Avid Media Composer Adrenaline 1.0 User guide

make manage move | media

™

Avid

®

Avid

®

Media Composer

®

Adrenaline

™

Editing and Input Output Guide

Supplement

Copyright and Disclaimer

Product specifications are subject to change without notice and do not represent a commitment on the part

of Avid Technology, Inc. The software described in this document is furnished under a license agreement.

You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license

are also available in the product in the same directory as the software. The software may not be reverse

assembled and may be used or copied only in accordance with the terms of the license agreement. It is

against the law to copy the software on any medium except as specifically allowed in the license

agreement. Avid products or portions thereof are protected by one or more of the following United States

patents: 4,746,994; 4,970,663; 5,045,940; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348;

5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,584,006; 5,640,601;

5,644,364; 5,654,737; 5,715,018; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,851;

5,799,150; 5,812,216; 5,852,435; 5,883,670; 5,905,841; 5,929,836; 5,929,942; 5,930,445; 5,946,445;

5,987,501; 5,995,115; 6,016,152; 6,018,337; 6,023,531; 6,035,367; 6,038,573; 6,058,236; 6,061,758;

6,091,778; 6,105,083; 6,118,444; 6,128,001; 6,130,676; 6,134,607; 6,137,919; 6,141,007; 6,141,691;

6,157,929; 6,198,477; 6,201,531; 6,211,869; 6,223,211; 6,239,815; 6,249,280; 6,269,195; 6,301,105;

6,317,158; 6,317,515; 6,327,253; 6,330,369; 6,351,557; 6,353,862; 6,357,047; 6,392,710; 6,404,435;

6,407,775; 6,417,891; 6,426,778; D396,853; D398,912. Additional U.S. and foreign patents pending. No

part of this document may be reproduced or transmitted in any form or by any means, electronic or

mechanical, including photocopying and recording, for any purpose without the express written permission

of Avid Technology, Inc.

The following disclaimer is required by Apple Computer, Inc.

APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED,

REGARDING THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS

MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. THE EXCLUSION OF

IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE ABOVE EXCLUSION MAY NOT

APPLY TO YOU. THIS WARRANTY PROVIDES YOU WITH SPECIFIC LEGAL RIGHTS. THERE MAY BE

OTHER RIGHTS THAT YOU MAY HAVE WHICH VARY FROM STATE TO STATE.

The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of

their TIFF library:

Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its

documentation for any purpose is hereby granted without fee, provided that (i) the above copyright notices

and this permission notice appear in all copies of the software and related documentation, and (ii) the

names of Sam Leffler and Silicon Graphics may not be used in any advertising or publicity relating to the

software without the specific, prior written permission of Sam Leffler and Silicon Graphics.

THE SOFTWARE IS PROVIDED “AS-IS” AND WITHOUT WARRANTY OF ANY KIND, EXPRESS,

IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF

MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.

IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL,

INCIDENTAL, INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND, OR ANY DAMAGES

WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS, WHETHER OR NOT ADVISED

OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF LIABILITY, ARISING OUT OF OR IN

CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE.

The following disclaimer is required by the Independent JPEG Group:

Portions of this software are based on work of the Independent JPEG Group.

The following disclaimer is required by Paradigm Matrix:

Portions of this software licensed from Paradigm Matrix.

The following disclaimer is required by Ray Sauers Associates, Inc.:

“Install-It” is licensed from Ray Sauers Associates, Inc. End-User is prohibited from taking any action to

derive a source code equivalent of “Install-It,” including by reverse assembly or reverse compilation, Ray

Sauers Associates, Inc. shall in no event be liable for any damages resulting from reseller’s failure to

perform reseller’s obligation; or any damages arising from use or operation of reseller’s products or the

software; or any other damages, including but not limited to, incidental, direct, indirect, special or

consequential Damages including lost profits, or damages resulting from loss of use or inability to use

reseller’s products or the software for any reason including copyright or patent infringement, or lost data,

even if Ray Sauers Associates has been advised, knew or should have known of the possibility of such

damages.

The following disclaimer is required by Videomedia, Inc.:

“Videomedia, Inc. makes no warranties whatsoever, either express or implied, regarding this product,

including warranties with respect to its merchantability or its fitness for any particular purpose.”

“This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0

products developed by Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties

under license from Videomedia, Inc. Use of this software will allow “frame accurate” editing control of

applicable videotape recorder decks, videodisc recorders/players and the like.”

The following disclaimer is required by Altura Software, Inc. for the use of its Mac2Win

software and Sample Source Code:

The following disclaimer is required by Ultimatte Corporation:

Certain real-time compositing capabilities are provided under a license of such technology from Ultimatte

Corporation and are subject to copyright protection.

The following disclaimer is required by 3Prong.com Inc.:

Certain waveform and vector monitoring capabilities are provided under a license from 3Prong.com Inc.

Attn. Government User(s). Restricted Rights Legend

U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial

computer software” or “commercial computer software documentation.” In the event that such Software or

documentation is acquired by or on behalf of a unit or agency of the U.S. Government, all rights with

respect to this Software and documentation are subject to the terms of the License Agreement, pursuant to

FAR §12.212(a) and/or DFARS §227.7202-1(a), as applicable.

Trademarks

888 I/O, AirPlay, AirSPACE, AirSPACE HD, AniMatte, AudioSuite, AudioVision, AutoSync, Avid, AVIDdrive,

AVIDdrive Towers, 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, 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, NetReview,

NewsCutter, OMF, OMF Interchange, OMM, Open Media Framework, Open Media Management,

ProEncode, Pro Tools, QuietDrive, Recti-Fi, rS9, rS18, Sci-Fi, Softimage, Sound Designer II, SPACE,

SPACEShift, Symphony, Trilligent, UnityRAID, Vari-Fi, Video Slave Driver, VideoSPACE, and Xdeck are

either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other

countries.

iNEWS, iNEWS ControlAir, and Media Browse are trademarks of iNews, LLC.

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

Footage

Arri — Courtesy of Arri

™

/Fauer — John Fauer, Inc.

Bell South “Anticipation” — Courtesy of Two Headed Monster — Tucker/Wayne Atlanta/GMS.

Canyonlands — Courtesy of the National Park Service/Department of the Interior.

Eco Challenge Morocco — Courtesy of Discovery Communications, Inc.

It’s Shuttletime — Courtesy of BCP & Canadian Airlines.

Nestlé Coffee Crisp — Courtesy of MacLaren McCann Canada.

Saturn “Calvin Egg” — Courtesy of Cossette Communications.

“Tigers: Tracking a Legend” — Courtesy of www.wildlifeworlds.com.

Windhorse — Courtesy of Paul Wagner Productions.

Arizona Images — KNX-TV Production — Courtesy of Granite Broadcasting, Inc.,

Editor/Producer Bryan Foote.

Canyonlands — Courtesy of the National Park Service/Department of the Interior.

WCAU Fire Story — Courtesy of NBC-10, Philadelphia, PA.

Paragliding — Courtesy of Legendary Entertainment, Inc.

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.

Media Composer Adrenaline Editing and Input Output Guide Supplement•

Part 0130-05723-01 • May 2003

Contents

Chapter 1 Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Audio Projects Settings - Main Tab . . . . . . . . . . . . . . . . . . . . . . . . . 14

Audio Project Settings - Input Tab . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Audio Project Settings - Output Tab . . . . . . . . . . . . . . . . . . . . . . . . 18

Audio Project Settings - Hardware Tab . . . . . . . . . . . . . . . . . . . . . . 20

Bin Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Capture Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Capture Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Capture Settings: Batch Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Capture Settings: Edit Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Capture Settings: Media Files Tab. . . . . . . . . . . . . . . . . . . . . . . . . . 27

Capture Settings: DV Options Tab. . . . . . . . . . . . . . . . . . . . . . . . . . 28

Correction Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Deck Configuration Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Deck Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Deck Preferences Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Export Settings Dialog Box Options. . . . . . . . . . . . . . . . . . . . . . . . . 34

Export Settings: Quick Time Reference Options . . . . . . . . . . . . . . . 35

Export Settings: Quick Time Movie Export Options . . . . . . . . . . . . . 39

Export Settings: QuickTime Movie Settings. . . . . . . . . . . . . . . . . . . 42

Export Settings: QuickTime Compression Settings . . . . . . . . . . . . . 43

Export Settings: DV Stream Options . . . . . . . . . . . . . . . . . . . . . . . . 48

Export Settings: OMFI and AAF Options . . . . . . . . . . . . . . . . . . . . . 49

Export Settings: AVI Settings (Windows Only) . . . . . . . . . . . . . . . . 51

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Export Settings: AVI Video Compression Options (Windows Only) . 54

Export Settings: Audio Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Export Settings: Graphic Options . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Export Settings: Graphic Format Options. . . . . . . . . . . . . . . . . . . . . 58

Film and 24p Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Film Settings - Edit Play Rate Options . . . . . . . . . . . . . . . . . . . . . . . 64

General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Grid Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Import Settings: Image Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Import Settings: OMFI Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Import Settings: Shot Log Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Interface Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Interface Settings: Appearance Tab . . . . . . . . . . . . . . . . . . . . . . . . . 77

Keyboard Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Marquee Title Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Media Creation Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

MM Host . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

MM User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

PortServer Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Safe Color Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Script Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Timeline Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Timeline Settings: Display Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Timeline Settings: Edit Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Trim Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Workspace Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Chapter 2 Using AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Accessing the AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Description of Core AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . 94

7

Invert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Duplicate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Normalize. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

DC Offset Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Time Compression Expansion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Master Clip Mode Parallel Processing. . . . . . . . . . . . . . . . . . . . 97

Time Compression Expansion Parameters. . . . . . . . . . . . . . . . 98

Pitch Shift. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Pitch Shift Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

EQ II Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Using Compression Effectively . . . . . . . . . . . . . . . . . . . . . . . . 106

Compressor Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Limiter Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Gate Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Expander/Gate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Expander/Gate Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Mod Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Mod Delay Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Additional Supported Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Digidesign Intelligent Noise Reduction (DINR) —

Broadband Noise Reduction (BNR) . . . . . . . . . . . . . . . . . . . . . . 117

Focusrite d3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Maxim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Digidesign D-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Chapter 3 Using an External Fader Controller or Mixer. . . . . . . . . . . . . 119

Configuring the USB-to-MIDI Software. . . . . . . . . . . . . . . . . . . . . . . . . 121

Installing USB-to-MIDI Software (Windows) . . . . . . . . . . . . . . . . . 121

8

Installing USB-to-MIDI Software (Macintosh) . . . . . . . . . . . . . . . . . 122

Testing the Fader Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Switching Between MIDI Connections on the USB-to-MIDI

Converter (Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Switching Between MIDI Connections on the USB-to-MIDI

Converter (Macintosh). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Troubleshooting the MIDI Connections . . . . . . . . . . . . . . . . . . . . . 126

Using the FaderMaster Pro and MCS-3000X . . . . . . . . . . . . . . . . . . . . 127

MCS-3000X Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Using the Snap Mode Feature on the MCS-3000X . . . . . . . . . . . . 129

Ganging Faders on the FaderMaster Pro. . . . . . . . . . . . . . . . . . . . 130

Using the Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Setting Up the Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Initializing the Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Configuring the Mixer to Recognize MIDI Control Messages . 132

Starting the Avid System with the Yamaha 01V Attached . . . . . . . 133

Operational Notes for the Yamaha 01V . . . . . . . . . . . . . . . . . . 134

Soloing Avid System Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Chapter 4 Working with Broadcast Wave Format (BWF) Files . . . . . . . 137

Support for BWF Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

BWF Information Displayed in Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Preparing Custom BWF Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Importing and Syncing BWF Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Reimporting BWF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Chapter 5 Film-to-Tape Transfer Methods . . . . . . . . . . . . . . . . . . . . . . . 143

Understanding the Transfer Process . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Transferring 24-fps Film to NTSC Video . . . . . . . . . . . . . . . . . . . . . . . . 144

Stage 1: Transferring Film to Video . . . . . . . . . . . . . . . . . . . . . . . . 145

Frames Versus Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Part 1: Using a 2:3 Pulldown to Translate 24-fps

Film to 30-fps Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Part 2: Slowing the Film Speed to 23.976 fps . . . . . . . . . . . . . 147

Maintaining Synchronized Sound. . . . . . . . . . . . . . . . . . . . . . . 148

9

Stage 2: Digitizing at 24 fps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Transferring 24-fps Film to PAL Video . . . . . . . . . . . . . . . . . . . . . . . . . 150

PAL Method 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

PAL Method 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

How the Avid System Stores and Displays 24p and 25p Media. . . . . . 152

Displaying Media While Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Displaying Media During a Digital Cut . . . . . . . . . . . . . . . . . . . . . . 154

Film-to-Tape Transfer Guidelines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Film-to-Tape Transfer Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Transfer Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Additional Film Transfer Aids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Chapter 6 File Format Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Graphics (Image) Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Preparing Graphics Files for Import . . . . . . . . . . . . . . . . . . . . . . . . 162

Graphics File Import Specifications . . . . . . . . . . . . . . . . . . . . . . . . 162

Screen Resolution for Imported Graphics and Sequences . . . . . . . . . 166

Animation Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

MXF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

OMFI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Field Ordering in Graphic Imports and Exports . . . . . . . . . . . . . . . . . . 176

Chapter 7 Resolutions and Storage Requirements . . . . . . . . . . . . . . . . 181

Compression and Avid Editing Systems. . . . . . . . . . . . . . . . . . . . . . . . 181

Screen Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Compression and Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Mixing Resolutions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Avid Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

DV Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Advantages to Mixing Resolutions . . . . . . . . . . . . . . . . . . . . . 184

Resolution Groups and Image Quality . . . . . . . . . . . . . . . . . . . . . . 185

Video Streams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Compression Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Resolution Specifications: Interlaced. . . . . . . . . . . . . . . . . . . . 186

10

Resolution Specifications: Progressive . . . . . . . . . . . . . . . . . . 188

Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Estimating Drive Space Requirements. . . . . . . . . . . . . . . . . . . . . . 189

Estimated Storage Requirements. . . . . . . . . . . . . . . . . . . . . . . . . . 190

Estimated Storage Requirements: Interlaced . . . . . . . . . . . . . 191

Estimated Storage Requirements: Progressive . . . . . . . . . . . . 194

Estimated Storage Requirements: DV . . . . . . . . . . . . . . . . . . . 197

Maximizing Drive Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Managing Storage to Improve Playback Performance . . . . . . . . . . . . . 199

Chapter 8 Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Understanding Avid Log Specifications. . . . . . . . . . . . . . . . . . . . . . . . . 201

Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Global Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Data Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Sample Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

International Character Support. . . . . . . . . . . . . . . . . . . . . . . 213

Using a Local Language Operating System

(Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Choosing a Locale on an English Language Operating

System (Windows and Macintosh). . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Non-English Character Support (Macintosh) . . . . . . . . . . . . . . . . . 215

Setting the Language in System Preferences . . . . . . . . . . . . . 215

Specifying the Language in the Get Info Dialog Box . . . . . . . . 217

Non-English Character Support (Windows 2000). . . . . . . . . . . . . . 218

Using Foreign Keyboard Mapping . . . . . . . . . . . . . . . . . . . . . . 221

Moving Older Projects to this Version on Windows . . . . . . . . . 222

Recommendations and Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Avid Supports English Plus One Locale . . . . . . . . . . . . . . . . . . . . . 223

Entering ASCII Characters in Double-Byte Systems . . . . . . . . . . . 223

Characters to Avoid When Naming Avid Elements . . . . . . . . . . . . 224

11

Chapter 10 Planning a Film Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Working with 24p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Working with 25p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Planning a 24p or 25p Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

24-fps Film Source, SDTV Transfer, Multiformat Output . . . . . . . . 230

24-fps Film or HD Video Source, SDTV Downconversion,

Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

25-fps Film or HD Video Source, SDTV Downconversion,

Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Audio Transfer Options for 24p PAL Projects . . . . . . . . . . . . . . . . 239

Planning a 23.976p NTSC Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Working in a 23.976p NTSC Project . . . . . . . . . . . . . . . . . . . . . . . 241

Creating a 23.976p Project . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Film Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Digitizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

23.976-fps Film Transfer or HD Video Source, SDTV

Downconversion, Multiformat Output . . . . . . . . . . . . . . . . . . . . . 242

Limitations for 23.976p Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Film Project Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Film Shoot Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Viewing Dailies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Film Dailies Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Video Dailies Method. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

12

Chapter 1

Settings Options

The Settings scroll list is displayed when you click the Settings tab of the

Project window. If you select a setting in the Settings scroll list and make

changes, the parameters remain the default settings until you they are

changed again. To view or modify the parameters, double-click the setting.

This chapter describes the parameters for the following settings:

Audio Settings

Table 1 Audio Settings

Setting Description

Source Monitor Scrub Select the number of outgoing and incoming

frames you hear as you scrub.

Record Monitor Scrub Select the number of outgoing and incoming

frames you hear as you scrub.

Default Pan Select the way you want sound to pan between

speakers.

Audio Tools Response To adjust the audio latency of your system, select a

response speed that corresponds to the speed of

your system.

Appendix 1 Settings Options

14

Audio Project Settings

The following topics apply to adjusting audio project settings:

• Audio Projects Settings - Main Tab

• Audio Project Settings - Input Tab

• Audio Project Settings - Output Tab

• Audio Project Settings - Hardware Tab

Audio Projects Settings - Main Tab

Table 2 Audio Project Settings (Main Tab)

Setting Options Description

Sample Rate 32 kHz

44.1 kHz

48 kHz

Allows you to select audio rate settings for the entire

system for playing and recording. The default sample

rate for DV is 48 kHz.

The broadcast standard for most high-end video

postproduction houses is 48 kHz. Select the rate based

on the requirements of your facility.

For information on changing the sample rate for

individual sequences and audio clips, see “Changing

the Sample Rate for Sequences and Audio Clips” in

the Help.

Audio File Format OMF (WAVE)

OMF (AIFF-C)

Select the file format for the audio:

• OMF (WAVE) is compatible with Windows

applications.

• OMF (AIFF-C) is compatible with many third-

party applications, including Pro Tools.

Select the AIFF-C format for all audio media when

you need to transfer audio media files directly to a

Pro Tools or an AudioVision

®

system for audio

sweetening.

Audio Project Settings

15

Audio File Sample

Size

16 Bit

24 Bit

Select this option to set the sample size used when

you work with audio files:

• 16 Bit is for CD-quality audio.

• 24 Bit is for work with higher resolution audio.

DV Audio Pattern Unlocked Audio

Locked Audio

DV Audio Pattern works with all devices. However,

because some devices check the DV Audio Pattern

setting before transferring or recording, you should

select the DV Audio Pattern setting expected by your

device.

• Unlocked Audio allows some imprecision in the

audio sample rate, with a variation of up to +/– 25

audio samples per frame.

• Locked Audio keeps the audio clock locked

precisely to the video clock, so exactly the same

number of audio samples and video frames are

recorded or transmitted in each cycle of the phase

relationship.

Render Sample Rate

Conversion Quality

High and Slow

Balanced

Low and Fast

Allows you to set the conversion quality of all non-

real-time sample rate conversions.

Convert Sample

Rates When Playing

Always

Never

Allows you to choose whether or not to perform the

conversion rate:

• Never plays the segments not set at the sample

rate as silence.

• Always makes the system attempt to perform a

sample rate conversion on-the-fly. Although the

resulting audio quality might not be useful for a

finished project, it can be useful during an editing

session since it prevents audio from playing back

with silence.

For information on changing the sample rate for

individual sequences and audio clips, see “Changing

the Sample Rate” in the Help.

Table 2 Audio Project Settings (Main Tab) (Continued)

Setting Options Description

Appendix 1 Settings Options

16

Audio Project Settings - Input Tab

n

The options that appear in this tab depend on your audio configuration

and the audio hardware installed on your system. Your options might differ

from those listed here.

Show Mismatched

Sample Rates as

Different Color

Yes

No

Allows you to identify a specific sample rate by color

if you have a sequence with several different sample

rates.

Real-Time Audio

Dissolves

Disabled

Enabled

Allows you to play audio dissolves (also called

crossfades) as real-time effects. Select Disable if you

experience an audio performance delay on your

system.

Dissolve Midpoint

Attenuation

Const Power –3dB

Linear –6dB

Sets the method used for audio dissolves:

• Const Power –3dB uses constant power to

maintain a consistent sound level through the

midpoint of the dissolve.

• Linear –6dB uses a linear gradient to maintain a

consistent amplitude through the midpoint of the

dissolve.

Optical Connection ADAT

TOSLINK

Allows you to select an output for use with an optical

connection.

Table 2 Audio Project Settings (Main Tab) (Continued)

Setting Options Description

Table 3 Audio Project Settings (Input Tab)

Setting Options Description

Input Gain Allows you to calibrate the volume of global audio

input.

Audio Project Settings

17

Input Source ADAT

AES/EBU

DV

OHCI

RCA (–10dBu)

S/PDIF

TOSLINK

XLR (+4dBu)

Allows you to select the type of input.

Passthrough Mix Tool Opens the Passthrough Mix tool, which allows you to

adjust the mix of tracks for monitoring audio input.

Table 3 Audio Project Settings (Input Tab) (Continued)

Setting Options Description

Appendix 1 Settings Options

18

Audio Project Settings - Output Tab

n

The options that appear in this tab depend on your audio configuration

and the audio hardware installed on your system. Your options might differ

from those listed here.

Table 4 Audio Project Settings (Output Tab)

Setting Options Description

Output Gain Allows you to calibrate the volume of global audio

output.

Master Volume Allows you to make global level adjustments for

output. These adjustments affect levels for all output

tracks to the speakers and to the record devices.

Bypass panel Clip Gain

RT EQ

Auto Gain

Allows you to have the system ignore the volume

settings established with the audio tools when playing

back or recording a sequence:

• Clip Gain bypasses the volume settings in the

Audio Mix tool.

• RT EQ bypasses all EQ effects set in the Audio

EQ tool.

• Auto Gain bypasses all Automation Gain effects

set in the Automation Gain tool.

These buttons function the same as the Bypass buttons

in the audio tools.

Audio Project Settings

19

Mix Mode Selection

Menu button

Stereo

Mono

Direct Out

Modifies the way that the system interprets audio

values during playback:

• Stereo mixes the currently monitored audio tracks

into a stereo pair.

• Mono pans all the currently monitored tracks to

center. This mode also ignores pan effects.

• Direct Out maps tracks directly to up to eight

channels of output. By default, Direct Out maps all

audio tracks in numerical sequence to existing

output channels. You can remap a track to any

channel by clicking the Channel Assignment

pop-up menu and selecting another channel.

Stereo Mix Tracks Mix To 1 & 2

Mix To 3 & 4

Mix To 5 & 6

Mix To 7 & 8

Allows you to customize the mix of tracks with Stereo

selected in the Mix Mode Selection Menu button.

The system sends a stereo mix to the two channels you

select. Material panned to the left will be sent to the

odd channel, and material panned to the right will be

sent to the even channel. The number of channels

available depends on the audio output you select.

All or Timeline Track

Maps

All

Timeline

Allows you to map the track and output channels:

• All allows you to choose between all available

tracks.

• Timeline allows you to assign output channels to

the tracks monitored in the Timeline.

Which Set of Track

Maps

Grp 1

Grp 2

Grp 3

Allows you to select which set of output tracks to map

to audio channels. Groups of tracks display in

multiples of 8, up to the maximum of 24 available

audio tracks.

Table 4 Audio Project Settings (Output Tab) (Continued)

Setting Options Description

Appendix 1 Settings Options

20

Audio Project Settings - Hardware Tab

The settings in this tab are for informational purposes only and list defaults

set by the system, depending on your audio hardware and configuration.

Table 5 Audio Project Settings (Hardware Tab)

Setting Options Description

Card The type of audio card installed.

Peripheral The type of peripheral audio device (audio interface)

attached to the system.

Slot # The slot where the audio card is located.

Sync Mode Sync is used for audio input and output to ensure the

audio sample clock is always in sync with the video

clock. This prevents long-term drift between audio and

video.

When you are working with video and digital audio

simultaneously, set your digital audio equipment to the

same video reference signal as your video equipment.

n

Changing the audio input selection

automatically selects the correct audio clock

source for audio sync.

HW Calibration -14dBFS

-18dBFS

-20dBFS

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Avid Media Composer Adrenaline 1.0 User guide

Avid Media Composer Adrenaline 1.0 User guide

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