Avid Media Composer Adrenaline 1.0 User guide

make manage move | media

™

Avid

®

Avid

®

Media Composer

®

Adrenaline

™

Input and Output Guide

2

Copyright and Disclaimer

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

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

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

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

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

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

agreement. 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;

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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;

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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.

3

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, 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, 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.

4

Aaton is a registered trademark of Aaton S.A. Abekas is a registered trademark of Accom, Inc. Acrobat,

Adobe, After Effects, Photoshop, PostScript Reader, and Type Manager are either registered trademarks

or trademarks of Adobe Systems, Incorporated in the United States and/or other countries. Alias and

Wavefront are trademarks of Alias|Wavefront, a division of Silicon Graphics Limited. Amiga is a registered

trademark of Amiga, Inc. AppleScript, AppleShare, DVD Studio Pro, FireWire, Macintosh, Mac OS,

QuickDraw, SuperDrive, and TrueType are trademarks of Apple Computer, Inc., registered in the U.S. and

other countries. Arri is a registered trademark of Arri Group. Betacam, i.LINK, and Sony are registered

trademarks, and DVCAM, Hi8, and MPEG IMX are trademarks of Sony Corporation of America. Chyron is

a registered trademark of Chyron Corporation. Cineon, Keykode, and Photo CD are trademarks of

Eastman Kodak Company. Cinepak is a trademark of Digital Origin, Inc. CrossStripe and MacDrive are

trademarks of Mediafour Corporation. DVDit! is a trademark of Sonic Solutions. Editcam is a trademark of

Ikegami Tsushinki, Co., Ltd. Formac devideon is a registered trademark of Formac Elektronic GmbH and

its subsidiaries in the US and in other countries where Formac products are sold or distributed. GIF is a

Service Mark property of CompuServe Incorporated. IBM and OS/2 are registered trademarks of

International Business Machines Corporation. Intel is a registered trademark of Intel Corporation or its

subsidiaries in the United States and other countries. Jaz and Zip are either registered trademarks or

trademarks of Iomega Corporation in the United States and/or other countries. Microsoft, Windows,

Windows Media, and Windows NT are either registered trademarks or trademarks of Microsoft

Corporation in the United States and/or other countries. Paintbrush is a trademark of Zsoft Corporation.

Philips is a registered trademark of Philips Electronics N.V. Pixar is a registered trademark of Pixar

Animation Studios. QuickTime and the QuickTime logo are trademarks used under license from Apple

Computer, Inc. The QuickTime logo is registered in the U.S. and other countries. RealVideo is a registered

trademark of RealNetworks, Inc. Silicon Graphics is a registered trademark of Silicon Graphics, Inc.

Sound Forge is a registered trademark of Sonic Foundry, Inc. Sun is a registered trademark and

Sun Raster is a trademark of Sun Microsystems, Inc. in the United States or other countries. TARGA is a

trademark of Pinnacle Systems, Inc., registered in the United States and other countries. Ultimatte is a

registered trademark of Ultimatte Corporation. Video Toaster is a trademark of NewTek. V-LAN and VLXi

are registered trademarks of Videomedia, Inc. X Window System is a trademark of X Consortium, Inc. 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.

GOT FOOTAGE?

Editors — Filmmakers — Special Effects Artists — Game Developers — Animators — Educators —

Broadcasters — Content creators of every genre — Just finished an incredible project and want to

share it with the world?

Send us your reels and we may use your footage in our show reel or demo!*

For a copy of our release and Avid’s mailing address, go to www.avid.com/footage.

*Note: Avid cannot guarantee the use of materials submitted.

Avid Media Composer Adrenaline Input and Output Guide • Part 0130–05722–01 •

May 2003

Contents

Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Who Should Use This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Accessing the Tutorial and Online Library . . . . . . . . . . . . . . . . . . . . . . . 17

How to Order Documentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Avid Educational Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Planning a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Types of Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Project Resolutions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Working with Mixed-Resolution Projects . . . . . . . . . . . . . . . . . . . . . . . . 23

NTSC and PAL Image Sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Sample Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Video and Film Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Logging. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Preparing Log Files for Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Using Avid Log Exchange to Convert Log Files. . . . . . . . . . . . . . . . 29

Creating Avid Logs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Transferring Bins from MediaLog. . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Double-Checking the Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Importing Shot Log Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Logging Directly into a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

6

Tips for Logging Preroll, Logging Timecode, and Naming Tapes. . . 49

Logging with an Avid-Controlled Deck . . . . . . . . . . . . . . . . . . . . . . . 51

Pausing the Deck While Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Using a Memory Mark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Logging with Non-Avid-Controlled Decks . . . . . . . . . . . . . . . . . . . . . 57

Logging Film Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Displaying Film Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Entering Pulldown Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Entering Frames-per-Second Rates for PAL Transfers . . . . . . . . . . 66

Entering Key Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Entering Additional Timecodes (Option). . . . . . . . . . . . . . . . . . . . . . 67

Entering the Ink Number (Option). . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Entering Additional Film Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Modifying Clip Information Before Capturing . . . . . . . . . . . . . . . . . . . . . 69

Exporting Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Preparing to Capture Media . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Preparing the Hardware for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Getting Information About Striped Drives . . . . . . . . . . . . . . . . . . . . . 74

Selecting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Media Creation Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Capture Settings Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

General Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Transfer Settings for Film Projects . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Configuring Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Deleting Deck Configuration Elements. . . . . . . . . . . . . . . . . . . . . . . 92

Setting Deck Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Understanding Drop-Frame Timecode and Non-Drop-Frame Timecode 93

Entering Capture Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Setting Up the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Selecting a Deck in the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . 98

Selecting a Source Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Selecting Source Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Setting the Video and Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . 101

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Setting the Pulldown Switch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Selecting a Resolution in the Capture Tool . . . . . . . . . . . . . . . . . . 104

Selecting a Format in the Capture Tool . . . . . . . . . . . . . . . . . . . . . 105

Selecting a Target Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Selecting the Target Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Using the Console Window to Access Network Drives . . . . . . . . . 108

Interpreting the Time-Remaining Display. . . . . . . . . . . . . . . . . . . . 109

Selecting a Custom Preroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Preparing for Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Adjusting Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Selecting the Audio File Format. . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Using the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Using the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Using the Console Window to Check Audio Levels . . . . . . . . . . . . 121

Preparing for Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Using the Factory Preset Buttons . . . . . . . . . . . . . . . . . . . . . . . . . 124

Calibrating Video Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Limitation When Using Consumer Decks or Decks

Without Time-Base Correctors . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Saving Video Input Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Saving a Custom Default Setting for the Video Input Tool. . . . . . . 132

Adjusting Video Levels for Tapes Without Color Bars . . . . . . . . . . 133

Capture Preparations Check List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Capturing Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Before You Begin Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Function Keys Available When Capturing . . . . . . . . . . . . . . . . . . . . . . 137

Special Capture Procedures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Logging Errors to the Console Window . . . . . . . . . . . . . . . . . . . . . 137

Creating Subclips On-the-Fly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Adding Locators On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Adding Clip Names and Comments On-the-Fly. . . . . . . . . . . . . . . 140

Controlling Decks from the Keyboard . . . . . . . . . . . . . . . . . . . . . . 141

Mapping the Record Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

DV Capture Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

8

Capturing and Logging at the Same Time . . . . . . . . . . . . . . . . . . . . . . 145

Capturing from a Mark IN to a Mark OUT. . . . . . . . . . . . . . . . . . . . 146

Capturing On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Autocapturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Capturing from a Non-Avid-Controlled Deck . . . . . . . . . . . . . . . . . 153

Capturing with Time-of-Day Timecode . . . . . . . . . . . . . . . . . . . . . . 154

Capturing with External Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Patching When Capturing to the Timeline . . . . . . . . . . . . . . . . . . . 157

Capturing Video Without Pulldown into a 24p NTSC Project . . . . . . . . 158

Batch Capturing from Logged Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Preparing to Batch Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Batch Capturing Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Recapturing Your Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Recapturing Master Clips and Subclips . . . . . . . . . . . . . . . . . . . . . 164

Recapturing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Relinking Clips by Key Number. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Modifying the Pulldown Phase After Capturing. . . . . . . . . . . . . . . . . . . 173

DV Scene Extraction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Setting Up DV Scene Extraction Before Capturing. . . . . . . . . . . . . 176

Setting Up DV Scene Extraction After Capturing . . . . . . . . . . . . . . 177

Importing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Preparing to Import Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Working with Mixed-Resolution Projects. . . . . . . . . . . . . . . . . . . . . . . . 180

Creating and Using Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Creating a New Import Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Modifying an Existing Import Setting . . . . . . . . . . . . . . . . . . . . . . . 182

Importing Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Using the Drag-and-Drop Method to Import Files . . . . . . . . . . . . . . . . . 187

Importing Photoshop Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Importing Single-Layer Photoshop Graphics . . . . . . . . . . . . . . . . . 188

Importing Multilayered Photoshop Graphics. . . . . . . . . . . . . . . . . . 189

Importing Editcam Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Reimporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

9

Batch Import Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Starting the Reimport Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Generating Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Preparing for Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Establishing Sync for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Calibrating for Video Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Preparing for Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Preparing Record Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Enabling Assemble-Edit Recording . . . . . . . . . . . . . . . . . . . . . . . . 219

Using the Digital Cut Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Selecting a Deck in the Digital Cut Tool. . . . . . . . . . . . . . . . . . . . . 223

Using ExpertRender to Prepare Effects for a Digital Cut . . . . . . . . 224

Previewing a Digital Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Recording a Digital Cut to Tape (Remote Mode). . . . . . . . . . . . . . 226

Recording a Digital Cut to Tape (Local Mode). . . . . . . . . . . . . . . . 228

Outputting Directly to a DV Device. . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Selecting Output and Timecode Formats for 23.976p,

24p, and 25p Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Selecting DSK Title Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Performing an Insert Edit with Pulldown . . . . . . . . . . . . . . . . . . . . 237

Digital Cuts and Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Changing the Default Pulldown Phase for Sequences . . . . . . . . . 239

Using DV Digital Cut Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Using EDL Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Using the Matchback Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

How Matchback Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Matchback Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Using FilmScribe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Exporting Frames, Clips, or Sequences . . . . . . . . . . . . . . . . 247

Understanding Export. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Preparing to Export a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Exporting Frames, Clips, or Sequences. . . . . . . . . . . . . . . . . . . . . . . . 250

10

Using the Drag-and-Drop Method to Export Frames,

Clips, or Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Customizing Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Preset Export Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Creating a New Export Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Exporting OMFI and AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Exporting Through OMF Interchange . . . . . . . . . . . . . . . . . . . . . . . 257

Exporting Through AAF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Selecting an OMFI or an AAF Transfer Method . . . . . . . . . . . . . . . 258

Exporting As an OMFI or an AAF File . . . . . . . . . . . . . . . . . . . . . . 259

Creating Files for a DVD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Exporting Video in DV Stream Format . . . . . . . . . . . . . . . . . . . . . . . . . 263

Exporting QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Exporting As a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Exporting As a QuickTime Reference Movie . . . . . . . . . . . . . . . . . 269

Using Avid Codecs for QuickTime . . . . . . . . . . . . . . . . . . . . . . . . . 271

Exporting As an AVI File (Windows Only). . . . . . . . . . . . . . . . . . . . . . . 274

AVI Settings Options (Windows Only) . . . . . . . . . . . . . . . . . . . . . . 276

Installing the Avid Codecs for QuickTime on Other Systems . . . . . . . . 276

Copying the Avid Codecs for QuickTime to Another

Windows System (Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Copying the Avid Codecs for QuickTime to Another

Macintosh System (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Downloading Avid Codecs for QuickTime . . . . . . . . . . . . . . . . . . . 279

Exporting from a Third-Party QuickTime or AVI Application . . . . . . . . . 280

Exporting Tracks As Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Exporting As a Graphic File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Exchanging Files with Avid Applications . . . . . . . . . . . . . . . 285

Compatibility Between Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Transferring Projects and Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Before You Begin Moving Project Files . . . . . . . . . . . . . . . . . . . . . 287

Step 1: Transfer Project Files and Media Files. . . . . . . . . . . . . . . . 289

Step 2: Open the Project and Relink or Recapture. . . . . . . . . . . . . 290

Step 3: Import Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

11

Step 4: Re-create the Title Media . . . . . . . . . . . . . . . . . . . . . . . . . 292

Step 5: Render Non-Real-Time Effects . . . . . . . . . . . . . . . . . . . . . 296

Transferring Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Exporting the Sequence Without Audio Media . . . . . . . . . . . . . . . 298

Exporting the Sequence with Embedded Audio Media . . . . . . . . . 299

Transferring Sound Designer II Audio Files from

Macintosh Systems. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

Options for File Transfers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Transferring a Project Using Shared Storage . . . . . . . . . . . . . . . . 301

Transferring Project Files and Media Files Using

Nonshared Storage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Devices and Methods for Transferring Files . . . . . . . . . . . . . . . . . 305

Nonshared Storage Issues for Cross-Platform Collaboration . . . . 309

Using AvidLinks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Transferring Projects and Bins Using AFE Files . . . . . . . . . . . . . . 313

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

12

Tables

Table 1 Supported Resolutions and Field Dimensions . . . . . . . . . 21

Table 2 Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . 28

Table 3 Film Project Pulldown and Transfer Settings . . . . . . . . . 103

Table 4 Audio Tool Components. . . . . . . . . . . . . . . . . . . . . . . . . 114

Table 5 Video Input Tool Components . . . . . . . . . . . . . . . . . . . . 123

Table 6 Luminance Settings for Video Input . . . . . . . . . . . . . . . . 128

Table 7 Function Keys Available When Capturing . . . . . . . . . . . 137

Table 8 Locators Mapped to Function Keys . . . . . . . . . . . . . . . . 140

Table 9 J-K-L Functions for Deck Control . . . . . . . . . . . . . . . . . . 141

Table 10 Support for Photoshop Layer Options . . . . . . . . . . . . . . 192

Table 11 Support for Photoshop Special Layer Types . . . . . . . . . 193

Table 12 Video Format Output Parameters. . . . . . . . . . . . . . . . . . 207

Table 13 Luminance Settings for Video Output. . . . . . . . . . . . . . . 209

Table 14 24p and 25p Project Output Options . . . . . . . . . . . . . . . 232

Table 15 Audio Play Rates for 24p and 25p Projects . . . . . . . . . . 234

Table 16 Audio Play Rates for 23.976p Projects. . . . . . . . . . . . . . 235

Table 17 DVD Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Table 18 Selecting a QuickTime Export Option. . . . . . . . . . . . . . . 265

Table 19 Exporting Sequences Without Audio Media . . . . . . . . . . 298

Table 20 Exporting Sequences with Embedded Audio Media. . . . 300

Table 21 Media Composer Adrenaline Default Folder and File Loca-

tions (Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Table 22 Media Composer Adrenaline Default Folder and File Loca-

tions (Maccintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Table 23 Media Composer Adrenaline Default Folder and File Loca-

tions (Macintosh). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Table 24 Options for Transferring Files Between Macintosh

Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Table 25 Options for Transferring Files Between Windows

Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Table 26 Options for Transferring Files Between Macintosh and Win-

dows Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Table 27 Available Avid Applications for AvidLinks Export . . . . . . 311

Using This Guide

The Avid

®

Media Composer

®

Adrenaline

™

Input and Output Guide

presents information to help you bring material into your Avid system and

send material out. Material for input includes video footage, film footage

transferred to video, graphic images, audio, and other elements you use to

create a sequence. Material for output includes sequences, clips, individual

frames, and audio, either as a work in progress or as a finished piece.

This guide includes information on planning projects, logging information

into bins, capturing footage, and generating output. It also includes

information on importing files, exporting files, and exchanging projects

between systems.

n

The documentation describes the features and hardware of all models.

Therefore, your system might not contain certain features and hardware

that are covered in the documentation.

Who Should Use This Guide

This guide is intended for editors at all levels of experience, particularly

video editors who are unfamiliar with film-originated projects and editors

responsible for the input and output stages of a project.

Using This Guide

14

About This Guide

The Contents lists all topics included in the book. They are presented with

the following overall structure:

• Chapters 1 presents conceptual information to help you plan a project

and understand the film-to-tape transfer process.

• Chapters 2 through 7 include conceptual information and step-by-step

procedures for all aspects of input and output.

• Chapter 8 includes conceptual information and step-by-step

procedures on exchanging files between Avid systems.

•An index at the end of this manual helps you locate the information

you need.

Symbols and Conventions

Unless noted otherwise, the material in this document applies to the

Windows

®

XP and Mac OS

®

X operating systems. When the text applies

to a specific operating system, it is marked as follows:

• (Windows) or (Windows only) means the information applies to the

Windows XP operating system.

• (Macintosh) or (Macintosh only) means the information applies to the

Mac OS X operating system.

The majority of screen shots in this document were captured on a

Windows XP system, but the information applies to both Windows XP and

Mac OS X systems. Where differences exist, both Windows XP and

Mac OS X screen shots are shown.

Symbols and Conventions

15

Avid documentation uses the following symbols and conventions:

Symbol or Convention Meaning or Action

n

A note provides important related information,

reminders, recommendations, and strong

suggestions.

c

A caution means that a specific action you take could

cause harm to your computer or cause you to lose

data.

w

A warning describes an action that could cause you

physical harm. Follow the guidelines in this

document or on the unit itself when handling

electrical equipment.

> This symbol indicates menu commands (and

subcommands) in the order you select them. For

example, File > Import means to open the File menu

and then select the Import command.

t

This symbol indicates a single-step procedure.

Multiple arrows in a list indicate that you perform

one of the actions listed.

k This symbol represents the Apple or Command key.

Press and hold the Command key and another key to

perform a keyboard shortcut.

Margin tips In the margin, you will find tips that help you

perform tasks more easily and efficiently.

Italic font Italic font is used to emphasize certain words and to

indicate variables.

Courier Bold font

Courier Bold font identifies text that you type.

Click Quickly press and release the left mouse button

(Windows) or the mouse button (Macintosh).

Double-click Click the left mouse button (Windows) or the mouse

button (Macintosh) twice rapidly.

Using This Guide

16

If You Need Help

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 ReadMe supplied with your Avid application for the latest

information that might have become available after the hardcopy

documentation was printed. You can access the ReadMe from the Help

menu.

3. Check the documentation that came with your Avid application or

your hardware for maintenance or hardware-related issues.

4. Visit the online Knowledge Center at www.avid.com/support. Online

services are available 24 hours per day, 7 days per week. Search this

online Knowledge Center to find answers, to view error messages, to

access troubleshooting tips, to download updates, and to read/join

online message-board discussions.

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

For Broadcast On-Air Sites and Call Letter Stations, call

800-NEWSDNG (800-639-7364).

Right-click Quickly press and release the right mouse button

(Windows only).

Drag Press and hold the left mouse button (Windows) or

the mouse button (Macintosh) while you move the

mouse.

Ctrl+key

k+key

Press and hold the first key while you press the

second key.

Symbol or Convention Meaning or Action

Accessing the Tutorial and Online Library

17

Accessing the Tutorial and Online Library

The Avid Media Composer Adrenaline Tutorial CD-ROM contains a

multimedia tutorial. The Avid Media Composer Online Library CD-ROM

contains all the product documentation in PDF format. Avid recommends

the multimedia tutorial as your first resource for learning how to use your

application. You can access the tutorial or the library from the Tutorial and

Online Library CD-ROMs or from the Help menu.

n

You will need Adobe

®

Acrobat

®

Reader

®

installed to view the

documentation online. The Acrobat folder on your Online Library

CD-ROM contains an installer for Acrobat Reader. The tutorial and the

effects reference guide requires Apple’s QuickTime

®

application to view

the QuickTime movies. You can download the latest version of QuickTime

from the Apple

®

Web site.

To access the tutorial from the Tutorial CD-ROM:

1. Insert the Avid Media Composer Adrenaline Tutorial CD-ROM into

the CD-ROM drive.

2. Double-click the Mainmenu.exe to start the tutorial.

To access the online library from the Online Library CD-ROM:

1. Insert the Avid Media Composer Adrenaline Online Library CD-ROM

into the CD-ROM drive.

2. Double-click the Mainmenu.pdf to open the online library.

To access the tutorial from the Help:

1. Insert the Avid Media Composer Adrenaline Tutorial CD-ROM into

the CD-ROM drive.

2. In your Avid application, select Help > Online Library & Tutorial.

To access the online library from the Help:

1. Insert the Avid Media Composer Adrenaline Online Library CD-ROM

into the CD-ROM drive.

2. In your Avid application, select Help > Online Library & Tutorial.

Using This Guide

18

n

For the latest product information, see the Avid Knowledge Center:

www.avid.com/support

How to Order Documentation

To order additional copies of this documentation from within the

United States, call Avid Sales at 800-949-AVID (800-949-2843). If you

are placing an order from outside the United States, contact your local

Avid representative.

Avid Educational Services

For information on courses/schedules, training centers, certifications,

courseware, and books, please visit www.avid.com/training or call

Avid Sales at 800-949-AVID (800-949-2843).

Chapter 1

Planning a Project

This chapter gives a brief description of video formats and resolutions

supported by your Avid editing system and other information that can help

you plan your project. This chapter includes the following topics:

• Types of Projects

• Project Resolutions

• Working with Mixed-Resolution Projects

• NTSC and PAL Image Sizes

• Sample Workflow

• Video and Film Projects

Types of Projects

When you start a project on your Avid system, you need to decide on a

project type. Select your project type based on your source footage. You

can select one of the following options from the New Project dialog box:

• 24p NTSC: For film-originated footage or other 24-fps footage,

transferred to NTSC videotape

• 23.976p NTSC: For film-originated or other 24-fps footage in which

you want to use digital audio, or for footage which has been shot at

23.976

• 30i NTSC: For NTSC video-originated footage (30 fps)

Chapter 1 Planning a Project

20

• 24p PAL: For film-originated footage or other 24-fps footage,

transferred to PAL videotape

• 25i PAL: For PAL video-originated footage (25 fps)

In these options, 23.976p, 24p, and 25p designate 23.976-fps, 24-fps, and

25-fps progressive media. For these projects, your source footage is

captured and stored as 23.976, 24, or 25 full, discrete frames per second. In

the 30i NTSC and 25i PAL options, the i represents interlaced frames

played at 30 fps or 25 fps. An interlaced frame consists of two fields, each

of which contains one-half the scan lines of the frame. Interlaced frames

are standard for NTSC and PAL video media.

For information on Film Projects, see “Planning a Film Project” in the

Help.

Project Resolutions

You must capture media to begin a project. Connect your media device to

the Avid Adrenaline I/O box. The Avid Adrenaline DNA Installation

Instructions identifies all of the connectors on your Avid Adrenaline DNA.

You can use a Media Station XL system or an Avid Xdeck

™

in an

Avid Unity

™

MediaNetwork environment to capture media. For more

information about these products, contact your Avid representative, or visit

the Avid Web site.

Project formats are described as follows:

• An Avid video projects capture and store 30i-fps NTSC or 25i-fps PAL

media as digital video that conforms to the ITU-R 601 standard

(SDTV or standard-definition TV).

• Film projects capture and store 23.976p-fps NTSC or 25p-fps PAL

media. You do your offline editing on an Avid editing system and

finishing on a Symphony

™

or Avid|DS system.

n

You cannot create 24p or 25p media or multiple output formats from video

footage shot at 30 fps (NTSC) or 25 fps (PAL). The source must be film

or HD (high-definition).

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Avid Media Composer Adrenaline 1.0 User guide

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