converted more than once, it can’t be assigned one of the defined
conversion modes. Instead, a separate conversion mode called “Multiple
Conversions” is used to specify that the clip has been converted multiple
times.
When you insert a sequence within another sequence, you can always override
the current sequence preference conversion mode by modifying each clip’s
conversion mode individually in the Clip Properties property editor. Only the
clip whose conversion mode you modified will be affected. All other clips will
remain as they are.
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If you use a sequence that has processed effects within another sequence, the
caches will remain valid as long as both sequences have the same settings. If,
however, you change the conversion mode, you must process the effects again.
Working with Media of Different Qualities
The following table summarizes how each item is converted in Avid DS Nitris:
Items
Media conversion treatment
Captured clip
Frame size, at the time of capture, is scaled and panned to the
current sequence size
Linked clip
Image size is scaled and panned to the current sequence size
Sequence
Sequence size is scaled and panned to the current sequence size
Example
The following is an example of how a sequence, which contains linked images
of various resolutions, is converted when inserted into a sequence that has a
different resolution.
Sequence A is an NTSC D1 sequence at 720 × 486 resolution. It contains the
following images:
Image 1: 1440×972 linked
image set to Scale to Fit.
Image 2: 300×300 linked
image set to Keep Original
Size and Position.
Image 3: 1000×1000 linked
image set to Center, Keep
Original Size.
Sequence B is a custom sequence at 360 × 243 resolution. The conversion
mode in the Sequence Preferences dialog box is set to Center, Keep Original
Size. When you place sequence A into sequence B, the following occurs (the
original frame size of sequence A is outlined in white):
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Chapter 2 Working with Sequences
The clips are grouped together and
treated as a single unit. Since image
1 was centered in the original
sequence, it will remain centered in
the new sequence. Since sequence
B has a smaller resolution, the image
just fills up more of the viewer. This
clip has been converted in both
sequences, so its conversion mode
will be set to Multiple Conversions.
Image 2 was not centered in
the original sequence, so in this
sequence, the star gets cut out
of the viewer. Since the original
linked clip was set to Keep
Original Size and Position, it
has only been converted once
and its conversion mode will be
set to that of the current
sequence.
Since image 3 was centered in
the original sequence, it
remains centered. Because the
circle is so large, it fills the
entire viewer. This clip has
been converted in both
sequences, so its conversion
mode will be set to Multiple
Conversions.
If you change the conversion mode in the Sequence Preferences to Scale to Fit,
and place sequence A into sequence B again, the following occurs:
If you compare these images with the images in the original sequence, they will be exactly the same, except
smaller. Since the images are grouped together as a sequence, the individual images are not scaled to fit the
resolution of the current sequence. Instead, the whole sequence is scaled down to fit the new sequence
resolution, which, in this case, produces a smaller version of the original sequence.
You can then go into the Clip Properties property page and change the
conversion mode for each clip individually.
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Working with Media of Different Qualities
When applying a conversion mode to a clip
individually, the original sequence settings
are ignored and Avid DS Nitris refers back to
the original image.
For example, the conversion mode for image 1
was set to Keep Original Size and Position.
Notice how the displayed image is the
1440×972 clip. If Avid DS Nitris had referred
back to the original sequence, then the clip
would have been displayed at 720×486
resolution.
After changing the conversion mode of an individual clip, you can always
change it back to its original setting.
To change the conversion mode of individual clips:
1. Right-click a clip and select Properties.
2. In the property editor, change the Conversion Mode.
n
Tip: To change the conversion mode of multiple clips, press Ctrl and select
additional clips. Now change the Conversion Mode in the property editor and
it will apply to all the selected clips.
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Saving Sequences
When you save a sequence, you are saving the contents of the timeline. Any
clips, container clips, transitions, caches, effects, and edit markers are saved
with the sequence.
It is good practice to save your sequences at regular intervals, or when you
have completed an important part of your work. The first time you save a
sequence, all information related to the sequence is saved. However, the next
time you save the sequence, only the modifications to the sequence are saved,
so it takes less time.
n
You can also create a crash recovery file for your current sequence at regular
intervals. This lets you recover the latest work on your sequence in the event of
a system failure. For more information, see “User Preferences Dialog Box” in
the Help.
To save a sequence for the first time:
1. Select File > Save.
The Save Sequence dialog box is displayed.
2. Use the Avid Explorer tools to navigate to the folder in which you want to
save the sequence.
3. Type in a name for your sequence in the File Name text box and click
OK.
The sequence is saved and a sequence icon with the sequence name is
displayed in the Avid Explorer. You can now continue editing or close the
current sequence, and begin work on a new sequence or project.
To save an existing sequence:
t
Select File > Save.
The existing sequence is overwritten.
The sequence is saved and a sequence icon with the sequence name is
displayed in the Avid Explorer. You can now continue editing or close the
current sequence, and begin work on a new sequence or project.
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Saving Sequences
Creating a Copy of a Sequence
You can save different versions of a sequence in a project folder. If, for
example, you’ve been hired to create a series of spots for a client, you create a
project that is completely contained in a single folder. Inside that folder, you
create a number of subfolders to store elements, such as master clips, presets,
mattes, and backgrounds.
Inside that project, you create a sequence for the first spot by dragging clips to
the timeline, and saving the sequence in your project folder. For the second
spot, make a copy of the sequence calling it “Scene 2 (Take 2)”, and make the
necessary adjustments. Continue to do the same for each of the spots.
To save a copy of a sequence:
1. Select File > Save As.
2. Type a new name for the sequence.
The sequence is saved. You can now make the necessary edits to
this sequence.
n
Another way to create versions of your sequence is by selecting the sequence
in the Avid Explorer, pressing the Ctrl key, and dragging the file to an empty
area of the folder. Copying the sequence in the Avid Explorer takes less time
than creating a copy with the Save As command.
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Chapter 2 Working with Sequences
Searching for Sequences
Large projects can contain many sequences and even more master clips.
Although you can use the Avid Explorer to find a particular sequence or clip, it
can be more efficient to search for sequences and master clips using the Clip
Search tool.
The Clip Search tool lets you search for master clips or sequences within your
current project. You can do searches by source, file name, or file properties.
All clips found in the search appear in the clip tray.
To search for sequences or master clips:
1. Select View > Single-Instance Views > Clip Search.
The Clip Search dialog box is displayed.
2. Select the Master Clips and/or Sequences option(s) to search for one, the
other, or both.
3. To search by:
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Searching for Sequences
-
Source: Select a tape source name or file from the Referencing the
Following Source list and click Go.
-
File name: Type the file name in the With Name Containing text box
and click Go.
-
File property: Select an attribute from the list, either Contains or
Equals, type the text you are searching for in the text box, and
click Go.
The clips and/or sequences found in your search are displayed in the
clip tray.
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You can only perform a clip or sequence search using one filter option at a
time.
For detailed information on the Clip Search dialog box, click Help.
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Chapter 2 Working with Sequences
Deleting Sequences
If you no longer require a sequence, you can create an archive of the project in
which it resides (see “Archiving Projects” on page 1093) or delete the
sequence from the project. Be careful when you delete a sequence, because
deleting a sequence can also delete media, depending on the option that you
choose.
To delete a sequence:
t
In an Avid Explorer bin, right-click a sequence that is not currently open
and select one of the following:
-
Delete Clip & Unused Media: Deletes the selected sequence and its
associated media if the media is not used by a master clip or another
sequence. This option deletes cache media that is used only by the
sequence.
-
Delete Clip & All Media: Deletes the selected sequence and its
associated media even if the media is used elsewhere. Although this is
a quick way to create more disk space on your drive, it can be risky.
You should only do this when you’re absolutely sure that you no
longer need the sequence’s cache media and master clips.
A dialog box asks you to confirm the deletion. Click Yes.
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Selecting the Delete option under the Windows section of the menu or pressing
the Delete key deletes the selected sequence but does not delete the associated
media.
Chapter 3
Building a Rough Cut
This chapter describes how to perform basic editing tasks, such as preparing
source clips, arranging clips on the timeline, and synchronizing clips to create
a rough cut.
•
Workflow: Editing Audio and Video
•
Creating Sequences
•
Marking In and Out-points on the Timeline
•
Displaying Timecodes
•
Viewing a Sequence as a Hieracharical Tree Structure
•
Playing Sequences
•
Manipulating Clips
•
Using Locators
•
Finding Frames, Clips, and Bins
•
Extracting Parts of a Sequence
•
Grabbing Frames
•
Rippling Clips
•
Synchronizing Clips
•
Referencing Sequences
Chapter 3 Building a Rough Cut
Workflow: Editing Audio and Video
Editing is the process of assembling audio and video clips on the timeline,
creating transitions between these clips, and synchronizing the sound with the
images. Because the timeline is an integral part of the editing process, it is
found in many of the layouts. The tasks in this chapter focus on the timeline
and how to use it with other tools to edit your media.
All editing tasks are based on what you select. Each time you make a selection
on the timeline, the Record viewer, timecode boxes, and tool panels are
updated to give you information on the selected object.
The following illustration shows how you can build and edit a sequence in
Avid DS Nitris.
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Workflow: Editing Audio and Video
1
Locate and prepare media for editing.
2
Preview and trim your source media in
the Source viewer.
3
Place clips on the timeline.
Create a rough cut of your
sequence by dragging clips to
the timeline.
4
Manipulate clips.
Move, trim, slip, slide, and
nest clips on the timeline.
5
Apply transitions.
Create cuts, wipes, dissolves,
crossfades, and DVE-type
transitions.
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Chapter 3 Building a Rough Cut
6
Synchronize audio with video.
Synchronize video or audio
events by using locators.
7
Process the sequence.
Process all transitions
and container clips in the
sequence to play the
results in real time.
Click Process button.
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Creating Sequences
Creating Sequences
A sequence is an arrangement of clips on the timeline. It contains information
about edit decisions, applied graphics and effects, animation settings, and
working preferences.
Before constructing your sequence, it’s important to realize that the edits you
make to clips are non-destructive. That is, you’re not actually editing the
source media. The clips that you see in the bin and on the timeline are simply
references to the media on the storage device.
Setting up your sequence involves previewing and editing source clips, and
then placing them on the timeline. The quickest way to create your rough cut
is to place clips directly on the timeline. You can, however, preview your
source clips to set new in and out-points before placing them on the timeline.
You may also want to bring in a project from an offline environment into
Avid DS Nitris. You can import an AFE, AAF, Open Media Framework®
(OMF®), or Edit Decision List (EDL) file into the Avid Explorer as logged
clips, or onto the timeline as a sequence. For more information, see
“Conforming AFE Files” and “Conforming OMF, EDL, and ALE Files” in the
Help, or “Conforming with EDL Files”.
Preparing Source Clips for Editing
Before you place a clip on the timeline, you can prepare it in the Source
viewer. If a single viewer is displayed, and you drag a clip to the viewer, it
changes into a dual viewer that displays the Source and Record viewers. The
Source viewer lets you view and edit source clips.
To move a clip to the Source viewer:
t
Drag a clip from a bin to the Source viewer.
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Chapter 3 Building a Rough Cut
Bin
Source viewer
Clip
The source clip is displayed in the Source viewer. The Record viewer displays
the frame (if any) at the current location of the position indicator on the
timeline. This lets you compare a source clip with the clip on the timeline
where it will be inserted.
For more information, see “Source and Record Viewers” in the Help.
Source viewer: Frame at position of
position indicator on source clip.
Transport controls
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Record viewer: Frame at position of
position indicator on timeline.
Creating Sequences
Each viewer has its own set of controls for manipulating the source clips,
timeline clips, or material on an external device. The controls under the Source
viewer help you prepare source clips before inserting them on the timeline.
You can continuously cue and mark your source material without affecting the
sequence.
For an overview of all the controls in the Source viewer, see “Transport
Controls” in the Help.
After marking the appropriate in and out-points on the source clip, use the
Record viewer to locate the frame (in your sequence) on which the new clip is
to be inserted. You can also decide whether or not to use all the channels of the
source clip, and on which track you want to place the clip. For more
information, see “Patching Tracks” on page 718.
After the clip has been placed on the timeline, you can continue working in
dual viewer mode or use a single viewer to display only the clips on
the timeline.
Editing Source Clips
You can place master clips, container clips, or sequences in the Source viewer
for previewing. This lets you cue or mark new in and out-points on the source
clip, and then insert, overwrite, replace, or fit-to-fill clips on the timeline with it.
In-point
Position indicator
Out-point
Position bar
Timecode box
Mark In-point
Play
Mark Out-point
To edit a clip for use in your sequence:
1. Click Play below the Source viewer to play the source clip.
2. Click one of the following:
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Chapter 3 Building a Rough Cut
t
t
t
Mark In button when the position indicator reaches the desired inpoint.
Mark Out button at the desired out-point.
Type a timecode in the I (in) or O (out) timecode box and click the I
or O button.
An in-point or out-point is displayed in the position bar. If you need to
adjust these points, drag them to a new location.
3. Click Play again to stop playing the clip.
4. You can now place the clip directly on the timeline—see “Placing Preedited Clips on the Timeline” on page 715.
Creating Subclips
Instead of placing the marked clip on the timeline, you can first create a
subclip from it. This leaves the original clip untouched while a copy of the
original clip with new in and out-points is saved in a bin. The Capture Target
option of the Capture Settings dialog box specifies the location for the new
subclip, see “Media Capture Settings” in the Help.
Unlike master clips, subclips do not directly reference the original media.
Subclips remain linked to the master clips from which they were created, and
the master clips in turn reference the digitized media files located on your
storage drives. As a result, none of the original footage is lost.
To create a subclip:
1. Verify the target location for the subclip, by doing the following:
a. In the Avid Explorer toolbar, click the Capture Settings button.
The Capture Settings dialog box is displayed.
b.
In the Media Capture panel, verify the Capture Target settings and
modify if needed.
2. Load a clip in the Source viewer.
3. On the position bar below the Source viewer, reposition the in and/or outpoints of a clip.
4. Place the position indicator on the frame you want to display in the bin.
5. Click the Create Subclip button.
6. In the Create Subclip dialog box, type a name for the subclip.
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Creating Sequences
n
You can use the default name, which is the parent clip name appended with a
number, such as RealClip - 001.
7. Click OK.
The new clip is created and saved in the target bin.
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The source clip maintains its original in and out-points.
To change the frame of the subclip displayed in the bin:
1. Open the subclip in the Source viewer.
2. Go to the frame you want to display.
3. Click the Update Thumbnail button to change the thumbnail frame of the
subclip.
Switching Between the Source and Record Timeline
The Source timeline lets you see the timeline of the clip or sequence that is in
the Source viewer. While viewing the Source timeline, you can place in and
out-points, and zoom, pan and navigate the timeline. You cannot, however, do
any editing on the Source timeline.
To view the Source timeline:
t
With a clip or sequence in the Source viewer, click the Toggle
Source/Record Timeline button on the timeline navigation bar.
The Source timeline is displayed and the Toggle Source/Record Timeline
button turns green, as well as the position indicator.
To return to the Record timeline:
t
Click the Toggle Source/Record Timeline button again.
To automatically switch between the Source and Record timeline:
t
Right-click the Toggle Source/Record Timeline button and select Auto.
Selecting the Source viewer displays the Source timeline. Selecting the
Record viewer displays the Record timeline.
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Chapter 3 Building a Rough Cut
Placing Clips on the Timeline
The timeline is where you place and edit clips to build a sequence. You can
create any number of audio and video tracks on the timeline, and place clips
anywhere on these tracks. While working with multiple tracks, you can use the
Track selector to select, manipulate, delete, ripple, patch, and monitor your
tracks. You can use multiple tracks to layer audio effects and sound, or to
add video titles and other effects.
n
Before editing your clips, you can customize the timeline to suit your work by
changing the settings to show, hide, or minimize some display areas. You can
also change the ruler’s time scale to display other time formats, including
drop frame, non-drop frame, and frame numbers. For more information, see
“Timeline” in the Help.
Dragging and dropping clips onto the timeline overwrites frames of existing
clips. A clip cannot be placed on a track if the clip completely covers, or is
completely covered by, another clip. However, if you activate the Ripple mode
on the timeline, then clips are inserted at the timecode at which they are
dropped. Existing clips are moved down the timeline to accommodate the
inserted clip.
n
You can only place clips on selected tracks.
When you drag a clip from a bin to the timeline, the move cursor is displayed.
As you drag over the timeline, a shadow is displayed to indicate the section
where the clip will be placed.
The move cursor
Clip shadow
Clips assume activeness when you place them on the timeline. Activeness
refers to the sections of a clip that can be used in the final sequence. These
active frames are indicated by an activeness bar below a clip. Not all active
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Creating Sequences
clips in a sequence are included when you play the final sequence. Whether an
active clip plays in a sequence or not depends on the position of the clip on the
timeline and the track selector settings.
The behavior of clip activeness varies between audio, video, and background
tracks.
•
Background tracks: Only one video clip can be active at any given time.
•
Video tracks: Multiple video clips can be active at the same time. The
clips on the top tracks play on top of clips on the lower tracks. The effects
and video clips with full-screen alpha clips placed on top tracks are
composited over the active clips on the lower tracks.
•
Audio tracks: All active audio clips play back. This lets you play multiple
audio streams at the same time.
For more information, see “Changing the Activeness of Clips” on page 769.
Activeness bars
Video clips can be placed only on video tracks and background tracks, and
audio clips only on audio tracks. When a clip with synchronized video and
audio components is placed on the timeline, the video and audio are placed as
separate clips on the audio and video or background tracks.
Same Track versus Multi-track Editing
Although you can easily place all your video clips on a single video track,
working on multiple video tracks gives you more flexibility when editing. You
can use video tracks to layer effects. When clips are active, the clips on the top
video tracks play over the clips on the lower tracks. Any effects and video
clips with full-screen alpha clips placed on the top video tracks are composited
over the active clips on the lower tracks.
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Chapter 3 Building a Rough Cut
The active frames and position on the timeline determine the sequence of
events. For example, you can place shots taken with different cameras on
separate tracks. You can then easily switch the view from one camera to
another by activating and deactivating clips. For more information, see
“Cutting to a Clip” on page 908.
The following example shows how the same sequence is produced on one
video track and on multiple video tracks. The activeness bars in both scenarios
indicate which frames are used in the sequence. However, when working with
multiple tracks, the activeness of clips on the top tracks indicate the frames
used. In both scenarios, the same frames on the clips are used.
Same-track editing:
Clip is added to the
same track.
Before
After
Multi-track editing:
Clip is added to a
new track.
Before
New track
After
Frames not displayed during playback.
When you place clips on multiple tracks, you can reveal extra frames while
editing. This is especially useful when you want to see how many frames are
available for slipping or sliding. For more information, see “Revealing Unused
Material on Clips” on page 768.
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714
When working with audio, placing your audio clips on different tracks lets you
play multiple audio streams simultaneously.
Creating Sequences
Placing Multiple Clips on the Timeline
You can select multiple clips from a bin and drag them to the timeline or
timeline ribbon for editing. This is a quick way to edit several clips together.
For example, if you previously classified material by scene number, you can
quickly sort clips by scene number and then drag them all to the timeline.
Clips are placed on the timeline in the order in which you selected them. When
you select all the clips in a bin, they appear in the order in which they were
sorted.
To place multiple clips on the timeline:
1. In a bin, do one of the following:
t
To select clips randomly, hold down the Ctrl key and click any clips
that you want to select.
t
To select clips sequentially, click the first clip and hold down the Shift
key and click the last clip that you want to select.
t
To select multiple clips, drag over a region in the bin.
2. Drag the selected clips to the timeline.
Placing Pre-edited Clips on the Timeline
If you’ve previewed and edited your source clip in the Source viewer, there are
different ways to place the clip on the timeline. You can manually drag it to the
timeline, or use the Overwrite, Insert, or Replace buttons.
n
The following instructions apply only when the Ripple button is deactivated on
the tracks. For more information, see “Rippling Clips” on page 793.
To drag a clip to the timeline:
1. Mark an in and/or out-point on the timeline—see “Marking In and Outpoints on the Timeline” on page 732.
2. Click the Source viewer and drag the clip to a track on the timeline,
moving it close to the in-point.
t
To insert the clip, hold down the V key.
t
To overwrite the existing clips, hold down the B key.
The magnetism of the in-point automatically draws the clip to the
marked timecode.
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Chapter 3 Building a Rough Cut
t
n
To align the clip’s source timecode with the source timecode of a clip
on the timeline, hold down the U key.
The Autoswitch command on the Trim Mode menu must be deselected before
you can drag a clip from the Source viewer to the timeline.
When you drag a clip to a video or audio track, the clip becomes active. When
you drag a clip to a background track, the clip becomes active only in areas
where there are no other active clips. The following illustration shows a clip
being dragged to a background track.
Background tracks
Inserted clip
Before
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Creating Sequences
If you want to perform three-point editing, set both an in-point and out-point
on the timeline. As a general rule, the in-point and out-point on the timeline
determine the amount of space inserted into the sequence. For example, if the
clip is longer than the marked region on the timeline, the out-point of the clip
is trimmed to fit the specified duration. If the clip is shorter than the marked
region on the timeline, a gap is added in areas not covered by the inserted clip.
The following illustration shows a clip being placed between marked points on
the timeline.
In-point
Out-point
To insert or overwrite a clip on the timeline:
1. Mark an in-point at the timecode where you want to place your clip.
2. If you want to edit source audio or video onto a track other than the
parallel track displayed in the Track selector, see “Patching Tracks” on
page 718.
3. Click one of the following buttons:
t Overwrite Clip to place the clip at the in-point and overwrite any
existing clips over the section that it covers.
Inserted clip
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Chapter 3 Building a Rough Cut
t
Insert Clip to place the clip at the in-point and ripple all subsequent
clips on the timeline.
The clip that is inserted on the timeline becomes active regardless of
other active clips on the timeline.
Inserted clip
t
n
Fit to Fill to size the clip to fit perfectly between the marked in and
out-points on the timeline. To use this option, you must also have
specific in and out-points marked on the clip.
If the clip is longer or shorter than the marked region on the timeline, the clip
is placed in a timewarp container clip and stretched or shortened accordingly.
This speeds up or slows down the action in the clip.
To replace a clip on the timeline:
1. On the timeline navigation bar, click the Selection Mode button.
2. Select a clip on the timeline.
3. If you want to edit source audio or video onto a track other than the
parallel track displayed in the Track selector, see “Patching Tracks” on
page 718.
4. Click the Replace Clip button to overwrite the selected clip with the one
that is currently in the Source viewer.
Patching Tracks
When working with multiple tracks, you can encounter a circumstance where
you must edit source audio or video onto a track other than the parallel track
displayed in the Track selector. To edit the source material onto another record
track above or below it, you must patch the source track to the targeted record
track.
You can perform only one patch per edit, but there is no limit on the number of
times you can patch from the same source track. Audio can patch only to audio
tracks, and video only to video or background tracks.
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Creating Sequences
To perform a patch:
t
In the Track selector, drag from a source track (audio or video) to the
targeted record track (a black line is displayed during the patch).
Patching V1 source track
to V2 record track.
After patching
tracks.
The selected source track moves beside the record track to which it is
patched. The patched track remains selected in preparation for your edit.
Placing Video Clips on the Timeline
A video clip can consist of live action, graphics, animation, or imported
images. You can place video clips on video tracks or background tracks.
Placing clips on the video tracks lets you composite over other clips on the
tracks below it. Active clips on video tracks are composited in the order in
which the video tracks appear on the timeline. For more information, see
“Placing Clips on the Timeline” on page 712.
As you drag video clips to background tracks, the clips detect areas that are
occupied, so that you don’t overwrite clips that have already been positioned
in time.
To place a video clip on the timeline:
1. Mark an in and/or out-point on the timeline—see “Marking In and Outpoints on the Timeline” on page 732.
2. Drag a clip from a bin or Source viewer to the timeline ribbon, video
track, or background track on the timeline, and align it close to the inpoint.
A shadow is displayed on the timeline to indicate the area where your clip
will be placed. The magnetism of the clip is attracted to other objects in
close proximity. This helps you align clips with other clips, in-point, or
out-points.
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Chapter 3 Building a Rough Cut
n
To temporarily deactivate magnetism, hold down the Shift key as you drag an
object.
3. If you’re satisfied with the location, release the clip.
The clip is automatically placed on the timeline and becomes active. If the
video clip is placed on a background track, then the video clip is only
active on areas where there are no other active clips on background tracks.
n
You can also insert or overwrite clips on your tracks and specify the track on
which to place a clip. To do this, right-click a clip and drag it from the bin to
any video track. This opens the Track Router dialog box from which you can
select a video or background track.
When you place a clip on the timeline, the in-point moves to the end of the
clip. The out-point (if any) is deleted.
n
You can display the unused frames of the clip by right-clicking on the overview
area and selecting Display > Display Unused Material before placing the clip
on the timeline.
The following illustration shows the timeline after a video clip is added to a
video track. The inserted clip shows unused material.
Unused frames
Active frames
Inserted clip
Placing Audio Clips on the Timeline
Audio clips are the sound portion of your sequence. They contain material like
sound effects, music, and dialogue.
When you place an audio clip on an empty timeline, an activeness bar is
automatically displayed under the audio clip. Multiple audio clips can be
active at the same time span, as long as they’re on different tracks.
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Creating Sequences
n
Audio clips that do not have the sample rate specified in the user preferences
can still be placed on the timeline. However, you will not be able to hear the
clips until you recapture the audio material at the proper sampling rate. For
more information, see “Converting the Audio Sample Rate” on page 1051.
The following table lists the audio clip types and the channels contained with
each type of audio clip, depending on how many audio channels the audio clip
has.
This type of audio clip...
Contains these audio channels
Mono
A single audio channel
Stereo
Two audio channels: Left and right
Quadraphonic
Four audio channels: Left, right, left rear, and
right rear
LCRS
Four audio channels: Left, right, center, and
surround
4 streams
Four generic audio channels: Output 1, output 2,
output 3, and output 4
5.1
Six audio channels: Left, right, center, LFE, left
surround, and right surround
6.1
Seven audio channels: Left, right, center, LFE,
surround center, side left, and side right
7.1
Eight audio channels: Left, right, center, LFE,
left surround, right surround, left center, and
right center
8 streams
Eight generic audio channels: Output 1 to 8
When you place an audio clip on the timeline, it generates a waveform to
display the audio channels. Each channel has a distinct waveform. For
example, a mono clip has a single waveform, a stereo clip has two waveforms,
and an 8-stream clip has eight. Each waveform has a zero line running through
the middle.
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A mono audio clip
zero line
A stereo audio clip
Like audio clips, audio tracks can also be mono, stereo, quadraphonic, LCRS,
4 streams, 5.1, 6.1, 7.1, or 8 streams. You can place any kind of audio clip on
any kind of audio track. For information, see “Track Property Editor” in the
Help.
If the clip and the track are not the same type:
t
The clip is yellow to indicate that the clip and track formats do not match.
t
The clip’s audio channels are assigned to the track’s audio channels, as
much as possible.
For example, if you place a stereo clip on an 8-stream track, the stereo clip’s
two audio channels will be assigned to the first two audio channels in the 8stream track. Conversely, if you place an 8-stream clip on a stereo track, the 8stream clip’s first two audio channels will be assigned to the stereo track’s two
channels, while the other six channels in the 8-stream clip are ignored. You
can adjust the way that a clip’s audio channels occupy a track’s audio channels
in the mixer. For more information, see “Adjusting the Mixer Outputs” on
page 1045.
n
722
You can also mix different audio signals by creating an audio container clip.
Audio container clips let you group several audio clips, mix them together, and
treat them as a single clip on the top or parent timeline. For more information,
see “Creating an Audio Container Clip” on page 920.
Creating Sequences
To place an audio clip on the timeline:
1. Optional. Mark an in and/or out-point on the timeline—see “Marking In
and Out-points on the Timeline” on page 732.
2. Drag a clip from a bin or Source viewer to the timeline ribbon or audio
track on the timeline, and align it close to the in-point.
n
If you want to select a specific track on which to place the clip, right-click the
clip and drag it from a bin to any of the audio tracks on the timeline. This
opens the Track Router dialog box from which you can select an audio track.
A shadow is displayed on the timeline to indicate the area where your clip
will be placed. The magnetism of the clip is attracted to other objects in
close proximity. This helps you align clips with other clips, in-points, or
out-points.
n
To temporarily deactivate magnetism, press Shift as you drag an object.
3. If you’re satisfied with the location, release the clip.
The clip is automatically placed on an audio track on the timeline and
becomes active even where there are existing audio clips because you can
play multiple audio tracks simultaneously.
When you place a clip on the timeline, the in-point moves to the end of the
clip. The out-point (if any) is deleted. Audio clips can be active
simultaneously.
Placing Clips of Different Frame Rates on the Timeline
You can drop a clip on the timeline even if it has a different frame rate than
that of the current sequence. When you place the clip on the timeline, a red
highlight appears in the timeline ribbon indicating that the clip must be
processed. When you process the clip, new media is created at the frame rate
of the current sequence.
n
You cannot recapture clips that were originally captured at one frame rate and
then converted to a different frame rate.
To place a video clip of a different frame rate on the timeline:
t
Drag the clip from a bin to the timeline ribbon, video track, or background
track on the timeline.
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-
n
If you press the F key while dragging the clip, it will force a frame to
frame mapping to the current sequence frame rate. This does not
convert the frame rate but it will result in a change of the clip’s
duration. You can add a timewarp effect to regain the original
duration.
If you drop a clip of a different frame rate on the timeline, it might not have the
same field dominance as the current sequence. Therefore, if you apply a time
effect on this clip, you might need to invert the fields to compensate for the
difference in field dominance. This can be done by clicking the Invert Fields
button in the corresponding effect’s property editor.
Placing Clips on the Timeline Using Sync Point Editing
Sync point editing lets you overwrite or insert material onto your sequence in
such a way that a particular point in the source material is in sync with a
particular point in the sequence. For example, you can sync an action in the
source video with an audio event such as a musical beat in the sequence, and
then edit it so that the action occurs on the beat.
Sync point editing uses the relative location of the position indicator in both
the source and record material as the sync point. Sync point editing determines
the duration of the new edit according to marks that you set. You can apply
these marks across multiple tracks when marking a sequence. This lets you
add overlap cuts.
Sync point editing requires two pieces of information:
•
Sync points: These are the points where the synchronized relationship
between the source and record material is established.
•
Duration of the relationship: This is determined by the positions of the
head and tail frames (and sometimes by the position indicator). Both
marks can be in one monitor, or one mark can be in one monitor and the
other mark in the other monitor. The duration of the material being edited
into the sequence must be sufficient for the size of the edit.
To perform a sync point edit:
1. Load a clip or sequence into the Source viewer.
2. Load a sequence into the Record viewer.
3. Mark the material, do one of the following:
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Creating Sequences
t
Mark in and out points in either the Source or Record viewer, leaving
the opposite monitor clear of marks.
t
Mark an in or out-point in the Source viewer, or an in or out-point in
the Record viewer. For example, if you marked an in-point in the
Source viewer, mark the out-point in the Record viewer.
4. Move the source position indicator to the sync frame in the clip. This
establishes the source sync point.
5. Move the record position indicator to the sync frame in the sequence.
6. Click the Sync Point Editing button to active sync point editing.
7. Select the source and record tracks for this edit.
8. Do one of the following:
t Click the Overwrite Clip button to overwrite any existing marked
material on the timeline.
t Click the Insert Clip button to place the clip in the sequence an ripple
all subsequent clips on the timeline.
t Click the Replace Clip button to overwrite the selected clip on the
timeline.
The sync point edit is complete.
To turn off sync point editing:
t
Click the Sync Point Editing button.
Working on the Tracks
There are three types of tracks on the timeline:
•
Audio tracks contain the audio clips and audio container clips of a
sequence.
•
Video tracks contain the video clips and container clips that are
composited over clips on the video and background tracks.
•
Background tracks contain the video clips and background/composite
container clips of a sequence.
While working with multiple tracks, you can use the Track selector to select,
manipulate, delete, ripple, patch, and monitor the tracks. You can use multiple
tracks to layer audio effects and sound, or to add video titles and other effects.
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You can change track properties, such as the track name or the level of detail at
which clips are displayed on a track. By default, tracks are numbered
sequentially (V1, V2, A1, A2, and so on) as they are created on the timeline.
You can also scroll and adjust the heights of tracks.
Overview area
Timeline controls
Ruler
Timeline ribbon
Timeline effect
track ripple
Timeline effect track
Video tracks
Track selector
Background track
Audio track
Timeline navigation bar
Position Indicator
Timecode boxes
For more information, see “Track Selector” in the Help.
To show or hide the Track selector:
t
Right-click the overview area and select Display > Display Control
Area.
Selecting Tracks
You can select one or more tracks at the same time. When you select a track,
you can perform editing operations on the entire track. For example, you can
select two tracks and apply a track-based effect by clicking Video Effect from
the toolbar and choosing an effect from the pop-up menu. This effect will be
applied over all the clips on the selected tracks.
To select a track:
t
Track button
From the Track selector, click the Track button.
The Track button for the selected track is highlighted.
To deselect a track:
t
726
From the Track selector, click the Track button of a selected track.
Creating Sequences
n
You can also activate and deactivate tracks by right-clicking a track and
selecting Live Track.
To select a region on multiple tracks:
1. Drag over a section of the track to select a region.
2. Hold down the Ctrl key and click another track.
The region is highlighted on all selected tracks.
Adding and Deleting Tracks
You can add any number of audio, video, or background tracks to the timeline.
Video tracks are added to the top of the timeline, and audio tracks are added to
the bottom of the timeline. Background tracks are inserted between the audio
and video tracks.
You can also delete tracks that are no longer required in the sequence.
To insert a track on the timeline:
t
Right-click the overview area and select Create Audio Track, Create
Video Track, or Create Background Track.
An empty track is added to the timeline.
n
Tip: You can automatically insert a track when dragging a clip from a bin to
the timeline. Simply drag the clip to the timeline ribbon.
To remove a track from the timeline:
t
Right-click an empty area of the track and select Delete Track.
The selected track and all the clips on it are deleted from the timeline.
Reordering Tracks
You can change the order of the video, audio, and background tracks. You
cannot, however, place a video track below a background track.
Track
button
To reorder tracks:
t
Drag the Track button to a new location.
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Chapter 3 Building a Rough Cut
Setting the Track Height
You can enlarge or reduce the height of the tracks to improve visibility and
display more information within the tracks. You can reduce the track height if
you need more space on the timeline to view other tracks.
n
Reducing the track height may hide any effects you have applied on the
timeline.
To enlarge or reduce the height of tracks:
t
Press Ctrl and drag the line between the Track buttons to change the
height of the track above the line.
Height adjustment
Scrolling Tracks
As you add more tracks, the tracks at the bottom of the timeline scroll off the
desktop. Similarly as you add more clips to a track, they scroll to the right or
left of the desktop.
To scroll tracks vertically:
1. Place the pointer at the far left of the Track selector.
Scroll area
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Creating Sequences
2. When the hand icon is displayed, drag up or down to view additional
tracks.
n
If you hide the Track selector, you can still scroll the tracks vertically by
holding down the X key and dragging the timeline up and down.
To scroll tracks horizontally, do one of the following:
t
Hold down the X key and drag left or right on the timeline.
t
Click the scroll bar on the timeline navigation bar and drag left or right.
The timeline scrolls left or right.
Muting Audio and Video Tracks
If there are several tracks on the timeline and you need to exclude clips from
the preview, you can turn off the audio signal on selected audio tracks or turn
off the video on a selected video track. When the sequence is played, you do
not hear clips on audio tracks that are muted and you do not see video clips in
the viewer for video tracks that are muted.
n
Mute
button
Muted tracks do not contribute to the output sequence.
To turn off the sound on an audio track:
t
Click the Mute button on an audio track.
The Mute button turns red.
To turn off the video playback on a video track:
t
Click the Mute button on a video track.
The Mute button turns red.
Setting Tracks to Solo
When you solo a track, it plays the contents of that track during the preview.
Both active and inactive video clips are displayed in the viewer. With video,
you can only solo one track at a time. With audio, however, you can solo more
than one track. Any tracks that do not have the Solo button activated are not
viewed or heard.
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Chapter 3 Building a Rough Cut
To solo a track:
t
Solo
button
n
Click the Solo button of the tracks that you want to preview.
The Solo button turns green.
The status of the Solo button on each audio track is saved with the sequence.
Changing Track Properties
You can view track information, such as the start and end times, track type,
and number of clips on the track. You can change the properties of any track,
including the track name and level of detail that each clip displays.
To access track properties:
t
Right-click an empty area of the track and select Track Properties.
The Track property editor is displayed.
For information about the Track properties, click the Help button.
To set the level of detail on a track:
1. In the Track property editor, select the General tab.
2. From the Level of Detail list, select one of the following:
n
-
Low to display clips or waveforms with the least amount of detail.
-
Medium to display the start and end thumbnails of clips.
-
High to display the thumbnails of clips at regular intervals and a
detailed view of the audio waveform. You must increase the height of
the track to see the waveform.
Tip: You can also change the level of detail of each clip by right-clicking and
selecting Properties.
3. From the Effect Size list, select one of the following:
-
Small to display the effect bar with no detail.
-
Large to display the name of the effect.
To rename a track:
1. In the Track property editor, select the General tab.
2. In the Name text box, type a name.
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Creating Sequences
n
Depending on the height of your track, you may not be able to view the full
name. If you place the pointer over the track name, however, a tooltip with the
full name is displayed.
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Marking In and Out-points on the Timeline
When you create a new sequence, an in-point is automatically placed at the
beginning of the timeline. If you want to place the clip at a specific timecode,
you can mark the in-point on the timeline where you want to place the clip.
After you place a clip at this in-point, the in-point moves to the last frame of
the clip, ready for you to place the next clip in the sequence.
In-points and out-points let you mark points on the timeline, where you can
insert clips, or replace or overwrite existing clips.
After the in-point and out-point are set on the timeline, the I (in) or O (out)
timecode boxes display the exact timecodes. You can change the position of
the in-point or out-point by typing a new timecode in the corresponding
timecode box, or by dragging the marker along the timeline ribbon. For more
information, see “Timeline Ribbon” in the Help.
Using the Mark Buttons to Set In and Out-points
The Mark In, Mark Out, and Mark In/Out buttons provide an easy way to set
in-points and out-points on the timeline.
To mark an in-point or out-point on the timeline:
1. Place the position indicator at the location where you want to place the inpoint or out-point.
2. Click the Mark In or Mark Out button below the Record viewer.
An in-point or out-point is displayed on the timeline ribbon and in the
position bar below the viewer.
To place an in-point and out-point on a selected region:
1. On the timeline navigation bar, make sure the Selection Mode button is
selected.
2. On the timeline, select a clip, effect, or activeness bar, or drag to define a
region where you want to set the in-point and out-point.
3. On the timeline controls, click the Mark In/Out button.
An in-point and an out-point are displayed on the timeline ribbon and on
the position bar below the viewer.
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Marking In and Out-points on the Timeline
Using Timecode to Set In and Out-points
You can set an in-point or out-point at an exact timecode by typing the
timecode in a corresponding timecode box. For example, if you type
12:00:00:22 in the I (in) timecode box and press Enter, an in-point is marked
at that timecode.
You can also use the scratch pad control to set in and out-points to an exact
timecode.
To mark an in-point or out-point using the scratch pad control:
1. Click the viewer that is displaying a clip or sequence.
2. Press any number on the keyboard.
A timecode box is displayed in the selected viewer.
3. Type the timecode of the frame you want to mark by using the keyboard,
followed by one of the following:
n
When typing a timecode value you can skip fields by typing a dot (.). For
example, type 12..22 for timecode 12:00:00:22.
t
Press the I key to mark the in-point.
t
Press the O key to mark the out-point.
t
Press the D key to set the duration. Positive timecode changes the outpoint and negative timecode changes the in-point.
If you type in a positive timecode, and the in-point is undefined, it is
treated as negative timecode. If you type in a negative timecode, and
the out-point is undefined, it is treated as positive timecode.
The in-point, out-point, or duration for the clip or sequence is set.
n
You can move the in-point, out-point, or position indicator a set number of
frames. In the timecode box, type the number of frame followed by a + (plus
sign) or - (minus sign). Then press I or O to move the appropriate marker.
To close the timecode box:
t
Press the Esc key.
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Chapter 3 Building a Rough Cut
To place an in-point and out-point on a portion of the sequence:
1. Do one of the following:
t
Mark an in-point on the timeline.
t
Mark an out-point on the timeline.
2. In the D timecode box, type the duration of the area you want to mark.
The other marker (in-point or out-point) is displayed on the timeline to
mark the area.
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Displaying Timecodes
Displaying Timecodes
The timecode boxes on the status bar display timecodes for a selected object
on the timeline. You can also use the timecode boxes to enter new values for
the start, end, or duration of a selected object.
The Clip and Timeline options refer to the source and sequence timecodes.
The source timecodes are the actual times taken from the source tape. These
timecodes are displayed when you select a clip that was captured from tape.
The sequence timecodes reflect the current position of clips on the timeline.
These timecodes are used when outputting media.
When you select an object on the timeline, the Start, End, and Duration boxes
display the timecodes of a clip, activeness bar, effect bar, region selection,
transition, or edit point. The In, Out, and Duration boxes display the timecodes
of in and out-points on the timeline ribbon and the duration between them.
You can also use the Timecode view to display the timecodes for a selected
object on the timeline. You can customize the Timecode view to display
various timecodes. For more information, see “Displaying Timecodes in the
Timecode View” on page 735.
For more information, see “Timecode Boxes (Timeline Status Bar)” in the
Help.
Displaying Timecodes in the Timecode View
The Timecode view displays the timecodes for a selected object on the
timeline. You can choose which timecodes to display, show the name and
comments of the clips, and further customize the view. Enlarging the size of
the timecode display allows you to view the timecode from a distance.
n
The Timecode view is essentially a toolbar that you can customize.
You can choose to display the frame counts of various timecodes with the
main timecode being the time base of the timeline. For example, when you are
working with a 24 frame project the timecode frame count is:
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Chapter 3 Building a Rough Cut
Timecode a Frames
24
00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 00
25
00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
25P
00 01 02 03 04 05 06 07 08 09 10 11 13 14 15 16 17 18 19 20 21 22 23 24 00
30
00 01 03 04 05 06 08 09 10 11 13 14 15 16 18 19 20 21 23 24 25 26 28 29 00
a. The timecodes are listed as 24 for 24 fps, 25 for 25 fps, 25P for 25 (PAL with pulldown), and 30 for 30 fps (the count
skips six frames to fit 30 frames into 24 fps).
In the example above for the 30 timecode, drop and non drop frame
conventions are observed. The 02, 07, 12, 17, 22, and 27 frames are dropped
because it is assumed that 01:00:00:00 is an “A” frame.
When in a 30 timecode project, the main timecode is 30 (drop and non drop
frame conventions observed, and the 24 frame timebase has duplicated
timecodes to represent pulldown.
To open the Timecode view:
t
736
Select View > Single-Instance Views > Timecode View.
Displaying Timecodes
To add a timecode display to the Timecode view:
1. Right-click an empty area of the Timecode view.
2. Select Add Timecode Display.
To customize the timecode displays:
1. Right-click any of the timecodes in the Timecode view.
2. Select options from the Timecode Display menu—see “Timecode
Display Menu” in the Help.
To customize the Timecode view:
t
Right-click on the Timecode view and use the Toolbar commands—see
“Toolbars” in the Help.
Displaying the Source Timecodes of a Clip
You can display the source timecodes of a selected clip. You can also display
the source timecode of a selected frame.
If you want to display the source timecode of a frame between the start and
end of the clip, you must place a reference locator at that frame.
To display a clip’s start and end source timecodes:
1. On the timeline, select a clip.
2. On the status bar, select the Clip option.
The clip’s start and end source timecodes are displayed on the status bar.
Selected clip
Timecode of clip
Clip option selected
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To display the source timecode at a specific frame:
1. Place the position indicator on the frame where you want to display the
source timecode.
2. On the timeline, select the corresponding clip and press M.
A reference locator is placed on the clip at the position indicator.
3. Place the pointer over this locator.
A tooltip displays the source timecode at that frame.
Displaying the Sequence Timecodes of a Clip
The sequence timecodes display the current position of an object on the
timeline. You can display the start, end, and duration of a clip, activeness bar,
effect bar, region selection, transition, or edit point.
To display a clip’s timecode in relation to the timeline:
1. On the timeline, select a clip.
2. From the status bar, select the Timeline option.
The clip’s start, end, and duration on the timeline are displayed in the
timecode boxes. If you move the clip on the timeline, the timecode boxes
automatically reflects its new position.
Selected
clip
Timeline timecode of the clip.
Timeline option selected.
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Displaying Timecodes
Moving or Trimming Objects Using the Timecode Boxes
Instead of dragging a clip on the timeline or trimming its end times, you can
type values in the timecode boxes to change the start, end, or duration of
a clip.
In addition, you can use relative input methods to change the timecode values.
This lets you offset the current timecode by a given amount.
The following table summarizes the various means of typing values in
timecode boxes, assuming that the current timecode is 01:12:34:00.
You type
NTSC Result
PAL Result
Description
Absolute Input Method
5223
00:00:52:23
00:00:52:23
Replaces the current
timecode
/5223
01:12:52:23
01:12:52:23
Replaces the rightmost
portion of current timecode
.40
00:00:01:10
00:00:01:15
Replaces the current
timecode with this many
frames (direct frame entry)
10:00.40
00:10:01:10
00:10:01:15
Combines timecode value
with direct frame entry
3:::1
03:00:00:01
03:00:00:01
Skip fields by typing colons
Relative Input Method
110+
110-
01:12:35:10
01:12:32:20
01:12:35:10
01:12:32:15
Increases or decreases the
current timecode by the
value typed
.110+
.110-
01:12:37:20
01:12:30:10
01:12:38:10
01:12:29:15
Increases or decreases the
current timecode by the
number of frames typed
1.10+
1.10-
1:12:35:10
1:12:33:20
1:12:35:10
1:12:32:15
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Chapter 3 Building a Rough Cut
You type
NTSC Result
PAL Result
Description
]
or [
01:12:34:01
01:12:33:29
01:12:34:01
01:12:33:24
Nudges the current
timecode up or down by 1
frame
Ctrl-]
or Ctrl-[
01:12:34:01
01:12:33:20
01:12:34:10
01:12:33:15
Nudges the current
timecode up or down by 10
frames
For example, to move a clip 10 frames forward, type 10+ in the Start timecode
box to move the clip forward by 10 frames. If the Ripple button was activated
when you typed the new start timecode, then the edit will ripple across the
timeline. Similarly, to move a clip backwards by 10 frames, type 10- in the
Start timecode box.
Adjusting the Timeline
Framing the media on the timeline lets you make better use of the overview
area. This is particularly useful when media starts at a timecode other than
00:00:00:00. The Avid DS Nitris system considers the start time of the media
and frames it according to the earliest timecode on which material is present,
as opposed to 00:00:00:00.
To trim the timeline to the media:
t
Right-click the overview area of the timeline and select Trim Timeline to
Media.
The overview area adjusts to show the full length of your sequence.
Changing the Visible Time Span
The visible time span represents the section of the sequence that is currently
visible on the timeline. The visible time span is adjustable, so you can display
individual frames in the sequence, another section of the sequence, or the
entire sequence in the timeline.
Any clip bars that are within the visible time span are displayed on the tracks
in the timeline. You can stretch out the visible time span interactively to zoom
in or out on the timeline. You can also use the timeline controls to adjust the
length of the visible time span.
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Displaying Timecodes
Visible time span
To move the visible time span:
1. Place the pointer over the visible time span.
A double-headed arrow is displayed.
Pointer in visible time span.
2. Drag the visible time span to the section of the timeline that you want to
view.
The timeline displays the clips within the visible time span.
Framing the Timeline to View Selected Objects
You can zoom the view of the timeline to show more detail of selected objects.
To display selected objects on the timeline:
1. On the timeline navigation bar, click the Selection Mode button.
2. Click the objects you want to frame, such as clips or effect bars.
3. Click the Frame Selection button.
The timeline zooms in to display the selected objects.
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Chapter 3 Building a Rough Cut
n
The Frame Selection button is available from the Customize Toolbars window.
For information about adding buttons to toolbars, see “Customizing
Toolbars” in the Help.
Panning and Zooming the Timeline
To display a specific region on the timeline:
Zoom In button
1. Drag over a section of the timeline to select a region.
2. From the timeline controls, click the Zoom In or Zoom to Frame button.
Zoom to Frame
button
The timeline zooms in to display the selected region, while the visible
time span in the overview area scales to highlight the selection.
Using the Zoom Controls
You can change the magnification of the timeline using the zoom controls.
These controls let you zoom in or out to view more or less clip detail.
The displayed region is always centered on the position indicator. As you
move the position indicator, notice how the visible region adjusts to indicate
the section of the sequence that is currently in view.
To zoom the timeline interactively, do one of the following:
t
Hold down the Z key and drag left or right over the tracks.
t
In the timeline navigation bar, drag the scale bar left or right.
To zoom in on a specific clip on the timeline:
t
In the overview area, press Ctrl+F and click a clip bar.
The track of the selected clip immediately comes into view and the entire
clip is displayed.
To zoom in to display less frames:
t
From the timeline controls, click the Zoom In button.
The timeline displays fewer frames, but in greater detail.
To zoom out to display more frames:
t
From the timeline controls, click the Zoom Out button.
The timeline displays more frames, but at less detail.
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Displaying Timecodes
To zoom in to one-frame intervals:
t
From the timeline controls, click the Zoom to Frame button.
The timeline displays one-frame intervals between clip thumbnails. The
position indicator splits to indicate a single frame, a solid blue line is
displayed at the left of the frame, and a dotted blue line is displayed at the
right of the frame. To return to the previous display, click the button again.
Panning the Timeline
If your sequence has several clips, they may not all be visible on the timeline.
You can pan the timeline to focus on different sections of your sequence.
To pan the timeline, do one of the following:
t
Hold down the X key and drag left or right over the tracks.
t
In the timeline navigation bar, drag the timeline scroll bar left or right.
To zoom in or out using the visible time span:
1. Place the pointer over the left or right edge of the visible time span.
An arrow pointing to the right or left is displayed.
2. Drag the edge of the visible time span left or right to zoom the timeline.
The time span lengthens or shortens to display more or less clip detail in
the timeline.
To display all clips on the timeline:
1. In the overview area, place the pointer over the visible time span.
2. Double-click the visible time span.
The visible time span stretches out over all clips on the timeline, so that
you can see all clips in the sequence.
3. Double-click the visible time span to return to the previous zoom area.
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Chapter 3 Building a Rough Cut
Changing the Ruler Display
The ruler in the timeline displays the time scale for your sequence. When
working with video, you can change the time scale to display in frames,
timecode drop frames, timecode non-drop frames, or audio samples. These
options differ between PAL and NTSC formats.
To change the ruler’s time scale:
t
Right-click the ruler and select the appropriate time scale.
The exact timecode at the position of the position indicator is displayed in the
P timecode box on the status bar. Depending on the ruler time scale you select,
the timecode is displayed in hours, minutes, seconds, and frames/audio
samples.
Ruler time scale
Timecode display format
SMPTE NTSC drop frame
23:59:59;29
SMPTE NTSC non-drop frame 23:59:59:29
25 fps (PAL only)
23:59:59:23
Audio samples
23:59:59.47999
Display as Frames
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Displaying Different Rulers
While working in a container clip, you can set the ruler to display the time
scale of the current container clip, its parent container, or the top timeline.
This is useful when you want to verify the location of a clip or effect in
relation to the top timeline.
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Displaying Timecodes
n
By default, a container clip’s timeline always starts at 00:00:00. This makes it
easier to determine the duration of the container clip.
To display a different ruler:
t
Right-click the ruler and select a ruler.
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Chapter 3 Building a Rough Cut
Viewing a Sequence as a Hieracharical Tree
Structure
The Sequence view displays the timeline as a hierarcharical tree structure. The
root of the hierarchy is your sequence, which you can expand to show
individual video and audio clips, and container clips. Container clips can be
further expanded to show their contents. Items that you select in the Sequence
view are also selected on the timeline.
There are two viewing modes in the Sequence view: Show All Content and
Show Content at Time. You can select a viewing mode from the drop-down
menu at the top.
Sequence view list
To access the Sequence view, do one of the following:
t
t
Select View > Single-Instance Views > Sequence View.
From the view switcher, click the Sequence view button.
To view all the clips in your timeline:
t
From the Sequence view list, select Show all content.
The Sequence view displays all the clips in your sequence, from the top
timeline on down through all your container clips.
To view all the clips at the current playback position:
t
746
From the Sequence view list, select Show content at time.
Viewing a Sequence as a Hieracharical Tree Structure
The Sequence view displays all the clips in your sequence at the current
playback position, from the top timeline on down through all your
container clips.
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Chapter 3 Building a Rough Cut
Playing Sequences
You can use various Record viewer buttons, the position indicator, and
keyboard keys to play and shuttle your sequence.
Using the buttons below the Record viewer, you can play back your sequence
in the Record viewer and on the external monitor. When you play the
sequence, only its active frames are displayed in the Record viewer (or heard
on the speakers), allowing you to view the sequence as it will appear in the
final sequence. While previewing, however, you can play selected tracks of
your sequence to isolate some sounds or images. For information, see
“Working on the Tracks” on page 725.
n
You can use variable-speed play controls (J-K-L keys on the keyboard) to
shuttle, step, or pause during playback. For more information, see “Varying
the Playback Speed” on page 750.
Go to End/Fast Forward
Go to Start/Rewind
Frame Backward
Frame Forward
Play/Stop
Position indicator
Skipped Frame indicator
Position bar
10 Frames Backward 10 Frames Forward
Play From In/Out-point
Loop
For more information, see “Transport Controls” in the Help.
While playing a sequence, you might see one of the following messages
display in the viewer:
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Message
Description
Processing Needed
Some clips, on which you’ve placed effects, need to be
processed before you can see the results.
Playing Sequences
Message
Description
Media not Available
There is no media for this clip at the quality (resolution and
compression) that you have specified in your sequence
preferences—see “Understanding Video Quality Matching”
on page 686.
Media not Found
Avid DS Nitris could not find the media for this clip. The
media may have been deleted or moved to another location,
or the connection to your storage may be faulty. If the
media has been deleted, you will need to recapture it at the
quality specified in your sequence preferences.
To play a sequence:
1. Deselect the Mute button on the Track selector for all tracks.
n
Muted tracks do not play back.
2. Click the Go to Start button below the Record viewer.
The position indicator moves to the start of the sequence.
3. Click the Play button below the Record viewer.
If you’re playing a video sequence, the Record viewer updates
accordingly.
n
When playing your sequence, the Play button may turn amber if any frames
are skipped during playback. Frame skipping may occur when it reaches a
point where a frame cannot be computed before display time. For more
information, see “Playing Real-Time Effects” on page 900.
To stop playing a sequence during playback, do one of the following:
t
Click the Play button below the Record viewer.
t
Click the Record viewer.
t
Click the timeline ruler.
t
Press the space bar.
The position indicator moves to the position you clicked and playback stops.
To skip to a new position on the timeline and keep playing:
t
Press Shift and click the new position on the timeline ruler.
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Chapter 3 Building a Rough Cut
To scrub clips on the timeline:
t
On the timeline ruler, drag right or left to play or rewind the clips at your
own speed, or
t
Drag the position indicator in the position bar below the Record viewer.
To isolate specific tracks when playing the sequence:
Mute
Solo
1. In the Track selector, do one of the following:
t Click the Solo button on the video or audio tracks that you want to
play.
t
Click the Mute button on the audio tracks that you do not want to
play.
2. Click the Play button below the Record viewer.
Only the images or sounds from the selected tracks are played.
Varying the Playback Speed
The J-K-L keys on the keyboard let you play back, step, and shuttle through
footage at varying speeds. This feature, also referred to as three-button or
variable-speed play, lets you use three fingers to manipulate the speed of
playback for greater control. You can also use the J-K-L keys to perform
smooth audio scrubbing of selected tracks.
To shuttle through the footage using the J-K-L keys on the keyboard:
1. Deselect all objects in the timeline before shuttling through the footage.
2. Use the following keys to shuttle at varying speeds:
t
750
Press the L key to move forward through the footage at normal speed.
You can increase the speed by pressing the L key a number of times.
Press the L key
To play footage at
NTSC rate
PAL rate
24p rate
2 times
2x normal speed
60 fps
50 fps
48 fps
3 times
3x normal speed
90 fps
75 fps
72 fps
4 times
5x normal speed
150 fps
125 fps
120 fps
5 times
8x normal speed
240 fps
200 fps
192 fps
Playing Sequences
t
Press the J key to move backward at the same shuttle speed
increments.
t
Press the K and L keys together for slow forward (8 fps for NTSC, 6
fps for PAL, and 6 fps for 24p projects).
t
Press the K and J keys together for slow backward.
t
Hold down the K key and press the L or J key to step through footage
one frame at a time.
3. Press the K key to pause the shuttling.
4. Press the spacebar to stop the shuttling.
To shuttle clips using the position indicator do one of the following:
t
Drag the position indicator in the position bar right or left to fast forward
or rewind the clips on the timeline.
t
On the timeline ruler, drag the position indicator left or right. The farther
you drag, the faster the playback speed.
Moving to Points on the Timeline
There are several ways to move around on the timeline. You can move the
position indicator manually to any frame in your sequence, use the buttons
below the Record viewer, or type a timecode in a timecode box to quickly
move to marked points on the timeline.
To move the position indicator, do one of the following:
t
Click any point in the Timeline Ruler.
t
t
Click any point in the position bar below the Record viewer.
Deselect the Selection Mode button in the timeline navigation bar, and
then click any point on the timeline.
t
The position indicator moves to this position and the Record viewer
displays the frame at this timecode.
Click the Go to In or Go to Out button if there is an in-point or out-point
in the timeline ribbon.
The position indicator moves to the specified point.
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Chapter 3 Building a Rough Cut
To move the position indicator to a specific timecode do one of the
following:
t
Drag the position indicator left or right while reading the timecode
displayed in the P (position indicator) timecode box.
The exact position of the position indicator is displayed.
n
t
Type a value in the P (position indicator) timecode box.
t
Without selecting any timecode boxes, type a timecode value and press
Enter.
When typing a timecode value you can skip fields by typing a dot (.). For
example, type 12..22 for timecode 12:00:00:22.
t
Select a reference locator from the Locator view.
Moving to Edit Points on the Timeline
You can move the position indicator to the next or previous edit point in the
sequence.
To move the position indicator to an edit point:
1. Right-click Trim Mode button and deselect Autoswitch.
2. Do one of the following:
t
Press the , (comma) key to move the position indicator to the previous
edit point.
t
Press the . (period) key to move the position indicator to the next edit
point.
The position indicator moves to the specified point.
Looping Clips
You can play back a section of the timeline continuously by marking it with in
and out loop markers. This is useful if you want to view a small section of the
sequence while editing.
To loop a clip:
1. On the timeline navigation bar, click the Selection Mode button.
2. Do one of the following:
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Playing Sequences
t
Select a clip.
t
Select a region by dragging over a section of the timeline.
The selected area or clip becomes highlighted.
3. Click the Loop button below the Record viewer.
Loop markers are displayed on the timeline ribbon at the beginning and
end of the selected region or clip including pre-roll and post-roll.
n
You can also select an effect bar, transition area, or activeness bar for looping.
If no objects are selected on the timeline, then the loop markers surround the
position indicator.
4. Adjust the loop markers by dragging them to the appropriate timecodes.
Timeline ribbon
Loop markers
5. Click Play to play the clips within the specified region.
The marked section continues to play until you click Play again.
6. Click the Loop button again to deactivate loop mode.
Viewing Unprocessed Frames
While playing a sequence, the message “Processing Needed” is displayed in
the Record viewer if clip effects in your sequence have not been processed. To
view a clip before processing its effects, you can either play it frame by frame
or preview it. Previewing an effect reduces the quality of the picture during
playback in order to process each frame at an acceptable speed.
To play a clip frame by frame:
1. Press Ctrl and click Play to play your video clip frame by frame.
The playback is slow since each frame needs to be processed. Each
processed frame is stored temporarily as an interactive cache, so the next
time you visit that frame, the results appear instantly in the viewer.
n
In this mode, the video plays but the audio is muted.
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Chapter 3 Building a Rough Cut
2. Click Play again to stop playing the clips.
To preview a clip with an effect:
1. From the effect’s property editor, click the Preview button.
The preview will loop until you stop it. The playback is choppy since
Avid DS Nitris drops frames in order to display the effect.
n
In this mode, the video plays but the audio is muted.
2. Click the Preview button again to stop playing the clip.
Using the Position Bar
The position bar, below the Source and Record viewers, lets you view the
location of the position indicator, locators, animation keys, and timecode as
well as set an in-point and an out-point.
You can rescale the position bar below the Record viewer to zoom the object
selected in the timeline.
The locators on the position bar correspond to the locators on the timeline
ribbon. However, locators in the position bar cannot be moved, deleted, or
edited. To do so, you’ll have to access them from the timeline ribbon.
The animation keys in the position bar correspond to the animation keys in the
animation editor. You can only view and reposition animation keys in the
position bar. For any other type of editing of the animation keys, you will have
to use the animation editor.
Position indicator
Position bar
Out-point
In-point Locator
Animation key
To move the position indicator and in/out-points:
t
754
In the position bar, drag the position indicator or in/out-points and move it
to a new location.
Playing Sequences
To delete in and out-points or animation keys:
t
In the position bar, select the in or out-point or an animation key, and press
Delete.
To show or hide locators, tick marks, animation keys, and timecode:
t
Right-click the position bar and select an option.
To display the animation keys of a clip:
t
Select the clip from the timeline.
To snap the position indicator to an animation key:
t
Press Ctrl and select the animation key in the position bar.
To change the range of the position bar to the selected object:
1. Select an object on the timeline.
2. Right-click the position bar below the Record viewer and select Zoom to
Selection.
For more information, see “Position Bar Menu” in the Help.
Switching Viewers
At times, it is useful to enlarge either the Source or Record viewer, or both, for
a better view of your clips.
To switch between single and dual viewers:
1. Select the Source or Record viewer.
2. In the viewer tools, click the Single/Dual button above the selected
viewer.
The selected viewer and its transport controls are displayed.
To enlarge or reduce both viewers:
t
Press F12 to enlarge or reduce the size of the viewers.
The viewers are displayed full-screen.
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Chapter 3 Building a Rough Cut
Setting True Video Display
Since the ITU-R 601 standard specifies a higher horizontal than vertical
resolution (or a 0.9 ratio), images appear stretched horizontally when
displayed on your computer monitor. To get a more accurate view of your
sequence as it will appear on a video monitor, you can set the viewer to display
non-square pixels.
To display non-square pixels:
t
Right-click the viewer and deselect Square Pixels.
The viewer displays your image in non-square pixels.
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Playing Sequences
Zooming or Panning the Viewers
You can zoom or pan the viewer by using the Viewer menu or the keyboard
shortcuts, which allow you to work interactively with the viewer.
The Viewer property editor provides settings for various zoom and pan
controls. For example, you can set the options to automatically zoom and pan
when you are using the interactive tools, such as graphics and paint tools,
Shape tool in the Matte and Keyer effects, DVE tool, and Tracker tool. For
more information, see “Viewer Property Editor” in the Help.
n
The keyboard shortcuts for zooming or panning the viewer also work on the
timeline and animation editor.
To zoom in the viewer, do one of the following:
t
Hold down the Z key and drag on the viewer using left mouse button to
select a region to zoom or using right mouse button to zoom interactively.
t
Right-click the viewer and select Zoom > zoom level.
t
Position the pointer on the area of the viewer you want to zoom in on and
press Alt+Q.
t
Press Alt+Z to zoom by steps set in the Viewer Properties property editor.
To zoom out the viewer, do one of the following:
t
Right-click the viewer and select Zoom > zoom level.
t
Interactive zoom (X or Y axis): Hold down the Z key and right-drag on the
viewer.
t
Press Alt+Q again to return to the previous zoom level.
t
Press Alt+X to zoom by steps set in the Viewer Properties property editor.
To incrementally zoom the viewer:
1. Right-click the viewer and select Viewer Properties.
2. On the Display property page, set the following:
-
In the Steps text box, set the level to zoom quickly or slowly with
Alt+Z (zoom in) and Alt+X (zoom out).
-
In the Quick Zoom Level text box, type your preferred zoom level.
3. Position the pointer on the area of the viewer you want to zoom in and
press Alt+Z repeatedly until you reach the desired zoom level.
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Chapter 3 Building a Rough Cut
To pan the viewer:
t
Hold down the X key and drag on the viewer.
To reset zoom or pan, do one of the following:
t
Hold down the Z key and click the viewer to reset zoom.
t
Hold down the X key and click the viewer, or right-click the viewer and
select Reset Pan & Zoom to reset pan.
t
Hold down the Z+X key and click a viewer to reset zoom and pan.
Displaying Overlays
While working with the viewers, visual indicators for the head, tail, in and
out-points, and locators make editing quicker. A sawtooth pattern indicates the
head and tail of a clip.
Sawtooth
pattern indicates
head of clip.
Locator
To display the viewer overlays:
1. Select File > User Preferences.
2. On the Editing property page, select Show Overlays in Viewer.
The visual indicators for the head, tail, in/out-points, and locators are
displayed in the Source and Record viewers.
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Manipulating Clips
Manipulating Clips
After placing all your clips on the timeline, you can begin arranging them to
create a rough cut of your sequence. You can then adjust the edit points
between clips, as well as move, copy, or delete them.
n
As you rearrange your clips, the impact on other clips and their activeness
depends on what you select and whether or not the Ripple mode is activated.
When the ripple mode is on, any change to the length of a clip propagates
across the timeline to subsequent clips. For more information, see “Rippling
Clips” on page 793.
Selecting Clips
All editing tasks are based on what you select on the timeline. The clips are
associated with tracks, activeness bars, edit points, transition bars, effect bars,
and regions. Selecting and manipulating any of these objects affects the
position and appearance of the clip in the final output. When editing clips, you
typically work on one clip at a time.
Before you can select objects on the timeline you must click the Selection
Mode button on the timeline navigation bar to enter Selection mode.
The following illustration shows the selectable objects on the timeline.
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In-point
Clip
Effect bar
Selected
region
Tracks
Activeness bar
Transition
Edit point
To select clips on the timeline:
1. On the timeline navigation bar, click the Selection Mode button.
2. Do one of the following:
t
To select a single clip, click a clip.
t
To select multiple clips, click the first clip, press Ctrl, and click any
other clips you want to select.
t
To select multiple clips within the track area, hold down the Shift key
and drag right to left over the clips you want to select.
The selected clip(s) are surrounded by a red border. When a single clip is
selected the timecode boxes on the status bar reflect its start and end
positions. The D (duration) timecode box specifies the length of time
between the two points. You can adjust the in, out, and duration timecodes
by typing values directly in the timecode boxes. This is useful when you
know the exact timecode where you want to move a clip.
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Manipulating Clips
Clip start
Clip end
Clip duration
Moving Clips
You can drag clips along the same track to move them to a different point in
time. You can also drag clips from one track to another.
Synchronized video and audio clips always move together. If you need to
move them independently, you must unlock them first. For more information,
see “Synchronizing Clips” on page 798.
Moving Objects on the Timeline
You can use the J-K-L keys on the keyboard to move objects on the timeline to
the timecode of the position indicator.
To move objects using the JKL keys:
1. Select File > User Preferences.
2. On the Editing property page, select the Selectable Objects (J-K-L keys)
options for the objects you want to move.
3. Select one or more objects on the timeline. These could be either locators,
markers, clips, activeness bars, effect bars, or edit points.
4. Press the J key or the L key to start playing.
5. Press K when you are at the desired frame. The selected object(s) are
automatically moved to this timecode.
Moving Clips on the Same Track
You can drag a clip anywhere along a track. If there are other clips in its path,
it passes directly over these clips if the Ripple mode is activated. If it is not,
then you must move it around these clips.
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To drag a clip horizontally:
1. On the timeline navigation bar, click the Selection Mode button.
2. Click a clip to select it.
A red border surrounds the clip and the pointer changes to a move cursor.
3. Drag the clip right or left.
To drag multiple clips horizontally:
1. On the timeline, select multiple clips.
2. Drag one of the clips in the selection right or left.
To move a clip with its activeness:
1. Press Shift and click the clip to select it.
A blue border surrounds the clip and the pointer changes to the Move with
Activeness cursor.
2. Drag the clip right or left.
The clip retains its activeness and changes the activeness of any clips with
which it collides.
To move multiple clips with their activeness on background tracks:
1. On the timeline, select multiple clips.
2. Press Shift and drag the clips in the selection right or left.
The clips in the selection retain their activeness and change the activeness
of any clips with which they collide.
To move one clip past another on the same track:
1. Drag a clip to the timeline ribbon.
A shadow is displayed on the timeline as you drag the clip.
2. Without releasing the mouse button, drag the clip back to the original
track and drop it at the new location.
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Manipulating Clips
Moving Single Clips between Tracks
When you move clips to a different track, clip shadows appear on the timeline
where the clips will be placed.
To move a clip to a different track:
t
Using the ruler as a guide, drag a clip to a different track.
To move a clip to a different background track with its activeness:
1. Press Shift and click a clip to select it.
2. Using the ruler as a guide, drag the clip to the appropriate track.
To move a clip to a different track and constrain it to the same
timeline location:
1. Select the clip.
2. Press U and drag the clip to another track.
Moving Multiple Clips between Tracks
You can move multiple clips of different types between tracks simultaneously.
The clips that you select do not have to be on the same track.
To move multiple clips to different tracks:
1. On the timeline, select multiple clips.
2. Using the ruler as a guide, drag a clip to a different track.
The Track Router dialog box is displayed.
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3. Specify the destination track for the material in each selected track, and
click OK.
The selected clips are moved to the specified destination tracks.
To move multiple clips to different tracks with their activeness:
1. On the timeline, select multiple clips.
2. Drag the clips to a different track.
The Track Router dialog box is displayed.
3. Specify the destination track for the material in each selected track, and
click OK.
The selected clips are moved to the specified destination tracks.
To move multiple clips to different tracks and constrain them to the same
timeline locations:
1. On the timeline, select multiple clips.
2. Press the U key, and drag a clip to a different track.
The Track Router dialog box is displayed.
3. Specify the destination track for the material in each selected track, and
click OK.
The selected clips are moved to the same timeline locations on the
specified destination tracks.
Renaming and Adding Comments to Clips
You can rename clips in a bin or on the timeline. Since clips on the timeline
are copies of the clips in the bin, renaming a clip on the timeline has no effect
on the name of the source clip in the bin. In the Clip property editor, you can
also add comments to clips as notes or reminders for yourself.
To rename a clip on the timeline:
1. Right-click a clip in the timeline and select Properties.
2. In the Name text box, edit the name of the clip and press Enter.
The new name is displayed on the clip in the timeline.
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Manipulating Clips
To add comments to clips:
1. Right-click a clip in the timeline and select Properties.
2. In the Comments text box, type your notes and press Enter.
When you reopen the clip properties dialog box, the comments are
displayed in the Comments box.
Cutting Clips
Cutting a clip in two lets you manipulate the pieces independently of each
other.
To cut a clip:
1. Place the position indicator at the point where you want to apply the cut.
2. From the toolbar, click Editing > Add Edit.
Although the clips appear to have been cut into two, you can still stretch
them both out to their original size by revealing the extra frames. For more
information, see “Revealing Unused Material on Clips” on page 768.
n
The Add Edit command duplicates the clip or container clip on the timeline.
Although the duplicated clip or container clip doesn’t appear on the timeline,
it does double the size of the information on the timeline and every element in
the container clip.
Copying Clips
You can easily copy clips on the timeline. When you copy a clip, you do not
duplicate the media stored on disk. Both clips still refer to the original media.
When you make a copy of a clip on the timeline, the new clip’s name is
prefixed by “Copy of...”. For example, if the original name of a clip is Car, and
you copy the clip to a new track, the copied clip is now called Copy of Car. If
you copy the same clip again to another track, the name of the new clip is
Copy 2 of Car. This numbering scheme continues for each copy you create of
the clip.
To copy a clip:
1. On the timeline navigation bar, click the Selection Mode button.
2. Select one or more clips to copy.
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Chapter 3 Building a Rough Cut
3. Select Edit > Copy.
4. Place the position indicator at the precise timecode that you want to place
a copy of the clip, and click the Track button.
5. Select Edit > Paste.
A copy of the clip is displayed at the location of the position indicator.
You can stretch this new clip out to reveal the necessary frames. The name
of the copy is prefixed by “Copy of...”.
Deleting Clips from the Timeline
You can delete any clip on the timeline. This removes the clip from the
timeline. The master clip in the bin and its media are not affected.
To delete a clip, do one of the following:
t
Select a clip or group of clips, and press Delete.
t
Right-click a clip or a multiple clip selection, and select Delete Clip.
The clip or selection is removed from the timeline.
n
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If you created clips on the timeline from an AFE file, an AAF file, an EDL, or
an OMF file without creating master clips in a bin, the clips on the timeline
are the only instances of these clips. If you remove them from the sequence,
they will no longer exist anywhere in your project. If there was media
associated with these clips it will remain on your storage device, but you will
not have access to it because it is no longer associated with any clip. The
media will remain on your storage device until it is deleted when you purge
unreferenced media.
Manipulating Clips
Lifting Material
Lifting lets you remove selected material from a track in the sequence and
leaves a gap. You can later move or fill this gap with other footage. When you
lift material, the overall duration of the track (or sequence) remains the same.
Material is placed in
the Clipboard.
Lifted Clip X
Clip W
Blank space
Clip Y
Clip Z
To lift material:
1. Mark in and out-points at the start and end of the material in the sequence
that you want to lift.
2. Select the tracks that contain the material.
Material is lifted from the selected tracks only.
3. Click the Lift button to complete the edit.
Extracting Material
Extracting lets you remove selected material from a track in the sequence and
closes the gap left by its removal. When you extract material, the duration of
the track or sequence is shrunk.
Extracted Clip Y
Before
extract
After
extract
Clip X
Clip Y
Material is placed in
the Clipboard.
Clip Z
Track is shortened
Clip X
Clip Z
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To extract material:
1. Mark in and out-points at the start and end of the material in the sequence
that you want to extract.
2. Select the tracks that contain the material.
Material is extracted from the selected tracks only.
3. Click the Extract button to complete the edit.
n
If the clip is sync-locked with another audio or video clip, the other clip
remains on the timeline. You must delete it independently.
n
If Ripple mode is on, however, all the sync-locked elements are deleted.
Revealing Unused Material on Clips
When editing, you often need to see how much material is available at the
head or tail of a clip. When you display unused material, the selected clip
displays red handles on its top corners. These are the reveal handles; when
stretched out, they show any extra frames in a clip.
Reveal in handle
Reveal out handle
Shows extra frames at
the head of Smell clip.
Shows extra frames at the tail of Smell clip.
Extra frames
Activeness bar indicates
active frames in clips.
To display unused material:
t
768
Right-click the overview area and select Display > Display Unused
Material.
Manipulating Clips
To reveal or hide frames of unused material on a clip:
1. On the timeline navigation bar, click the Selection Mode button.
2. Select a clip.
3. Place the pointer over the reveal handle of a clip.
An arrowhead pointing left or right is displayed.
Reveal handles
Extra material
n
You can view extra material only when there is empty space on the track.
Editing on multiple tracks gives you this flexibility.
4. Drag the reveal handles left or right to show or hide unused material.
-
To reveal more frames on the clip, drag the handle outwards. You can
only reveal as far as the last frame on the source clip.
-
To hide frames on the clip, drag the handle inwards. You can only
hide frames up to the active area of the clip.
Changing the Activeness of Clips
Activeness refers to the sections of a clip that are available for the final
sequence. The timeline uses a bottom-up hierarchy for video tracks when
playing sequences. When active clips on the top tracks overlap active clips on
lower tracks, the clips on top track are viewed on top of the clips on the lower
tracks during playback.
These active frames are indicated by the activeness bar below a clip. When
you play a sequence, you can view and hear the active frames of a clip
depending on the clip’s location on the timeline and the track selector settings.
Inactive frames still appear in the timeline, but are not seen or heard when the
sequence is played.
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Activeness bars indicate active clip frames.
You can adjust the activeness bar to add or remove active frames at the head or
tail of the clip. You can also activate or deactivate the entire length of the clip
using the tools on the NLE Tools toolbar.
Activating and Deactivating Clips
In addition to adjusting the activeness bar to trim the heads or tails of clips,
you can also activate or deactivate all the frames in a clip. This is useful when
you have multiple layers of video effects and need to isolate clips on lower
tracks for viewing. Activating a clip on a video track does not change the
activeness of any other clips that overlap it. However, when you activate a clip
on a background track, the overlapping areas of other clips become inactive.
To activate or deactivate the full length of a clip:
1. Place the position indicator at the point where you want to apply the cut.
Selected clip
Before
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Manipulating Clips
2. From the toolbar, click Editing and select one of the following:
-
Activate to make all the currently displayed frames in the selected
clip active.
Activated clip
Video track
After
Activeness bar is added.
Background track
Activated clip
After
Overlapping areas of other
clips become inactive.
-
Activeness bar is
added.
Deactivate to make all frames on the selected clip inactive.
Deactivating a clip does not change the activeness of any other clips
that overlap it.
To activate or deactivate a region of a clip:
1. On the timeline navigation bar, click the Selection Mode button.
2. Drag over a section of a clip.
The selected region is highlighted.
3. From the toolbar, click Editing and select one of the following:
-
Activate to make all the frames in the selected region active.
-
Deactivate to deactivate the selected region.
The activeness bar is removed from the selected region.
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Selected region
Before
After
Deactivated section
n
You can also right-click an activeness bar and select Delete Activeness. This
removes its activeness bar.
Activeness of clips on background tracks is not always recalculated when you
deactivate clips or move them on the timeline. You can activate any section of
a selected clip on a background track where it does not overlap other active
clips on background tracks, by using the Fill Activeness command.
To fill in the activeness of a clip:
t
Right-click the clip that needs to be activated and select Fill Activeness.
The clip becomes active wherever there are no other active clips on
background tracks.
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Using Locators
Using Locators
The timeline ribbon displays locators, in-points, out-points, loop markers, and
indicates the portions of your timeline that may require processing.
Locators let you set reference points on the timeline, so that you can easily
move to areas of interest. The locators can also be used to help synchronize
clips. Locators display on the timeline ribbon and in the position bars.
You can add locators to clips in the Source viewer to mark a specific timecode.
n
Tip: All locators on the timeline ribbon can also be accessed from the
Locators view in the Avid Explorer. For information, see “Displaying Locator
Information” on page 774.
In-point
Out-point
Global locator
Loop markers
Timeline ribbon
Local locator
Clip locator
Locators and markers have magnetism, which pulls a clip in when it is moved
within close proximity to a locator or marker.
n
Tip: At times, it may be difficult to position a clip because there are too many
locators nearby. You can override magnetism by holding down the Shift key
while dragging the clip.
There are two main types of locators:
•
Clip locators are for marking a reference point on a clip.
•
Reference locators are for marking a reference point on the timeline.
You can use locators to synchronize clips on the timeline. Once you set a
locator, you can drag it to a new location, rename it, or add comments to the
locator.
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You can place locators on the timeline ribbon or directly on a clip. A locator
placed on the timeline ribbon remains fixed on the timeline. A locator placed
on a clip is fixed to that point on the clip. When the clip moves, its locator
moves with it.
Displaying Locator Information
The Locators view displays information on all the locators on the timeline,
including the timecode and author comments. Locators are a type of electronic
bookmark, which allow you to find and identify specific frames during
editing.
Using the Locators view as an outline for a show lets you easily jump to any
position within a longer timeline without having to scroll through the timeline
or zoom out and in.
You can also sort on various criteria in the Locators view headings, such as
position, comment, type (clip/timeline/global), video/audio tracks, review and
approval, created by, time, and version.
To access the Locators view:
t
In the My System panel of the Avid Explorer, double-click Views >
Locators.
The Locators view is displayed in a bin.
Locators
Bin tools
Sorting Information in the Locators View
Depending on how you like to view information, you can sort or reverse sort
the locators.
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Using Locators
To sort the locators:
t
Click the column heading of the column that you want to sort.
If the information in the column was in ascending order, then the
information is changed to descending order, and vice versa.
Name column in ascending order.
Name column in descending order.
Setting Reference Locators
You can place reference locators on the timeline ribbon to mark a specific
timecode at which you want to sync a clip or mark events for reference.
Reference locators can be either global or local. Global locators are visible on
the current timeline and within any container clips. Local locators are visible
only on the current timeline.
To place a local locator on the timeline, do one of the following:
t
Double-click the timeline ribbon where you want to set the locator.
t
Right-click the overview area and select Add Locator at Playback
Position > color.
A numbered locator is set on the timeline ribbon at the specified timecode.
To place a global locator on the timeline:
t
Right-click the overview area and select Add Global Locator at
Playback Position > color.
A numbered locator is set on the timeline ribbon at the specified timecode.
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Chapter 3 Building a Rough Cut
To place a locator on a clip in the Source viewer:
1. Move the position indicator located below the Source viewer, to the point
at which you want the locator to be placed.
2. Click the Locator button on the toolbar.
n
Tip: To change the name or color of the locator, and add comments, open the
locator’s property editor by right-clicking the locator and selecting Locator
Properties.
Placing Locators on Clips
Locators are useful for synchronizing clips with other clips or specific points
on the timeline. You can set locators at any point on a clip.
n
Clip locators do not move with the edit points. If you change activeness on a
clip, you will have to re-mark the edit points.
To place a locator on a clip:
1. Move the position indicator to the point at which you want the locator to
be placed.
2. Right-click the clip, and select Add Locator > At Playback Position >
color.
A colored locator with a numbered label is set on the selected clip at the
position indicator. Each time you add a locator to the clip, the number on
the locator name increments. The numbering starts at 1 on each clip on
which you place locators.
Clip locator
To set a locator at the start or end of a clip:
1. Right-click a clip, and select Add Locator and one of the following:
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At Clip Start to add a locator at the in-point.
Using Locators
-
At Clip End to add a locator at the out-point.
2. Select a color for the locator.
To set locators at the edit points:
t
Right-click a clip and select Add Locator > At Edit Points > color.
Moving Locators
After you have set locators, you can move them to different positions. You can
even move a locator from a clip to the timeline ribbon or vice versa.
Clip locators have magnetism, which forces clips to snap to other timeline
objects when they are in close proximity to each other.
n
If the Locator option is selected in the User Preferences dialog box (Editing
property page), you can use the J-K-L keys to move locators in the timeline.
To move a locator on a clip:
1. On the clip, place the pointer over the triangular portion of a locator.
2. When the double-headed arrow is displayed, drag the locator to a new
location.
Move Locator cursor
To move a locator on the timeline ribbon:
1. On the timeline ribbon, place the pointer over a locator.
2. When the double-headed arrow is displayed, drag the locator to a new
location.
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To move a clip with a locator:
1. On the clip, place the pointer over the square portion of a locator.
2. When the crosshair cursor is displayed, drag the locator left or right.
The clip moves with the locator as you drag it to a new location. The
locator keeps its position on the clip.
Move Clip Locator cursor.
To move a clip locator to the timeline ribbon:
1. On the clip, place the pointer over the triangular portion of a locator.
2. When the double-headed arrow is displayed, drag the locator up to a
position on the timeline ribbon.
The clip locator turns into a reference locator on the timeline ribbon.
To move a clip locator to the timeline ribbon and constrain it to the same
timeline location:
t
Hold down the U key and drag the locator up to a position on the timeline
ribbon.
The clip locator turns into a reference locator on the timeline ribbon in the
same timeline location.
To move a local locator to a clip:
1. On the timeline ribbon, place the pointer over a local locator.
2. Drag the locator to a position on a clip.
The local locator turns into a clip locator.
To move a local locator to a clip and constrain it to the same timeline
location:
t
778
Hold down the U key and drag the locator to a position on the clip.
Using Locators
The local locator turns into a clip locator at the same timeline location.
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Chapter 3 Building a Rough Cut
Deleting Locators
When locators are no longer needed, you can delete them through the Locators
view or on the timeline.
To delete locators using the Locators view:
1. In the Locators view, select one or more locators.
2. Do one of the following:
t
Press Delete.
t
Right-click one of the locators and select Delete Locator.
The selected locators are removed.
To delete a locator on the timeline:
t
On the timeline ribbon, right-click a locator and select Delete Locator.
To delete multiple locators on the timeline:
1. On the timeline ribbon, press Ctrl and click the locators that you want to
delete.
The locator(s) are selected.
n
You can only select multiple locators of the same type. That is, clip locators
must be selected separately from other types of locators on the timeline
ribbon.
2. Press the Delete key.
To delete all locators:
t
Right-click the timeline and select Delete All Locators.
Moving to Locators
Once you’ve placed locators on clips or the timeline, you can easily jump to
these reference points. When you jump to a locator and there is an active
frame at that point, it is displayed in the viewer.
To jump to a locator, do one of the following:
780
t
In the Locators view, double-click a locator.
t
In the Locators view, right-click a locator and select Go To Locator.
Using Locators
t
On the timeline ribbon, select a locator.
t
On the timeline ribbon, right-click a locator and select Go to This
Locator.
The position indicator immediately moves to the selected timecode.
t
On the NLE Tools toolbar, click Navigation > Go to Next Locator or Go
to Previous Locator.
To move to an in or out-point:
t
If there are any in-points or out-points on the timeline ribbon, click the Go
to In or Go to Out button on the transport controls to place the position
indicator at the respective points.
The position indicator immediately moves to the selected timecode.
n
In-points and out-points of clips on deactivated tracks are skipped when you
move between edit points on the timeline. For more information, “Selecting
Tracks” on page 726.
Annotating Locators
You can rename or add descriptions to your locators for future reference.
Adding comments to locators is a convenient way of noting any specific
frames that need color correcting, scratch removal, trimming, or review and
approval by the client.
To annotate a locator:
1. On the timeline ribbon, right-click a locator and select Locator
Properties.
2. In the Name text box, type a name for the locator.
This name is displayed next to the locator when you click it.
3. In the Comments text box, type a more detailed description for the locator.
Changing the Color of Locators
Identifying specific locators is easier with the use of color. With eight colors to
choose from, you can, for example, use red to mark frames that contain
scratches and blue for frames that need some color correction. Once you
choose a color for a locator, it is used in the Locators view, timeline ribbon,
and position bar.
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To change the color of a locator:
1. In the Locators view, right-click a locator and select Color.
2. Select a color from the menu.
The color of the locator is changed in the Locators view, timeline ribbon,
and position bar.
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Finding Frames, Clips, and Bins
Finding Frames, Clips, and Bins
You can retrieve additional material from a master clip, a subclip, or subclip’s
master clip, as well as locate the bin in which you saved your clip.
When you perform a match frame, the master clip or subclip that corresponds to
the currently selected frame is located, and the source master clip or subclip is
loaded in the Source viewer.
Performing a match bin is the same as performing a match frame, but it also
selects the original clip and displays its location in a bin.
Matching a Frame in a Master Clip or Subclip
You can locate the source clip (a master clip or subclip) for the frame currently
displayed in either the Record viewer or Source viewer. This feature is useful
when you want to relocate and reedit source material, such as subclips and
master clips.
Match framing loads the source clip into the Source viewer for the frame
currently displayed in the active viewer (Source viewer or Record viewer). It
cues to the matching frame in the source clip and marks an in-point. Any
original in-point or out-points are removed from the source clip.
You can also use the Match Frame feature to locate clips quickly, based on
media relatives, when you have forgotten their location. For example, you can
matchframe a cut in the sequence to its original subclip, matchframe the
subclip to the original master clip, and then locate the bin in which the master
clip is saved. Match framing stops when you reach the master clip.
n
You can also locate frames in a sequence that match a selected source
frame—see “Performing a Reverse Match Frame” on page 785.
Match framing does not create a permanent sync relationship between clips
but provides a convenient way of locating, marking, and editing matching
material.
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You cannot perform a match frame directly on a container clip, unless it is a
timewarp container. You must first open the container clip and select the
desired clip. For sync-locked master clips, select either the audio or video clip,
and Avid DS Nitris will locate the corresponding video and audio components
of the source media.
To locate the source clip of a selected frame:
1. Load a sequence on the timeline or a subclip into the Source viewer.
2. Move the position indicator to the frame you want to match.
3. Do one of the following:
t
If matchframing from a sequence, click the clip to select it.
t
In the Track selector, select the track for the frame that you want to
match—see “Track Selector” in the Help.
4. Click the Match Frame button below the viewer displaying the desired
frame to match.
The clip’s corresponding master or subclip is located and loaded into the
Source viewer, and markers are added to indicate the source in and outpoints of the clip. The position indicator below the Source viewer is
placed at the precise timecode to match the frame you selected for match
framing.
Length of parent/master clip
Length of clip on timeline
Position bar
In-point
Position indicator
Out-point
5. (Option) Click the Match Frame button below the Source viewer to
locate the next corresponding parent clip.
6. If necessary, you can replace frames at this point—see “Placing Pre-edited
Clips on the Timeline” on page 715.
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Finding Frames, Clips, and Bins
Performing a Reverse Match Frame
You can locate the frames in a sequence that match the frame selected in the
Source viewer. If the frame exists in more than one place, the sequence cues to
the first location of the match frame and continues through the sequence to
subsequent locations each time you click the Reverse Match Frame button.
You can perform reverse match frames on sequences that contain timewarp
container and container clips. However, you might receive false-positives for
position/speed timewarp container clips. For example, the timewarp is
highlighted as containing the frame, but the frame is not present in the
timewarp container clip.
To perform a reverse match frame:
1. Load a sequence on the timeline.
2. Load the source clip in the Source viewer.
3. In the Track selector, select the tracks you want to search for the matching
frame—see “Track Selector” in the Help.
4. Move the position indicator to the frame that you want to match.
5. Click the Reverse Match Frame button.
The sequence is cued to the first matching frame.
6. Click the Reverse Match Frame button again to continue locating
matching frames in the sequence.
Finding the Bin for a Clip or Subclip
You can locate the bin for any clip selected on the timeline or displayed in the
Source viewer. You cannot do this directly on a container clip. You must first
open the container clip and select the desired clip. For sync-locked clips, you
can select either the audio or video clip to find the bin containing the selected
clip’s master clip or subclip.
To find the bin containing a clip or subclip:
1. Move the position indicator to the desired frame.
2. Click the Match Bin button below the active viewer.
The bin containing the clip’s corresponding master or subclip is displayed
with the master or subclip selected. The master or subclip is loaded into
the Source viewer and markers are added to indicate the source in and out785
Chapter 3 Building a Rough Cut
points of the clip on the timeline. The position indicator below the Source
viewer is placed at the precise timecode to match the currently displayed
frame on the timeline.
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Extracting Parts of a Sequence
Extracting Parts of a Sequence
You can extract portions of your sequence to create new master clips. You can
create master clips from selected regions on the timeline, or from selected
objects.
This is useful when you’re satisfied with the effects that you’ve applied to a
clip, and you want to create a new master clip that includes the effects, or
when you want to create a single master clip from the contents of a container
clip. Combining effects or container contents in a single clip can help to
reduce processing time.
You can convert individual clips, multiple clips, or regions of the timeline to
new master clips. If you’ve selected regions of the timeline or multiple
timeline objects, you can create a single new master clip that combines all of
the selected timeline material, or multiple new master clips; one for each
selected object. You can automatically replace the existing timeline material
with the new master clips.
n
If you create a single master clip from both audio and video material, the
result is a combined audio and video clip.
You can also specify what types of tracks to convert from the timeline, and
configure processing options.
Converted clips will include timeline material in different ways, depending on
how you select material.
If you select...
The new master clip will include...
One clip
The clip and all of its effects.
Multiple clips on one
track
All selected clips, all clip effects, and track effects.
Frames in the new master clip are black for the duration of
unselected material between clips.
Multiple clips on multiple All selected clips, all clip effects, all track effects, and
tracks
timeline effects. Frames in the new master clip are black
for the duration of unselected material between clips.
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If you select...
The new master clip will include...
Time span on one track
All material in the selected time span, including clips, clip
effects, and track effects. Frames in the new master clip
are black for the duration of unselected material between
clips.
Time span on multiple
tracks
All material in the selected time span, including clips, clip
effects, track effects and timeline effects. Frames in the
new master clip are black for the duration of unselected
material between clips.
Time span on the timeline All material in the selected time span.
effect track
Converting a Timeline Region or Object
You can convert a portion of your timeline or an object on the timeline to a
master clip.
To convert a region of your timeline or a timeline object to a clip:
1. On the timeline navigation bar, click the Selection Mode button.
2. Do one of the following:
t
On the timeline effect track, drag to select a region.
t
Select one or more objects on the timeline.
3. From the toolbar, click Generate > Timeline to Clip.
4. In the Timeline to Clip Options dialog box, select the appropriate options.
5. Click OK.
The new clip is processed and saved to the bin you specified.
For detailed information on the Timeline to Clip properties, click the Help
button.
Creating Multiple Clips
You can convert a timeline region or multiple selected clips into multiple
master clips.
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Extracting Parts of a Sequence
To create multiple clips from objects on the timeline:
1. On the timeline navigation bar, click the Selection Mode button.
2. Do one of the following:
t
On the timeline effect track, drag to select a region.
t
Select one or more objects on the timeline.
3. From the toolbar, click Generate > Timeline to Clip.
4. In the Timeline to Clip Options dialog box, select the appropriate options,
making sure to deselect Create one clip and click OK.
For detailed information on the Timeline to Clip properties, click the Help
button.
The new clips are processed and saved to the bin you specified.
n
You cannot create multiple clips from a selected timeline region. To create
multiple clips, you must multi-select objects on the timeline.
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Replacing Timeline Material
Replacing the timeline material overwrites the Timeline to Clip source
material with the new master clip.
To replace material on the timeline with new master clips:
1. On the timeline navigation bar, click the Selection Mode button.
2. Do one of the following:
t
On the timeline effect track, drag to select a region.
t
Select one or more objects on the timeline.
3. From the toolbar, click Generate > Timeline to Clip.
4. In the Timeline to Clip Options dialog box, select the appropriate options,
making sure to select Replace Selection.
For detailed information on the Timeline to Clip properties, click Help.
5. Click OK.
The new clip is processed and saved to the bin you specified. The Timeline to
Clip Options dialog box is closed, and you are returned to the timeline. The
new clips appear on the timeline in place of the selection.
n
790
You cannot replace a region of the timeline with multiple clips, even if the
region spans multiple clips. Instead, clips, or parts of clips in the selected
region, will be replaced with a single clip.
Grabbing Frames
Grabbing Frames
You can create master clips or image files from the frame currently displayed
in the Record viewer.
Creating a Master Clip from a Snapshot
You can create a master clip from the image on which the position indicator is
currently positioned. The master clip is automatically captured (logged and
digitized) under the name and location you specify. The resulting master clip
is identical to other master clips and lets you to recapture it at a different
resolution or compression ratio. You can specify the length of a master clip.
To create a master clip:
1. On the timeline, move the position indicator to the desired frame.
2. From the toolbar, click Generate > Snapshot to Clip.
3. In the Save Snapshot dialog box, specify the bin and file name, and
click OK.
n
The Snapshot to Clip command works best with images that are set to
uncompressed and full D1 resolution.
A master clip is created in the bin you specified.
Creating an Image File from a Snapshot
You can export an image of the frame on which the position indicator is
currently positioned. The image is exported as a bitmap image file in one of
several formats and saved in a bin you specify.
To create an image file:
1. On the timeline, move the position indicator to the desired frame.
2. From the toolbar, click Generate > Snapshot to File.
3. In the Export to File dialog box, specify the bin, file name, and file type
and click OK.
4. Depending on the file type you select, a dialog box might display that lets
you to set options, such as video levels, bit depth, and compression.
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The image file is saved in the bin you specified. You can import the file
into Avid DS Nitris or use it in other applications.
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Rippling Clips
Rippling Clips
The Ripple mode lets you preserve the integrity of previous edits as you
continue to perform other edits on the timeline. As you move, trim, insert, or
delete clips on the timeline, you can decide if the clips that follow the edit
point should move to accommodate the change.
Inserting clips in Ripple mode.
You can ripple all tracks (timeline effect, video, background, and audio) across
the timeline or limit the rippling only to the video tracks or other selected
tracks. For example, if you’ve already edited your video clips, and now want
to work on the audio alone, simply activate the Ripple mode only for the audio
tracks.
n
When you activate the Ripple mode on any background track, it is also
activated on all background tracks. Only the audio and video tracks can be
rippled on a per track basis.
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Working in Ripple mode is like working in insert mode. When you insert a
clip anywhere along the timeline, any successive clips are automatically
pushed later in time. Any clips that are sync-locked, such as the audio and
video components of a clip, are rippled in sync. The edits of any preceding
clips are not affected.
When you’re not in Ripple mode, you’re in the default overwrite mode. Any
clip that you place on the timeline occupies the space in which it was placed. It
does not change the position or activeness of the other clips.
To activate or deactivate Ripple mode:
1. From the timeline controls, click the main Ripple button.
The Ripple mode is activated. By default, the Ripple buttons on all the
tracks are also activated and highlighted in blue. This makes all clips in a
sequence ripple across the timeline as you perform your edits.
Activate Ripple mode
Main Ripple button
Activate timeline
effect track ripple
Activate track ripple
2. Deactivate the Ripple button on tracks that you do not want to ripple as
you insert new clips on the timeline.
3. To deactivate the Ripple mode, click the main Ripple button.
The Ripple mode is deactivated for all tracks on the timeline.
Notice that the setting of the Ripple buttons on the tracks is preserved
even after the Ripple mode is deactivated. Although the buttons are not
highlighted in blue, they still appear activated.
Active state is
preserved
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Rippling Clips
This indicates that you’re inserting clips from the Source viewer to the
timeline. The Insert button on the Source and Record viewer temporarily
activates the Ripple mode, allowing you to ripple clips on tracks where
this button is activated. For more information, see “Manipulating Clips”
on page 759.
Setting a Ripple End
You can select a timecode beyond which you no longer want to work in Ripple
mode. Setting the ripple end at this timecode leaves Ripple mode on for the
preceding time span, and turns it off for the succeeding time span.
When you place clips on the timeline before the ripple end, any successive
clips will be pushed up to, but not beyond the ripple end timecode. Clips
placed after the ripple simply occupy the space where they are placed, without
changing the position or activeness of the other clips.
To set the ripple end:
1. Move the position indicator to the timecode where you want to deactivate
Ripple mode.
2. From the toolbar, click Editing > Set Ripple End.
A light blue bar is displayed on the timeline, indicating the end of the
ripple zone.
To reactivate Ripple mode for the complete timeline:
t
Move the position indicator to the ripple end timecode and click Editing >
Set Ripple End again.
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Chapter 3 Building a Rough Cut
Inserting Clips in Ripple Mode
You can insert clips at a specified point on the timeline by activating the
Ripple mode. When the clip is inserted, all other clips from that point are
pushed forward.
To insert a clip on the timeline:
Main Ripple button
1. From the timeline controls, click the Main Ripple button.
2. Click the Ripple button on the tracks that you want to ripple forward.
3. Drag a clip from a bin or Source viewer to the timeline.
All other clips from that timecode forward are rippled on the tracks where
the Ripple mode was activated. If you inserted the clip in the middle of
another clip, that clip is split into two and the new clip is inserted between
them.
n
Press the V (insert) or B (overwrite) keys while dragging clips to the timeline
will override the current ripple setting.
Inserting clip in Ripple mode.
Before
Insertion point
Ripple mode on
Ripple mode off
Only clips on the tracks in
Ripple mode are moved.
Inserted clip
Remainder of clip is rippled.
After
Clip not rippled.
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Rippling Clips
Editing Clips in Ripple Mode
When moving, trimming, or deleting clips while in Ripple mode, it’s
important to preserve the integrity of edit points on other clips. Any edits that
you perform to one clip affects all successive clips on the timeline.
Instead of rippling all clips on the timeline, you can select the tracks on which
you want clips to ripple. This is useful, for instance, when you do not want the
trimming of video clips to affect the audio clips.
To edit a clip in Ripple mode:
Main Ripple button
1. From the timeline controls, click the main Ripple button.
2. Click the Ripple button on the tracks that you want to ripple.
3. Adjust the clip’s edit points as necessary.
All clips are moved left or right to accommodate the changes on the
selected clip.
If you delete a clip, all succeeding clips are moved together to close the
gap where the clip was active.
Position of clips before deletion.
Clip to be deleted.
Position of clips after deletion (in Ripple mode).
Clips moved by amount of
deleted clip’s activeness.
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Chapter 3 Building a Rough Cut
Synchronizing Clips
Synchronizing (syncing) clips refers to aligning points on different clips, so
that they occur simultaneously. When you synchronize clips in
Avid DS Nitris, you can sync-lock them together, so that they do not fall out of
alignment. You can break the sync-lock on clips at any time to edit them
independently of each other.
A locked group of synchronized clips is called a sync group. Each sync group
has a master clip and one or more slave clips. The master clip acts as the focal
point for the sync group, and the position of slave clips is always relative to the
master clip’s position.
One of the most common synchronization tasks that you can perform is
syncing audio clips with video clips, so that the sound in the audio clip
matches the action in the video clip.
Aligning Clips for Synchronization
Using locators can help you synchronize video and audio clips. You can place
reference locators on the timeline ribbon and then drag the clip locator to align
it with the reference locators or with other clip locators.
To align a clip at a specific timecode:
1. Move the position indicator to the timecode at which you want to
synchronize the clips.
2. Right-click the timeline ribbon and select Add Locator at Playback
Position > color.
This places a local locator on the timeline ribbon to define the point at
which to align your clips.
3. Right-click the clip and select Add Locator > location.
A clip locator with a triangular head is displayed on the clip.
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Synchronizing Clips
Reference locator
Clip locators
4. Place a locator on each of the other clips that are to be aligned.
5. Drag the head of the clip locator left or right to align it with the reference
locator.
The clip turns blue and moves with the locator as you drag it. When you
get close to the reference locator, the magnetism between the locators
helps align the clip.
Audio and video clips
aligned at position of
reference locator.
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Chapter 3 Building a Rough Cut
6. Align the other clips in the same way.
Creating a Sync Group
Once you’re satisfied with the way the clips are aligned, you can lock them
together in a sync group. When you move one clip, the rest of the group moves
with it. This is especially useful when trimming audio and video clips on
multiple tracks, because the sound and accompanying images are trimmed
in sync.
You can have any number of video or audio clips synchronized together, but
you must select at least two clips to apply a sync-lock. The master clip is the
center of the sync group. If the position of any clip is offset, the offset will
always be displayed as the number of frames from the master clip.
When you create a sync group, the order in which you selected the clips is
maintained. If you delete the master clip in the group, the second clip that you
originally selected becomes the new master clip.
n
When a clip containing both audio and video is placed on the timeline, its
audio and video components fall on separate tracks as individual clips. These
clips remain sync-locked to each other.
To lock clips in sync:
1. Align your clips on the timeline.
2. Do one of the following:
t
Press Ctrl and click at least two clips to lock together.
t
Place the position indicator on the clips you want to lock together.
3. From the toolbar, click Editing > Sync Lock.
The name of the first clip that you selected ends with “Master” while the
names of the other clips end with “Slave”.
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Synchronizing Clips
Master clip
Slave clip
n
If the selected clips are already synchronized, when you click Editing > Sync
Lock the synchronization is broken. The Sync Lock command can lock clips
and unlock clips, depending on the synchronization status of the clips.
Adding to an Existing Sync Group
As you place clips on the timeline, you can add them to existing sync groups.
If, for example, you have a sync group containing a video track and an audio
track, you can align a second audio track with the sync group, and add it to the
group when you’re satisfied with its position.
To add clips to a sync group:
1. On the timeline navigation bar, click the Selection Mode button.
2. Select a clip from the sync group to which you want to add the clip.
3. Press Ctrl and select the clip that you want to add to the sync group.
4. From the toolbar, click Editing > Sync Lock.
The clip is added to the sync group.
Combining Two Sync Groups
You can combine two or more sync groups to form a single group, containing
all of the clips in the original groups. The clips in the second group that you
select are appended, as slave clips, to the first group that you select.
To combine existing sync groups:
1. On the timeline navigation bar, click the Selection Mode button.
2. Select a clip from the sync group that you want to combine with
another group.
3. Press Ctrl and select a clip from the group that you want to add.
4. From the toolbar, click Editing > Sync Lock.
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Chapter 3 Building a Rough Cut
The groups are merged into a single sync group. The clips in the added
group are all slaves and the master of the first group remains the master.
Unlocking Synchronized Clips
You can remove individual clips from a sync group without removing them
from the timeline. When a clip is no longer synchronized, you can edit it
independently of the other clips in the group. If you remove the master clip
from a sync group, the next clip that you originally selected becomes the new
master clip.
n
Applying the Timewarp, Interlace/Deinterlace, and 3:2 Expand/3:2 Contract
effects automatically breaks the lock on synchronized clips.
To break a sync-lock:
1. Do one of the following:
t
t
Place the position indicator on the synchronized clips.
On the timeline navigation bar, click the Selection Mode button, and
select one or more synchronized clips.
2. From the toolbar, click Editing > Sync Lock.
Only the selected clips are removed from the rest of the sync group, and
can now be edited independently.
Manipulating Synchronized Clips
You can select and move synchronized clips the same way that you would with
non-synchronized clips. There are, however, a few differences.
When you select synchronized clips, they are surrounded by a red border.
Other clips in the group are surrounded in yellow to indicate that they’re part
of the same group, but were not directly selected. If you multi-select clips in a
group or select an entire group, the selected clips will share the focus, and be
surrounded in brown.
When you move synchronized clips, the entire group moves together. You can,
however, move single clips in a sync group independently of the other clips in
the group. For more information, see “Manipulating Clips” on page 759.
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Synchronizing Clips
Selecting All Clips in a Sync Group
You can select all of the clips in a sync group at the same time. This is useful
if, for example, you want to delete an entire sync group.
To select all clips in a sync group:
1. On the timeline navigation bar, click the Selection Mode button.
2. Click one clip from the group that you want to select.
3. From the toolbar, click Editing > Select Sync Peers.
All clips in the sync group are selected. Selected clips have red handles
and an orange outline.
Moving Synchronized Clips Independently
When Ripple mode is off, you can move one clip in the sync group
independently of the other clips in the group. Moving synchronized clips
independently creates an offset between the master clip and slave clips. When
an offset occurs, the name of each offset slave clip turns red, and includes the
number of frames by which it is offset from the master clip.
n
If you move a group’s master clip independently, all of the slave clips in the
group will show an offset.
To move a synchronized clip independently:
1. Make sure that the Main Ripple button is deselected.
2. On the timeline navigation bar, click the Selection Mode button.
3. On the timeline, select the clip that you want to move.
4. Press the W key, drag the clip along the timeline.
The position of the other clips in the sync group will not change. Any
resulting offsets will be displayed next to the names of the slave clips.
Cutting Synchronized Clips
You can cut one or more clips in a sync group in two. When you cut a single
clip, the part that you cut off remains synchronized as a new clip. If you cut
multiple clips in a group, the two new clips or group of clips become a new
sync group with the same master/slave relationships as the original group. For
more information, see “Cutting Clips” on page 765.
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Chapter 3 Building a Rough Cut
Editing Synchronized Clips
The same rules that apply to editing clips on the timeline apply to all
synchronized clips. That is, you can still move, slide, or trim them.
When you edit synchronized clips, red handles appear on the first selected edit
point. You can use the trim handles to adjust the clip as necessary. If you want
to trim multiple clips in the group simultaneously, you can select the edit
points of all sync group members at the same timecode.
To select all synced edit points at a specific timecode:
1. On the timeline navigation bar, click the Selection Mode button.
2. Select an edit point of a clip in the sync group.
3. From the toolbar, click Editing > Select Sync Peers.
All of the sync group members’ edit points, at the same timecode, are
selected. The clips can now be edited simultaneously.
n
When working with synced audio and video clips, it may be necessary to trim
an edit point on one clip independently of the others. For example, if you want
a synchronized audio clip to continue for a few seconds past the end of its
video clip peers, you can perform a split edit. For more information, see
“Selecting Trim Sides” on page 818.
Resyncing Clips
Offsets that were created by moving a synchronized clip independently of its
peers can be corrected, partially or even completely, by resyncing the clip.
Resyncing slips the offset clip until the offset is back to zero, or until the offset
clip runs out of unused material. For more information, see “Understanding
Slipping or Sliding Clips” on page 836.
To resync an offset clip:
1. On the timeline navigation bar, click the Selection Mode button.
2. On the timeline, select the offset clip.
3. From the toolbar, click Editing > Resync.
The clip is slipped until the offset is corrected, or no unused material is
left.
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Synchronizing Clips
Deleting Synchronized Clips
When you delete a sync-locked clip, only the highlighted clip is deleted. The
other clips that were synchronized with it remain synchronized. If you delete
an entire group, none of the clips remain on the timeline.
If you delete a group’s master clip, the second clip that you selected when you
created the group becomes the new master clip. All subsequently selected
clips remain as slave clips.
If the group from which you deleted the clip contained only two clips, the
other clip in the group will remain on the timeline as a single clip (neither
master nor slave).
To delete a synchronized clip:
1. On the timeline navigation bar, click the Selection Mode button.
2. On the timeline, select a clip to delete.
A red border surrounds the selected clip.
3. Press Delete to delete the clip.
The selected clip is removed. If the group contained more than two clips,
the next selected clip in the group becomes the new master clip.
To delete a sync group:
1. On the timeline navigation bar, click the Selection Mode button.
2. Select one clip from the group that you want to delete.
3. From the toolbar, click Editing > Select Sync Peers.
4. Press Delete to delete the clip.
The selected group is removed.
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Chapter 3 Building a Rough Cut
Referencing Sequences
Referencing other sequences lets you add placeholders to other sequences on
the timeline in the current sequence. These placeholders are called reference
clips.
A reference clip points to another sequence within the current project. Because
reference clips only point to a sequence, they consume less memory and load
faster than container clips. This improves performance on complex timelines.
Using a reference clip also lets you work on that portion of your sequence
separately. Once it’s updated, the changes are automatically reflected in
sequences that contain this reference clip.
n
Sequences that reference other sequences might not reflect changes if the
referenced sequence contains a reference clip to another sequence. For
example, if sequence C references sequence B, and sequence B references
sequence A; then any changes to sequence A will not appear in sequence C
until you open and save sequence B. The reason for opening and saving
sequence B is to update its information about sequence A, because sequence C
only sees sequence A through sequence B.
Creating Reference Clips
You can create a reference to any sequence that exists within the current
project. A reference clip cannot be placed on a track if it completely covers
another clip. In this case, you must place the reference clip on a different track.
To create a reference to an existing sequence:
1. Select a sequence from the Avid Explorer.
2. Press the Alt key and drag the sequence to the timeline.
The sequence is displayed as a clip on the timeline.
Converting a Container Clip to a Reference Clip
You can lighten the load on your timeline and improve performance by
converting complex container clips to reference clips. This saves the contents
of the container clip to disk as a sequence. In the container clip’s place on the
timeline a reference clip points to the saved sequence.
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Referencing Sequences
To convert a container clip to a reference clip:
1. Right-click the container clip and select Convert to Reference Clip.
You are prompted to save your current sequence.
2. Click OK to save the current sequence and continue.
The current sequence is saved, and the container clip is saved as a
sequence with the same name as the container clip.
To open a reference clip:
1. On the timeline navigation bar, click the Selection Mode button.
2. Select the reference clip.
3. From the toolbar, click Editing > Expand Ref Clip.
To close a reference clip:
t
From the toolbar, click Editing > Collapse Ref Clip.
The reference clip is closed and the top timeline is displayed.
Processing Reference Clips
If a reference clip contains any unprocessed material, then the marker ribbon
and/or clip is highlighted in red and a message “Referenced sequence needs
processing” is displayed in the Record viewer during playback.
n
Processing a reference clip from a master sequence using the Process
Reference command does not let you select processing options. The referenced
sequence is processed according to the processing options of that sequence,
except that it will change the mode to Minimal.
To process a single reference clip:
1. Place the position indicator on a reference clip you want to process.
2. From the toolbar, click Processing > Process Reference Clip.
You are prompted to save the current sequence.
3. Click OK to save the current sequence or click Cancel to bypass the save.
Avid DS Nitris closes the current sequence, opens the referenced
sequence, processes it, saves it, and then reloads the original sequence.
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Chapter 3 Building a Rough Cut
To process the entire timeline, including any reference clips:
1. From the toolbar, click Processing > Process Timeline and References.
You are prompted to save the current sequence.
2. Click OK to save the current sequence or click Cancel to bypass the save.
Avid DS Nitris processes the entire timeline, and also opens and processes
any reference clips on the top timeline.
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Chapter 4
Trimming Clips
This chapter describes how to trim edit points after you create a rough
cut sequence.
•
Workflow: Trimming Clips
•
Understanding Trimming
•
Methods of Trimming
•
Understanding Trim Mode
•
Selecting and Breaking Edit Points
•
Performing a Basic Trim
•
Creating Overlap Edits
•
Trimming Container Clips
•
Trimming Transition Effects
•
Understanding Slipping or Sliding Clips
•
Maintaining Sync While Trimming
Chapter 4 Trimming Clips
Workflow: Trimming Clips
Trimming is the process of fine-tuning the transitions between clips to create
smooth transitions for the final sequence.
The following illustration shows how you can trim edit points.
1
Select either edit handles, trim
handles, or clips.
Trim handles
2
Perform a dual-roll trim or a single-roll trim.
Drag the selected trim object right or
left to trim the edit point.
Clip
Before
<Edit handles
3
Trim with Ripple mode to change
recording timecode.
After
4
Transition area
Main Ripple button
Trim clips using Trim mode.
Enter Trim mode to display the
incoming and outgoing frame for
fine-tuning the trim.
810
Trim transition effects.
Use the tools in Trim mode or drag the
transition’s edit points to trim transition effects.
Set Ripple mode to change the recording
timecode when trimming with trim handles.
5
Trimming to
the left.
6
Slip or slide a clip using Slip/Slide mode.
Enter Slip/Slide mode to display the
head, tail, incoming, and outgoing
frames when slipping or sliding a clip.
Understanding Trimming
Understanding Trimming
Basic editing in the timeline initially produces a rough cut, which can be
loosely defined as a series of straight-cut edits with many rough edges and few
effects. After creating a rough cut, you can fine-tune the transitions between
each clip or between several clips. You can also trim edits as you build a
sequence rather than create a rough cut first.
Trimming lets you fine-tune the incoming or outgoing frames at the edit points
of a clip. Each clip has elements that you can select and edit: the trim handles
and edit points. Edit points are located at the ends of the activeness bar of a
clip, or where it transitions to another clip.
Selected activeness bar.
Edit points
The activeness bar also displays any transition effects that were applied to the
clip, such as a dissolve, wipe, or crossfade. Transition areas have their own
edit points that indicate the beginning and end of the transition. For more
information, see “Applying Transitions” on page 908.
Edit point
Edit point
Transition area
Activeness bar
When you select an edit point, it displays trim handles and edit handles at that
edit point.
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Chapter 4 Trimming Clips
Trim-out handle
Changes the outgoing
frame on clip A.
Trim-in handle
Changes the incoming
frame on clip B.
Base edit handle
Changes edit time without moving clips.
The edit point identifies the time at which the indicated frame will start or end
recording. You can trim clips by adjusting the edit or trim handles at an edit
point.
Trimming the edit handle changes the incoming or outgoing frame and the
recording timecode. Adjusting the trim handle changes the incoming or
outgoing frame, but keeps the recording timecode (unless in Ripple mode).
For more information, see “Rippling Clips” on page 793.
When trimming clips, it’s helpful to know how much material you have
available. You can use the Display Unused Material mode to see how many
extra frames you have available at the head or tail of a clip. For more
information, see “Revealing Unused Material on Clips” on page 768.
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Methods of Trimming
Methods of Trimming
There are two methods in which you can trim clips. Both methods have their
advantages:
•
Interactively on the timeline
When you trim clips on the timeline, you immediately see how it affects
the other clips in the sequence. Also, when you select and drag an edit or
trim handle, the frames are updated in the Record viewer, so that you can
search for frames as you trim the clip.
•
Using the Trim mode
This mode provides a set of controls for fine-tuning edits, as well as
viewing the incoming and outgoing frames at the same time. It also
provides more controls for performing trimming tasks.
For more information, see “Understanding Trim Mode” on page 814.
n
When trimming a clip, you may want to preserve the integrity of edit points on
other clips. To do this, you must deactivate the Ripple mode on the timeline.
Trimming a clip provides different results depending on whether you’re
working in Ripple mode or not. For more information, see “Rippling Clips” on
page 793.
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Chapter 4 Trimming Clips
Understanding Trim Mode
The Trim mode provides a close-up view of a clip, so that you can trim the clip
on a frame-by-frame basis. The results are the same as if you were dragging
the clip’s trim handles or edit points on the timeline, except that you are given
more tools to work with in the Trim mode.
The Trim mode lets you precisely trim the incoming and outgoing frames at
the selected edit point of clips on the timeline. You can adjust frames at an edit
point by entering new in and out times or by using the trim buttons to move the
frames incrementally.
The information in the Trim mode is based on what you select on the timeline.
You must first select an edit point or transition between two clips to see the
incoming or outgoing frames in the Trim mode. Use the Previous Edit and
Next Edit buttons in the Trim mode to go to an edit point.
Select the incoming or outgoing frame, and use the trim buttons to change the
position of the edit point in the corresponding clip. If you select both panes, by
clicking between the incoming and outgoing views or by holding the Shift key
and selecting them one at a time, clicking the trim buttons will move the edit
point without changing the position of either clip.
814
Understanding Trim Mode
Outgoing frame
Trim Mode
Incoming frame
Transition buttons
Transport controls
Trim Nudge buttons
Transition Alignment
Frame Offset Counters
Transition Duration Timecode box
For detailed information on the Trim Mode controls, click the Help button.
Entering and Exiting Trim Mode
You can enter Trim mode either manually or automatically when you select an
edit point on the timeline.
To manually access the Trim mode:
1. From the taskbar, click the Editing button.
2. From the timeline navigation bar, click the Selection Mode button to
switch to Selection mode.
3. Select an edit point in the timeline.
4. From the timeline navigation bar, click the Trim Mode button.
The Source/Record viewers are replaced with the Trim mode and trim
controls. If you did not select an edit point before entering Trim mode, the
transition nearest the position indicator is selected for trimming.
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Chapter 4 Trimming Clips
To automatically access the Trim mode when you select an edit point:
1. Right-click the Trim Mode button and select Switch for Edit.
2. Right-click the Trim Mode button and select Autoswitch.
When you select an edit point in the timeline, you access Trim mode. Deselect
Switch for Edit to return to manually accessing the Trim mode.
To exit Trim mode, do one of the following:
t
From the timeline navigation bar, click the Trim Mode button.
t
From the timeline navigation bar, click the Source/Record view button.
t
Click a location in the timeline. The position indicator moves to the
location and returns to navigation in Source/Record view if the
Autoswitch command is selected.
Trimming Clips in Trim Mode
You can select the clip to be trimmed by clicking the Incoming or Outgoing
frame in the Trim mode. A red border around the view indicates that it is
active. If you want to trim the edit point between two adjoining clips, select
both the Incoming and Outgoing frames by clicking between the incoming and
outgoing views or by pressing the Shift key and clicking each frame.
There are several ways of trimming clips:
•
Drag the trim-in or trim-out handles left or right to change the incoming
or outgoing frames of a clip. This does not change the recording timecode.
•
Drag the edit handle left or right to change the start or end time at which a
clip is recorded. This also changes the incoming or outgoing frame. When
trimming with the edit handles, it does not matter if Ripple mode is on or
off.
•
Use the Nudge Right 1 Frame (>), Nudge Right 10 Frame (>>), Nudge
Left 1 Frame (<), and Nudge Right 10 Frame (<<) buttons to move the
clip/edit point forward or backward and trim frames at the selected edit
point. As you trim the edit point, the frames of the clip are hidden or
revealed to reflect the new incoming or outgoing frame.
These buttons appear dimmed when there are no more frames available at
the head or tail of the clip.
816
Understanding Trim Mode
•
Enter values in the Frame Offset Counter text box to move the edit point
forward or backward. A positive number moves the edit point forward,
and a negative number moves it backward.
•
Use the J-K-L keys to trim the selected edit point.
As you trim clips in the Trim mode, the timeline updates to reflect the new
edit points.
Reviewing a Trim Edit or Transition in Trim Mode
After you trim an edit point in Trim mode, you can review the trim edit to
verify the trim. You can also play a transition in a loop to view the transition.
There are two procedures for reviewing a trim edit or playing a transition
while in Trim mode.
To review the most recent trim edit or play the selected transition using
the Play Preview button:
t
Click the Play Preview button.
The Avid DS Nitris system enters a playback loop. This loop begins at a
preroll point before the transition and ends at a postroll point, pausing
briefly before beginning playback again.
To review the most recent trim edit or to play the selected transition:
1. Click the Loop button.
The Loop mode is activated and loop markers appear on the timeline
ribbon.
2. Click the Play button.
Avid DS Nitris enters a playback loop. This loop begins at a pre-roll point
before the transition and ends at a post-roll point, pausing briefly before
beginning playback again.
n
To make adjustments to the playback loop for preroll or postroll, see “Editing
Property Page” in the Help.
3. Stop the playback loop by clicking the Play button again.
4. Click the Loop button again to deactivate the Loop mode and remove the
loop markers.
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Chapter 4 Trimming Clips
Selecting and Breaking Edit Points
Before you can trim a clip, you need to select an edit point. When you select
an edit point on a clip, its trim handles and edit handles are displayed.
Depending on the type of trim you want to perform, you can select and
deselect the various trim handles and edit handles.
When an edit point is selected, all other edit points at that timecode are also
selected. You can break linked edit points to trim the clips independently of
each other.
n
Before you can select edit point and trim handles on the timeline, you must
click the Selection Mode button on the timeline navigation bar to enter the
Selection mode.
Selecting Trim Sides
You can select and deselect the various trim handles and edit handles of a
clips’s edit point. When you select an edit point you are selecting the clip’s in
or out-point.
With video clips, an edit point is shared when one clip intersects with another.
If you adjust this edit point, you perform a dual-roller trim in which both clips
are trimmed simultaneously.
You can perform a single-roller trim by selecting either an in-point or
out-point. You can also select edit points on multiple audio and video clips at
the same timecode. This is useful when editing synchronized audio and video
clips. When an edit point is selected, you can turn it on or off. This is
especially useful if you want to break an edit point, so that you can trim clips
independently of each other (or perform a split edit).
To select an edit point, do one of the following:
t
On the activeness bar, click an edit point.
t
In Trim mode, click the Go to Previous Edit or Go to Next Edit button.
By default, Avid DS Nitris selects the nearest transition in either direction
of selected tracks for trimming.
818
Selecting and Breaking Edit Points
To select edit points on multiple audio and video clips:
t
t
t
Press Shift and drag left to right on the timeline to surround the transitions
you want to trim.
This method is useful when you need to select multiple transitions
staggered across parallel tracks (overlap cuts) for simultaneous trimming.
Press Shift and click an edit point.
All other edit points at the same timecode are selected regardless of the
clip type.
Press Ctrl and click an edit point to select or deselect the edit point or trim
handles for single-roll trimming.
Select an edit
point.
Both edit points
on connected
clips become
selected.
Video clips
Audio clips
Shift-click to select
all edit points at
that timecode.
Ctrl-click to deselect
an edit point.
To deselect all edit points:
t
Click another location on the timeline.
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Chapter 4 Trimming Clips
To select the sides of a transition to trim, do one of the following:
t
In Trim mode, click the Outgoing (A-side) or Incoming (B-side) frame.
A red border surrounds the incoming and outgoing frames to indicate
which clip will be trimmed.
t
In Trim mode, click between the outgoing (A-side) or incoming (B-side)
frame to select both sides of a transition.
A red border surrounds both the incoming and outgoing frames.
t
Click the trim handles to select or deselect side A, side B, or both.
The selected trim handle turns yellow and a red border surrounds the
incoming and outgoing frames to indicate which clip will be trimmed.
Select a trim handle.
Breaking and Relinking Edit Points
When an edit point is selected, all other edit points at that timecode are also
selected. You can break edit points to independently trim clips. Since
Avid DS Nitris preserves all edit points between clips in a sequence, you
cannot break an edit point by dragging edit points apart. To break edit points,
you must use the Break Links command on the NLE Tools toolbar. Linked edit
points are highlighted in yellow.
820
Selecting and Breaking Edit Points
Dragging an
intersecting edit
point right or left
adjusts both points
at that timecode.
Ctrl-click an edit
point to deselect it.
You can now trim this edit point independently.
To break an edit point:
t
Select the edit points of contiguous clips, and do one of the following:
-
Press Ctrl and deselect the edit point that you do not want to adjust.
The deselected edit point is no longer highlighted.
-
From the toolbar, click Editing > Break Links.
You can now trim the clips independently of each other.
To relink edit points at the same timecode:
1. Select an unlinked edit point.
2. (Optional) Press Ctrl and click another edit point (of the same clip type) at
the same timecode.
Both edit points are highlighted.
3. From the toolbar, click Editing > Link Edits.
Linked edit points are highlighted with yellow.
821
Chapter 4 Trimming Clips
Performing a Basic Trim
With transitions and trim sides selected, you can perform a basic trim by doing
any of the following:
n
•
In the Trim mode, use the Trim buttons to trim forwards or backwards by
one or ten-frame increments—see “Understanding Trim Mode” on
page 814.
•
Use the J-K-L keys to trim forwards or backwards in the sequence—see
“Trimming On-the-Fly” on page 831.
•
Use the keyboard or numeric keypad to:
-
Move the transition a specific number of frames, type a plus sign (+)
or minus sign (–) after you type the number of frames (from 1 to 99)
that you want to move forward or backward. Then, press Enter.
-
If the number of frames is larger than 99, type a period (.) before you
type the number of frames. For example, to enter 100 frames, type
.100 and press Enter. The transition moves 3 seconds and 10 frames.
-
Move the transition to an exact point in the timecode, type a timecode
number larger than 99, including frames. For example, type 102 to
enter 1 second and 2 frames (1:02).
When typing a timecode value, you can skip fields by typing a dot (.). For
example, type 12..22 for timecode 12:00:00:22.
•
In Trim mode, to move the transition a specific number or frames,
type the number of frames in the Frame Offset Counter box.
Select an edit point, a trim-in handle, or a trim-out handle, and adjust the
values in the timecode boxes on the status bar. This edits frames at the
selected point more accurately.
For selected object.
Start
822
End
Duration
Position indicator
For in/out markers.
In
Out
Duration
Performing a Basic Trim
n
•
Drag the trim-in or trim-out handles left or right to change the incoming
or outgoing frames of a clip. This does not change the recording timecode
(unless in Ripple mode)—see “Trimming with the Trim Handles” on
page 825.
•
Drag the edit handle left or right to change the start or end time at which a
clip is recorded. This also changes the incoming or outgoing frame. When
trimming with the edit handles, it does not matter if Ripple mode is on or
off—see “Trimming the Edit Point” on page 823.
If you want to trim synchronized audio and video clips, you must
simultaneously select multiple edit points. For more information, see
“Selecting Trim Sides” on page 818.
As you trim, all selected transitions in the timeline move in unison. The Frame
Offset counters display the frame count backward or forward for one or both
trim sides, and the Trim viewer displays the new incoming or outgoing frames.
Trimming the Edit Point
When you move the edit handle at an edit point, you are changing the start or
end recording time for the clip. This also changes the incoming or outgoing
frame.
n
When trimming with the edit handles, it does not matter if Ripple mode is on or
off.
823
Chapter 4 Trimming Clips
The following illustration shows the different ways of trimming an edit point:
Before
Trimming edit point to the left.
After
More frames are available at beginning of clip.
Before
Trimming edit point to the right.
After
Frames are hidden
from beginning of clip.
Before
Trimming intersecting edit point to the right.
After
Edit points can only be dragged as far as there is available material on the clip.
To trim an edit point on a clip:
1. Select an edit point on a clip.
The clip’s edit handles are displayed.
2. Drag the edit point left or right.
Depending on the direction in which you drag the clip, more frames are
made available or hidden.
824
Performing a Basic Trim
To trim edit points between clips:
1. Select an edit point between two clips.
The edit handles on both clips are displayed.
2. Drag the edit point left or right.
As you move the edit point, it reveals more frames on one clip and hides
frames on the other.
n
You can also adjust an edit point more precisely by selecting it and entering a
value in the S (start) or E (end) timecode boxes on the status bar.
Adjusting the in-point and out-point on clips
Select one edit point
between contiguous clips.
Both points are
automatically selected.
Drag edit point
right or left.
Both edit points at that timecode
are adjusted.
Trimming with the Trim Handles
The trim handles on a clip are used to change the incoming or outgoing frames
of a clip. This does not change the recording timecode. When you move the
trim-in handle of a clip, you change the incoming frame on a clip. Similarly, if
you move the trim-out handle of a clip, you are changing its outgoing frame.
Trim-in handle
Trim-out handle
825
Chapter 4 Trimming Clips
When Ripple mode is activated, trimming clips gives you different results than
when it is deactivated. The following illustrations show how clips are affected
when you trim them with and without the Ripple mode. The first scenario
illustrates what happens when you trim an in-point.
Trimming an in-point
Ripple mode on
Before
Trimming to the left.
After
The following clip(s)
ripple.
Before
Trimming to the right.
After
The following clip(s) ripple
back.
Ripple mode off
Before
Trimming to the left.
After
Edit point remains
fixed on timeline.
Before
Trimming to the right.
After
826
Performing a Basic Trim
Trimming an out-point
Ripple mode on
Before
Trimming to the left.
After
Following clip(s) ripple
back.
Before
Trimming to the right.
After
The following clip(s)
ripple.
Ripple mode off
Before
Trimming to the left.
After
Second clip extends
as long as there is
more material
available.
Before
End point of
following clip
remains fixed
on timeline.
Trimming to the right.
After
827
Chapter 4 Trimming Clips
To adjust the trim handles:
1. (Optional) Click the Ripple button in the timeline controls. If necessary,
click the Track Ripple button for the individual tracks on which you want
the clips to ripple.
n
You can only ripple individual audio and video tracks.
2. Select the edit point on the clip that you want to trim.
The clip’s trim handles are displayed just above the edit point.
3. Drag the trim handle to the right or left. The trim handle can only be
moved as far as there is extra material available on the clip.
The following example shows the results of trimming a clip when you’re in
Ripple mode and when you’re not. The clips are placed on multiple tracks, so
that you can see the unused material on the clips.
Trim-in handle when not in Ripple mode.
Before
Trim-in handle to the right.
>>
After: Ripple mode off.
Clip is slipped to the left.
Opposite end’s edit point remains fixed on timeline.
828
Incoming frame remains the same.
Performing a Basic Trim
Trim-in handle in Ripple mode
Trim-in handle to the right.
Before
>>
After: Ripple mode on.
Clip is slipped to the left.
>>
Trim-in handle to the right.
Successive clips are moved the
same amount of trimmed frames.
Trimming Audio Clips
Using the trim handles to trim audio clips lets you hear the clips as you scrub
over them. For example, in the following illustration, if you move the trim-in
handle of the Drums clip, you’ll hear that clip being played. If however, you
move the trim-out handle of the Bass clip, that’s the clip you’ll hear.
829
Chapter 4 Trimming Clips
Backtiming
Backtiming is a way of trimming a clip’s out-point without changing its
activeness or position. Instead of overwriting or being overwritten by the
following clip, the selected clip is slipped along its unused material.
n
When trimming backtime edits, it does not matter if Ripple mode is on or off.
Backtime edits are performed as if Ripple mode is off.
To perform a backtime edit on a clip:
Main Ripple button
1. Make sure that the main Ripple button is deselected.
2. Select the out-point that you want to edit.
3. Press E and drag the out-point trim handle right or left.
The clip is slipped along its unused material while maintaining its
activeness and position. The previous and next clips in the sequence are
not affected.
Snapping Edit Points
If you need to quickly fix a bad edit, instead of selecting the previous or next
edit point and dragging it to the position indicator, you can locate the correct
frame and then snap the edit point to that frame. Effects applied to the clip are
also trimmed.
To snap an edit point to the position indicator:
1. Move the position indicator to the desired position.
The P timecode box indicates the timecode of the position indicator.
2. From the toolbar, click Editing and select one of the following:
-
Snap In to move the in-point to the new timecode.
-
Snap Out to move the out-point.
The selected frame becomes the new in or out-point.
n
830
You can also use the Snap In and Snap Out commands to trim synced clips (for
example clips with audio and video content) as long as the clips are the same
length. You should have enough unused material available to perform this
operation. For more information see “Revealing Unused Material on Clips”
on page 768.
Performing a Basic Trim
Trimming On-the-Fly
In Trim mode, you can use the J-K-L keys on the keyboard to play outgoing or
incoming material and mark trim points. For convenience, this method isolates
the trim controls to just three keys.
To trim on-the-fly:
1. Click either the outgoing (A-side) or incoming (B-side) frame to play in
real time during the trim.
2. Select one or more transitions for single-roller or dual-roller trimming.
3. Use the J-K-L keys to step (jog), play, or shuttle through the footage at
varying speeds:
n
-
Hold down the K key while pressing the J or L key to step slowly
backwards or forwards through the footage. When you find the frame
where you want to relocate the transition, release the K key to
complete the trim.
-
Press the J or L key once to play at normal speed, or press more than
once to shuttle at higher speeds. When you see the frame where you
want to relocate the transition, press the K key to complete the
trim—see “Varying the Playback Speed” on page 750.
If you press the spacebar while trimming with the J-K-L keys, the position
indicator moves to the current location. No trim is performed.
The Trim viewers and the timeline are updated to reflect the trim.
n
When trimming with the J-K-L keys, you cannot completely trim away a clip.
The Avid DS Nitris system always leaves one frame. To remove the remaining
frame, see “Performing a Basic Trim” on page 822.
831
Chapter 4 Trimming Clips
Creating Overlap Edits
You can use an overlap edit to smooth a transition by giving the illusion that
the audio or video is shared between two separate but adjacent clips. Perform a
dual-roller trim to create overlap edits.
Audio overlap example
Before
trimming
V1
A1
A2
Clip A
Clip B
Clip C
After
trimming
V1
A1
A2
Clip A
Clip B
Clip C
Clip B audio is extended.
Clip C audio is trimmed in.
To create an overlap edit:
1. Perform a straight-cut edit between two clips, including audio and
video tracks:
-
If the timing of the video edit is crucial, mark edit points according to
the video.
-
If the timing of the audio transition is crucial, mark edit points
according to the audio.
2. Perform a dual-roller trim (edit point trim) on either the video track or the
audio track, but not on both:
832
-
If the video transition occurs at the correct place, but you want the
audio from one clip to linger into the other (or the reverse), trim the
audio tracks accordingly.
-
If the audio transition occurs at the correct place, but you want the
video to transition either before or after the audio cut, trim the video
track accordingly.
Trimming Container Clips
Trimming Container Clips
You can trim a container clip just as you would trim any other clip on the
timeline. You can drag the in-point out to the start of the material (that is, the
in-point of the first clip in the container clip). The out-point of a container clip
can be dragged to infinity. When you trim a container clip, it does not affect
the length of the clips contained within it. If the clip in the container clip is
longer than the container clip itself, the extra material is not visible in the final
sequence.
Top timeline
Container
clip timeline
Container clip ends at 00:00:04:22, so this portion
is not visible in final sequence
833
Chapter 4 Trimming Clips
Trimming Transition Effects
Transitions are displayed as part of the activeness bar. When you select a
transition, it is highlighted in red. You can adjust the properties of the
transition by right-clicking on this area and opening its property editor.
The edit point between two clips indicates a transition from one clip to
another. You can trim this edit point to change the timecodes at which the
transition takes place.
n
You can also edit transitions by entering values in the timecode boxes on the
status bar.
Transition’s
start point
Selected
transition
Transition’s
end point
To change the duration of a transition effect:
1. Select the edit point of the transition effect.
2. Enter the new length for the transition in one of the following places:
834
-
The Transition Duration timecode box in Trim mode.
-
The D (duration) timecode box on the status bar.
Trimming Transition Effects
To change the position of the transition effect:
1. In Trim mode, select the transition effect.
2. Right-click the Transition Alignment button and select one of the
following:
Command
n
Button
Description
Transition Start
Starts the transition at the edit point.
Transition Center
Centers the transition on the edit point.
Transition End
Ends the transition at the edit point.
In the Source and Record view, you can also change the position of a
transition effect by manually moving the edit point.
To trim the transition area, see “Selecting and Breaking Edit Points” on
page 818.
835
Chapter 4 Trimming Clips
Understanding Slipping or Sliding Clips
In addition to fine-tuning your edits by trimming clips, you can also slip the
contents of a clip, or slide the clip to a different location in the sequence.
Slipping and sliding clips do not affect the overall duration of the sequence or
the sync relationships between multiple tracks.
The Slip/Slide mode lets you precisely manipulate a clip’s incoming and
outgoing frames on a frame-by-frame basis. This mode also shows the
incoming and/or outgoing frames of the previous and next clip (if any). You
can slip or slide a clip by entering new in and out timecodes, or by using the
trim nudge buttons to move the frames incrementally. After slipping or sliding
a clip in the Slip/Slide mode, you can play the results in the viewer.
Slip/Slide Mode
Outgoing frame
Head frame
Tail frame
Incoming frame
Source
timecodes
Trim Nudge buttons
For detailed information on the Slip/Slide controls, click the Help button.
The Slip/Slide mode shows the frames in the selected clip and any clips to
which it is connected. The Head frame and Tail frame show the start and end
frames of the selected clip. If there are any clips before or after the selected
clip, they’re displayed in the Incoming frame or Outgoing frame.
836
Understanding Slipping or Sliding Clips
n
In the special case where the Slip/Slide mode is used for manipulating audio
clips within an audio container, the Trim Nudge buttons (<, <<, >, and >>)
will affect the clip in units of time defined by the ruler's display (milliseconds,
samples, drop frame, or non-drop frame).
Slipping Clips
Slipping refers to moving the contents of a clip while its edit points remain
fixed. Imagine looking through a train window as the landscape slides by. The
size of the window always remains the same, but the view keeps changing.
Slipping a clip does not change the position or duration of the active area of a
clip. You slip a clip when you are sure about the duration of a clip, but need to
change the incoming frame. When you slip a clip, the edit points do not move,
so any transitions that have been applied are maintained. However, the
transition must be reprocessed.
Active area
Before
After
1
2
Slip clip right or left
3
4
5
6
1
2
3
4
5
6
The frames that precede and follow the clip you are slipping are not effected.
Surrounding material
remains fixed
Before
Slip 1 frame to the right
1
2
3
4
4
5
Frames
After
2
3
The active area in the illustration shows the active section of a clip. If you slip
the clip, new frames appear in the active area. Any clips that precede or follow
the slipped clip are not affected.
837
Chapter 4 Trimming Clips
n
When slipping clips, the selected clip must have extra material at the head or
tail of the clip.
There are two ways of slipping clips in the Slip/Slide mode:
t
Use the Nudge Right 1 Frame (>), Nudge Right 10 Frame (>>), Nudge
Left 1 Frame (<), and Nudge Right 10 Frame (<<) buttons to move the
selected clip’s content forward or backward. The activeness of the
selected clip does not move, nor are the previous or next clips affected.
These buttons appear dimmed when there are no more frames available
for slipping.
t
n
Enter values in the Offset text box to move the edit point forward or
backward. A positive number moves the clip’s content forward, and a
negative number moves it backward.
As you edit clips in the Slip/Slide mode, the timeline also updates to reflect the
new edit points.
Sliding Clips
Slide refers to moving a clip to change its location on the timeline, while
retaining its duration and active frames. Sliding a clip moves it along the
timeline with its activeness. As you slide a clip, it trims the activeness of the
previous and next clip. You can only slide the clip as far as there is available
material on the adjoining clips.
For example, you would slide a clip when your shot has the correct action
sequence but needs to be synced with its corresponding audio track. To do this,
slide the clip along the timeline until it aligns with its audio clip.
Active area
A1
A2
A3
1
2
3
4
5
B1
B2
B3
3
4
5
B3
Slide clip right or left
If rolled to
the right...
A1
A2
A3
A1
A4
A2
A5
A3
1
2
There are two ways of sliding clips in the Slip/Slide mode.
838
Understanding Slipping or Sliding Clips
•
Use the Nudge Right 1 Frame (>), Nudge Right 10 Frame (>>), Nudge
Left 1 Frame (<), and Nudge Right 10 Frame (<<) buttons to move the
selected clip with its activeness forward or backward, and trim frames off
the previous and next clips.
These buttons appear dimmed when there are no more frames available
for sliding.
•
Enter values in the Offset text box to move the edit point forward or
backward. A positive number moves the edit point forward, and a negative
number moves it backward.
Entering Slip/Slide Mode
The Slip/Slide mode is based on clip selection. You must first select a clip on
the timeline to see the incoming and outgoing frames in the Slip/Slide mode.
To manually access the Slip/Slide mode:
1. From the taskbar, click the Editing button.
2. From the timeline navigation bar, click the Selection Mode button to
select it.
3. Select a clip from the timeline.
4. From the timeline navigation bar, click the Trim Mode button.
The four-frame Slip/Slide mode replaces the Source/Record viewers.
To automatically access the Slip/Slide mode when you select a clip:
1. From the taskbar, click the Editing button.
2. Right-click the Trim Mode button and select Switch for Clip.
3. Right-click the Trim Mode button again and select Autoswitch.
When you select a clip in the timeline, the Slip/Slide mode is displayed.
Deselect Switch for Clip to access the Slip/Slide mode manually.
To exit Slip/Slide mode:
t
From the timeline navigation bar, click the Source/Record view button.
839
Chapter 4 Trimming Clips
Performing a Slip or Slide Trim
In Slip/Slide mode, you can slip the contents of a clip or slide the clip to a
different location in the sequence.
To slip or slide a clip:
1. On the timeline, select the clip that you want to slip or slide.
n
You can slip audio and video clips together by sync-locking them. For more
information, see “Maintaining Sync While Trimming” on page 842.
2. Access Slip/Slide mode—see “Entering Slip/Slide Mode” on page 839.
The four-frame Slip/Slide mode replaces the Source/Record view.
3. Select one of the following options from the Slip/Slide mode:
n
-
Slip to slip the selected clip
-
Slide to slide the selected clip
You cannot perform both slipping and sliding functions simultaneously.
4. Click the Trim Nudge buttons to slip or slide the clip.
Nudge Right/Left 10 frames
Nudge Right/Left 1 frame
n
You can also type the number of frames that you want to slip or slide in the
Offset text boxes. A positive number moves the clip forward and a negative
number moves it backward.
5. Monitor the progress of the trim by using the Slip/Slide modes, the Frame
Offset counters, and the timeline.
When you reach the end of available material while slipping a shot, the
trim stops. Similarly, when you reach the next transition while sliding a
shot along a track, the trim stops. A red bracket at the transition indicates
the limit. After completing the initial slide, you can perform another slide
in the same direction. It’s useful to see how much extra material you have
840
Understanding Slipping or Sliding Clips
by displaying the frames past the activeness bar. To do this, you must be in
Display Unused Material mode—see “Revealing Unused Material on
Clips” on page 768.
6. When you’re finished, exit the Slip mode or Slide mode by doing one of
the following:
t Deselect the clip and click the Trim Mode button.
t
Click the Source/Record View button.
Reviewing a Slip or Slide Trim
After you trim an edit point in Slip/Slide mode, you can review the trim edit to
verify the trim.
To review the most recent trim edit:
t
Click the Play Preview button.
The Avid DS Nitris system enters a playback loop. This loop begins at a
pre-roll point before the transition and ends at a post-roll point, pausing
briefly before beginning playback again.
841
Chapter 4 Trimming Clips
Maintaining Sync While Trimming
Syncing clips is especially useful when trimming audio and video clips on
multiple tracks, because the sound and accompanying images are trimmed in
sync. Because single-roller (A-side or B-side) trims shorten or lengthen the
duration of the track being trimmed, any relationships that exist with other
tracks downstream of the trim will be thrown out of sync.
Single-roller trims allow you to trim one side of an edit point, whereas, a dualroller trim will trim both sides of the edit point.
There are three methods that ensure you do not break sync unintentionally
between two or more video and audio tracks when performing single-roller
trims:
n
•
Creating a gap on the track while trimming.
•
Sync-locking clips to maintain their relative positions—see
“Synchronizing Clips” on page 798.
•
Rippling tracks to maintain a synchronized relationship—see “Rippling
Clips” on page 793.
Because dual-roller trims do not cause sync breaks, you can only add gaps
while performing single-roller trims.
Creating a Gap When Trimming
You can create a gap on either the A-side or the B-side of a transition while
maintaining the overall duration of the track and sync relationships. When
trimming a clip, a gap fills the duration of trimmed frames.
After you create a gap on a track, you can replace the gap with footage. For
more information, see “Placing Clips on the Timeline” on page 712.
To add a gap while trimming:
1. Select the transition.
2. Hold the Alt key and drag the A-side or B-side trim handle.
A gap fills the duration of the trim without changing the duration
of sequence.
842
Chapter 5
Applying Image Transition
Effects
This chapter describes the image transitions effects and how to apply them.
•
Understanding Image Transition Effects
•
Applying a Dissolve Effect to a Transition
•
Applying a DVE Effect to a Transition
•
Understanding the Morph Effect
•
Applying a Picture-in-Picture Effect
•
Applying Wipe Effects
Chapter 5 Applying Image Transition Effects
Understanding Image Transition Effects
The image transition effects let you create transitions between clips on the
same track, on different audio and video tracks, but not different background
tracks. You can apply image transition effects on the timeline or to an Effects
Tree. For more information, see “Applying Effects on the Timeline” on
page 907. You can also create transitions between two nodes in an Effects
Tree. For more information, see “Applying an Effects Tree as a Transition” in
the Help.
n
844
Transitions on the timeline can be created only when there is extra material
available on one of the clips.
Applying a Dissolve Effect to a Transition
Applying a Dissolve Effect to a Transition
The Dissolve effect lets you apply a transition between video clips in which
the image from one clip gradually becomes less distinct as the image from the
other clip replaces it. The Dissolve effect ensures that the alpha channel is
multiplied into color channels before applying the dissolve.
n
You can use the Blend transition effect if you do not want the alpha channel to
affect the color channels, or if you require channel masking services when
dissolving.
You can apply a dissolve at the start, center, or end of the transition. You can
also adjust the amount of the dissolve if you want the frames of one clip to be
more apparent than the other. You can apply a dissolve as an effect for singlesided transitions at the beginning or end of a clip.
The Dissolve effect can only be applied on clips on the timeline or as a node in
an Effects Tree.
Since the Dissolve effect is a real-time effect, you can view the results upon
playback without having to first process the effect.
n
First clip
In some cases, real-time effects may require processing to ensure that no
frames are skipped. For more information, see “Playing Real-Time Effects” on
page 900.
Dissolve at 25%
Dissolve at 50%
Dissolve at 75%
Second clip
To apply a dissolve on the timeline:
1. On the timeline, overlap the clips that you want to work with.
They can be placed on the same or different tracks. Make sure the clips
that receive the dissolve have extra material.
2. Select the intersecting edit point between the two clips on which you want
to apply the dissolve.
845
Chapter 5 Applying Image Transition Effects
The selected edit point turns red.
3. From the toolbar, click Transition Effects > Dissolve/Crossfade.
On the timeline, the transition area is displayed as a gradient on the
activeness bar.
4. On the Dissolve property editor, adjust the amount of the dissolve, and
specify the start point and duration of the transition.
n
The start point and duration options are only available when you apply a
dissolve on the timeline.
For more information, click the Help button.
To apply a dissolve in an Effects Tree:
1. Right-click an empty area of an Effects Tree and select Add Effect.
The Load Preset dialog box is displayed.
2. From the \Image Transitions folder, select Dissolve and click OK.
A Dissolve node is added to the Effects Tree.
3. In the Effects Tree, double-click the Dissolve node.
The Dissolve property editor is displayed.
846
Applying a Dissolve Effect to a Transition
4. On the Timing property page, adjust the amount of the dissolve and the
function curve to control the timing and percentage of the mix.
847
Chapter 5 Applying Image Transition Effects
Applying a DVE Effect to a Transition
The DVE effect lets you transform the size, position, and shape of images in
three-dimensional space. Using DVEs, you can create effects such as “pushwipes”, “fly-bys”, or picture-in-picture.
You can apply DVEs to clips, tracks, layers in the Layers view, or Effects
Trees. On the timeline, you can use DVEs for transitions between two clips or
for single-sided transitions at the beginning or end of a clip. For more
information, see “Applying Transitions” on page 908.
To apply a DVE to a transition on the timeline:
1. On the timeline, overlap the clips that you want to work with.
They can be placed on the same or different tracks. Make sure that the
clips to receive the DVE have extra material.
2. Select the intersecting edit point between the two video clips on which
you want to apply the DVE.
3. From the toolbar, click Transition Effects > DVE.
The transition area is displayed as a gradient on the activeness bar.
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Applying a DVE Effect to a Transition
4. In the DVE property editor, modify the properties of the DVE to achieve
the effect you want.
For more information, click the Help button.
To learn about applying DVEs on layers in a composite, see “Applying a
DVE” in the Help.
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Chapter 5 Applying Image Transition Effects
Understanding the Morph Effect
The Morph effect lets you transform one image or a sequence of images
into another over a sequence of frames. You can morph between still or
moving images.
You can apply the Morph effect as a transition on the timeline or in an
Effects Tree.
When morphing a still image, you can, for example, show a change between
two images, such as the progressive aging of a girl into a woman or the
transformation of a woman into a man.
Outgoing image with morph
applied to face.
Morph with 50% shape
interpolation, 50% transparency.
Incoming image with morph
applied to face.
When morphing a moving image, you can show a change between two
sequences of images, such as a walking boy turning into a walking man.
The Morph effect is comprised of a warp effect on an incoming image, a warp
effect on an outgoing image, and a dissolve between them. For more
information, see “Warp Effect” of the Help.
The outgoing image is warped from its original shape to the shape of the
incoming image. The incoming image is warped in the opposite direction,
going from the shape of the outgoing image to its original shape. Manipulating
the transparency value lets you control the dissolve between the two images.
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Understanding the Morph Effect
The Source shape morphs from the original image to a distorted image
resembling the shape of the target.
The target shape morphs in the opposite direction, from distorted image,
resembling the shape of the source to the original target image.
The basic workflow for creating a morph:
1. Select the images to morph together.
2. Create source and target shapes that describe the morph transformation.
3. Join the shapes and adjust the correspondence between them.
4. Track the shapes or adjust the shape positions over time with keyframes,
if necessary.
5. Set the rendering options.
6. Process the morph.
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Chapter 5 Applying Image Transition Effects
Applying a Morph Transition Effect
You apply the Morph transition effect in the same way as a simple dissolve or
wipe. In an Effects Tree, you apply it like any other effect between two inputs.
For more information, see “Working with the Effects Tree” in the Help.
To create a morph transition between clips:
1. On the timeline, overlap the clips on which you want to apply the Morph
effect. They can be placed on the same or different tracks. Make sure the
clips that receive the effect have extra material.
2. Select the edit point between the two video clips.
The selected edit point turns red.
3. From the toolbar, click Transition Effects > Dissolve/Crossfade or
Wipe.
The Dissolve or Wipe property editor is displayed, and the transition area
is displayed as a gradient on the activeness bar.
4. In the Wipe or Dissolve property editor, click the Load Preset button.
The Load Preset dialog box is displayed.
5. From the \Image Transitions folder, select the Morph effect.
The Morph property page is displayed.
For more information, click the Help button.
Creating Shapes
Shapes are Bézier curves that outline the parts of your image that you want to
morph. The Morph effect uses these shapes as a guide to transition from one to
the other. Shapes can be open-ended or closed. They can stand alone or be
joined to another shape.
The Morph Effect has four shape creation tools, available from the Shapes
property page:
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Freehand
Ellipse
Polyline
Rectangle
Understanding the Morph Effect
To create a source and destination shape:
1. Double-click the transition area between the two clips to open the Morph
property editor.
2. On the Shapes property page, select the Source option from the
Output box.
The outgoing image is displayed in the viewer.
3. From the Shape Creation box, select a drawing tool to create the source
shape.
4. Create a rough shape around the object that you want to warp.
The source shape is displayed in red.
Source shape drawn with
the Polyline tool on the
outgoing image.
n
You can zoom and pan in the viewer to frame the portion of the image you
want to trace.
5. From the Editing Tools box, click the Edit Shape tool.
Control points along the source shape are displayed.
n
If you copy open shapes from the Morph effect into a keyer or Matte effect, the
shapes will automatically be closed.
6. Drag the control points so that your shape outlines the part of the image
you want to morph.
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Chapter 5 Applying Image Transition Effects
Control point
To add an additional control point, hold down the A key and click the line
on which you want the control point to appear.
n
If the source image is moving between frames, you should rotoscope or
animate the source shape over the length of the transition. For more
information, see “Creating Animation” on page 963.
7. From the Output box, select the Destination option.
The incoming image is displayed in the viewer.
8. From the Shape Creation box, select a shape tool to create the target
shape.
n
When you draw the shapes on the destination image, be sure to draw them in
the same direction and order in which you created them on the source image.
For example, if you started drawing the shape on the source image from the
top and to the right, and also draw the shape on the destination image from the
top and to the right. This will avoid unwanted deformations in the morphed
image. However, if you want to create a deformation, you can create the shape
on the destination image differently.
9. Create a shape on the destination image representing the target shape or
the final image into which the source image will morph.
The target shape is displayed in blue.
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Understanding the Morph Effect
Target shape drawn with
the Polyline tool on the
incoming image.
n
To close a shape created with the polyline tool, press Ctrl and click.
10. Use the following tools from the Transformations box to manipulate
your shape:
Select
Rotate
Scale
Skew
11. From the Editing Tools box, click the Edit Shape tool.
Control points along the target shape are displayed.
12. Drag the control points to modify the shape.
n
If the target image is moving between frames, you can track the target shape
over the length of the transition. For more information, see “Tracking
Morphed Shapes” on page 861.
13. On the Shapes property page, select the Apply option.
The Morph effect is applied to the clips.
For more information, click the Help button.
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Chapter 5 Applying Image Transition Effects
Joining Shapes
After you have created your shapes, you can join them together to create a
relationship between the beginning shape of the source image and the ending
shape of the target image. The Morph effect automatically interpolates
between the two shapes over the length of the transition.
n
You can only join open-ended shapes with other open-ended shapes and
closed-ended shapes with other closed-ended shapes.
When the two shapes are joined, you can match corresponding features on the
two shapes. Each shape has four correspondence points that describe the
location of key positions on a shape. You can place these points at key
locations on a shape, such as where the Bézier curve changes direction.
Correspondence point
Move a correspondence
point to this location.
Correspondence points have some restrictions:
•
There must be at least four correspondence points per shape.
•
Shapes intended to be joined must have the same number of
correspondence points.
•
Correspondence points on the ends of open-ended shapes cannot be
moved or deleted.
•
Correspondence points cannot cross over each other. There is a limit as to
how close they are allowed.
To join the source and target shapes:
1. From the Output box, select the Mix option.
Both images and shapes appear in the viewer.
2. From the Transformations box, click the Select button and select the
source shape (red line).
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Understanding the Morph Effect
3. From the Editing Tools box, click Join, and drag the source shape towards
the target shape.
A blue line is displayed as you drag the pointer from the source shape to
the target shape. When the pointer touches the target shape, the two
shapes momentarily turn yellow and are joined together by a
correspondence vector.
Source shape joined to target shape
by a correspondence vector.
Source shape in red
Target shape in blue
n
To break the join between two shapes, click Join in the Editing Tools box and
click one of the shapes. A dialog box is displayed asking you if you want to
break the join, click OK.
4. From the Editing Tools box, select the Correspondence option.
The source and target shapes are highlighted in yellow. Each shape
contains four correspondence points. The correspondence points on each
shape are connected with correspondence vectors.
5. Move the correspondence points on the source shape to key locations on
the curve, such as where the curve changes directions.
6. Match the correspondence points of the target shape with those of the
source shape.
When you’re morphing between similar objects, such as between two
faces, you should move the correspondence points to try and match up key
features on the source image with those on the target.
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Chapter 5 Applying Image Transition Effects
Move the correspondence points so
that key features on the source
image match those of the target
image. In this case, the features of
the face (eyes, nose, and mouth).
n
To add additional correspondence points, press A and click the shape on
which you want the point to appear. To delete correspondence points, select a
point, and press Delete.
To increase the precision of the shape during processing:
t
Increase the Density value.
The number of correspondent vectors (yellow lines) between correspondence
points increases as the Density value increases.
Correspondence
point
Edge density
Original
shape
Shape with edge density of 5.
During processing, Avid DS Nitris does not use the actual shapes you created,
but uses the edge densities of the shapes to create an approximation of the
shapes. That is, a shape’s edge density defines how closely the form used in
the morphing process matches the shape that is drawn.
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Understanding the Morph Effect
Shapes are subdivided between correspondence points based on the shape’s
edge density. The higher the edge density, the more edges, and the more
closely the shape is depicted by its edges. Thus, the more precise the transition
between shapes.
When you change the edge density, be careful not to use too high a density
setting. There is no exact formula for selecting the best density for any given
shape. Choose one that approximates the shape enough, but not too much.
Setting a shape’s density unnecessarily high slows down processing time.
For more information, click the Help button.
Creating Barrier Shapes
You may find that the area outside your source or target shapes also gets
distorted when your image is morphed. To get rid