Avid Studio Studio Toolkit 5.6 User guide

Category
Software manuals
Type
User guide
make manage move | media
Avid
®
Using Avid
®
Studio Toolkit
Workflow Guide
2
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Copyright © 2006 Avid Technology, Inc. and its licensors. All rights reserved.
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Copyright © 1988–1997 Sam Leffler
Copyright © 1991–1997 Silicon Graphics, Inc.
Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its documentation for any purpose
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IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, INDIRECT
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LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE.
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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.
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3
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.
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Source Code:
©1993–1998 Altura Software, Inc.
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Certain real-time compositing capabilities are provided under a license of such technology from Ultimatte Corporation and are
subject to copyright protection.
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Certain waveform and vector monitoring capabilities are provided under a license from 3Prong.com Inc.
Attn. Government User(s). Restricted Rights Legend
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Trademarks
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Avid DNA, Avid DNxcel, Avid DNxHD, AVIDdrive, AVIDdrive Towers, Avid Learning Excellerator, Avid Liquid, Avid Mojo,
AvidNet, AvidNetwork, AVIDstripe, Avid Unity, Avid Unity ISIS, Avid Xpress, AVoption, AVX, CamCutter, ChromaCurve,
ChromaWheel, DAE, Dazzle, Deko, DekoCast, D-Fi, D-fx, DigiDelivery, Digidesign, Digidesign Audio Engine,
Digidesign Intelligent Noise Reduction, DigiDrive, Digital Nonlinear Accelerator, DigiTranslator, DINR, DNxchange, D-Verb,
Equinox, ExpertRender, FieldPak, Film Composer, FilmScribe, FluidMotion, HIIP, HyperSPACE, HyperSPACE HDCAM,
IllusionFX, Image Independence, iNEWS, iNEWS ControlAir, Instinct, Intraframe, iS9, iS18, iS23, iS36, LaunchPad, Lightning,
Lo-Fi, Magic Mask, make manage move | media, Marquee, Matador, Maxim, MCXpress, Media Browse, Media Composer,
MediaDock, MediaDock Shuttle, Media Fusion, Media Illusion, MediaLog, Media Reader, Media Recorder, MEDIArray,
MediaShare, MediaStream, Meridien, MetaSync, MissionControl, NaturalMatch, Nearchive, NetReview, NewsCutter, Nitris,
OMF, OMF Interchange, OMM, Open Media Framework, Open Media Management, PCTV, Pinnacle MediaSuite,
Pinnacle Studio, Pinnacle Systems, ProEncode, Pro Tools, QuietDrive, Recti-Fi, RetroLoop, rS9, rS18, Sci-Fi, Show Center,
Softimage, Sound Designer II, SPACE, SPACEShift, SpectraGraph, SpectraMatte, SteadyGlide, Symphony, TARGA,
Thunder, 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. Adobe and Photoshop are either registered
trademarks or trademarks of Adobe Systems Incorporated 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.
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 British Columbia — Courtesy of Eco Challenge Lifestyles, Inc., All Rights Reserved.
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, Carol Amore, Executive Producer.
Windhorse — Courtesy of Paul Wagner Productions.
4
Arizona Images — KNTV Production — Courtesy of Granite Broadcasting, Inc.,
Editor/Producer Bryan Foote.
Canyonlands — Courtesy of the National Park Service/Department of the Interior.
Tornados + Belle Isle footage — Courtesy of KWTV News 9.
WCAU Fire Story — Courtesy of NBC-10, Philadelphia, PA.
Women in Sports – 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 might 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.
Using Avid Studio Toolkit Workflow Guide • Part 0130-07669-01 • August 2006
5
Contents
Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Chapter 1 General Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Planning Your Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Project Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
30i NTSC versus 25iPAL Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Working with 24p Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Working with 25p Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Planning a 23.976p NTSC Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
HDTV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
System Compatibilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
File naming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Title Fonts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Preparing Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Creating and Developing a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Adding an Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Working with Avid 3D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Creating a DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Chapter 2 Using Avid FX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Using Avid FX as a Plugin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Dragging the Avid FX Effect on to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . 35
Entering Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Creating an Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Rendering the Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Creating Text Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
6
Animating Text on a Path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Using the Avid FX Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Format Compatibilities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Saving and Sharing Your Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Chapter 3 Using Avid 3D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Exporting Media from Your Avid Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Converting OMF Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Exporting to Avid 3D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Creating 3D Content. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Applying Video Clips as Background Textures . . . . . . . . . . . . . . . . . . . . . . . . . 64
Exporting Media from Avid 3D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Chapter 4 Using Avid DVD by Sonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
DVD Authoring Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Blu-ray Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Preparing the Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Exporting a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Encoding a Sequence with Sorenson Squeeze . . . . . . . . . . . . . . . . . . . . . . . . 80
Producing the DVD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Setting Up the Avid DVD by Sonic Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Creating a Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Adding Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Creating and Editing Chapter Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Creating and Editing Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Previewing Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Outputting the Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Writing DVD Volumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Writing Disc Images. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Using This Guide
Congratulations on your purchase of the Avid Studio Toolkit package of editing
applications. You can use your applications to 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.
This guide outlines the workflow between the component applications of Avid Studio
Toolkit, or referred to as Avid Studio. Most screen shots and references regarding the Avid
editing system are of Avid Xpress Pro. This is only used as an example. The options would
apply to all Avid editors.
This guide is intended for all users, from beginning to advanced.
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.
Symbols and Conventions
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.
Using This Guide
8
If You Need Help
If you are having trouble using Avid Studio:
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 for the latest information that might have become available after the
documentation was published:
- If the latest information for your Avid product is provided as printed release notes,
they ship with your application and are also available online.
- If the latest information for your Avid product is provided as a ReadMe file, it is
supplied on your Avid installation CD or DVD as a PDF document and is also
available online.
You should always check online for the most up-to-date release notes or ReadMe
because the online version is updated whenever new information becomes
available. To view these online versions, select ReadMe from the Help menu. or visit
the Knowledge Base at www.avid.com/readme.
3. Check the documentation that came with your Avid application or your hardware for
maintenance or hardware-related issues.
4. Visit the online Knowledge Base at www.avid.com/onlinesupport. Online services are
available 24 hours per day, 7 days per week. Search this online Knowledge Base to find
answers, to view error messages, to access troubleshooting tips, to download updates,
and to read or join online message-board discussions.
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.
(Windows), (Windows only),
(Macintosh), or (Macintosh
only)
This text indicates that the information applies only to the specified
operating system, either Windows XP or Macintosh OS X.
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.
Ctrl+key or mouse action
k+key or mouse action
Press and hold the first key while you press the last key or perform the
mouse action. For example, k+Option+C or Ctrl+drag.
Symbol or Convention Meaning or Action
Accessing the Online Library
9
Accessing the Online Library
The Online Library for your Avid editing application contains all the product documentation
in PDF format, including a Master Glossary of all specialized terminology used in the
documentation for Avid products.
Most Avid online libraries also include multimedia content such as tutorials and feature
presentations. This multimedia content is an excellent first resource for learning how to use
your application or for helping you understand a particular feature or workflow.
The Online Library for your Avid editing application is installed along with the application
itself.
n
You will need Adobe
®
Reader
®
to view the PDF documentation online. You can download
the latest version from the Adobe web site.
To access the Online Library, do one of the following:
t From your Avid editing application, select Help > Online Library.
t From the Windows desktop, select Start > Programs > Avid > Avid Studio Toolkit
Online Library.
t Browse to the Online Library folder, and then double-click the MainMenu file.
The Online Library folder is in the same location as the application itself, for example:
C:\Program Files\Avid\Avid Studio Toolkit\Online Library
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.
Using This Guide
10
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, please visit www.avid.com/training or call Avid Sales at 800-949-AVID
(800-949-2843).
Chapter 1
General Workflow
The Avid Studio Toolkit package give you the tools to cover all aspects of the post
production process.
Avid FX - for advanced titling, compositing, motion tracking, vector paint, rotoscoping,
and effects
Avid 3D - for 3D titling, DVE, Deform, and 3D Models
Avid DVD by Sonic
- for production of interactive DVDs and BDs (Blu-ray Discs)
with advanced menus and navigation
Each of these tools is a fully-functional application, so you can use each one independently
or in workflows that start with another Avid editing application such as:
Avid Xpress Pro
Avid Media Composer
Avid NewsCutter Adrenaline
Avid NewsCutter XP
Avid Symphony
The collaboration between these Avid applications means that you have the right tool for
each specific task to enhance your project. In your editing application, you capture or import
footage, and assemble and edit video and audio clips into a sequence. You can then use the
studio applications to add high-quality titling, effects, 3D elements. Once you are satisfied
with the results, you can encode it for DVD production.
Chapter 1 General Workflow
12
Planning Your Workflow
Before you begin to capture video into your Avid editor, take some time to plan out your
project. Decisions that you take at the beginning will determine your choices for final
output. Your workflow plan should not only determine what needs to be done, who will do
it, and using which tools, but also the final distribution method (which will determine the
video format used for the entire project). An Edit Decision List (EDL) can help you to map
out the work and track the sequences, effects and transitions. For more information, see
“Working with EDLs” and “Workflow” in your Avid editor Help.
The following workflow illustrates the collaborative possibilities between Avid Studio and
your Avid editor. This workflow works with any supported Avid editor, this particular
workflow uses Avid Xpress Pro.
Planning Your Workflow
13
(Plugin or standalone)
- Apply effects, filters and transitions
- Perform color correction, dust & scratch removal
- Do compositing, motion tracking, vector painting,
rotoscoping.
Avid Xpress Pro, or other Avid editor
Plan your project, see “Planning Your Workflow”
- Capture material
- Digitize source material from file or tape.
- Create rough cut
- Export sequences to Avid tools
- Re-import sequences
- Create final cut
- Export to Avid DVD by Sonic or output to tape or file.
Output to tape or file, such as for
CD-ROM and Web distribution.
Output to media
(Standalone)
- Create menus, chapters, view lists, etc.
- Output to DVD, or Blu-ray Disc.
Avid DVD by Sonic
(Standalone)
- Create 3D titling
- Apply video to DVE scenes
- Apply deforms to Titling or Video
- Load 3D Models and scenes from
the 3D library
Avid 3D
3
5
6
1
Avid FX
Avid Xpress Pro Workflow
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Chapter 1 General Workflow
14
Project Formats
The format that you choose in the New Project dialog box determines how material is
imported. At first, the possibilities may seem overwhelming; however, the most important
delivery requirements are the formats and frame rates. A broadcast network might require a
range of formats: NTSC, PAL, and HD, with aspect ratios of 4:3 and 16:9. Avid provides
you with the ability to output multiple versions from the same source file; however, make
sure that all editing is done at the same, or a compatible, frame rate. If you are unsure about
the requirements for a broadcast project, contact your broadcaster for their exact
specifications before you start to save you any headaches later.
n
The information here is intended to provide an overview only. For more information on a
particular topic, consult the online help.
30i NTSC versus 25iPAL Media
30i NTSC is the generally accepted standard for North America and some other countries.
25i PAL (or the compatible SECAM) are used elsewhere. For more information, see TV
Standards and DVD regions by country/territory in the Avid DVD by Sonic User Guide.
Working with 24p Media
With DTV (digital television) formats expanding the options for content distribution, there is
renewed interest in the oldest format in the industry: 24-fps film. In addition to its worldwide
format, film provides the highest resolution master for archiving purposes. An important
aspect of the 24p format is that, if you are using Avid Symphony, it allows you to output
either NTSC or PAL
video from the same project. Because 24p provides a common
production format for multiversion, multiformat delivery, it promises to become more
widely accepted for all film and video content.
Through a telecine transfer and the capturing process, the Avid system captures and stores
film frames as 24-fps progressive media, or 24p. Progressive media is composed of single
frames, each of which is vertically scanned as one pass. The Avid system creates 24p media
by combining (de-interlacing) two video fields into a single full, reconstructed frame. For
NTSC film-to-tape transfers, the system creates 24p media by removing the extra fields
inserted by the 2:3 pulldown process and by creating progressive frames.
Working in 24p simplifies digital editing of film or other 24-fps-originated content, such as
HDTV video that has been downconverted to ITU-R 601 digital video. In addition, 24p
media requires less storage and processing power than 30-fps media. The 24p SD format
also exists for video capture.
Project Formats
15
Audio Transfer Options for 24p PAL Projects
When you create a 24p PAL project, you must specify the appropriate audio transfer rate for
the project. (This is not necessary for a 25p PAL project because there is no film speedup
during the transfer.) The New Project dialog box provides Audio Transfer options that allow
you to select either Film Rate or Video Rate. This value is project specific and should not be
changed after you create the project unless you have a specific element that you need to
transfer at a different rate.
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The Audio Transfer options are also located in the Film and 24p Settings dialog box and can be
changed after the project is created.
The Audio Transfer options are:
Film Rate (100%): Select this option when your 24-fps film footage has been transferred
MOS (roughly translated as “without sound”) to 25 fps by speeding up the film, and the
audio comes in separately at 100 percent of the actual speed (PAL Method 2).
Video Rate (100%+): Select this option when your 24-fps film footage has been
transferred to 25 fps by speeding up the film, and the audio is synchronized to the video
picture. This means that the audio speed is increased by 4.1 percent (PAL Method 1).
n
The Edit Play Rate and Audio Source Tape TC Rate options do not appear in the Film and
24p Settings dialog box. Edit Play Rate is automatically set at 23.976 fps. The Audio Source
Tape TC Rate does not apply to 23.976p projects because you cannot capture 30 fps audio in
a 23.976p project.
Working with 25p Media
The 25p format is primarily for use in countries where PAL video is standard. When you
transfer 25-fps film footage to 25-fps PAL video, no modifications are necessary due to
matching frame rates. The source for 25p is typically 25-fps film or 25-fps HDTV format.
The methods for creating and storing 25p media are the same as for 24p.
The 25-fps feature provides the following advantages:
Simultaneous input of video and audio in sync
Frame-accurate ink number tracking
Digital cut recording directly to videotape
Frame-accurate cut lists and change lists
Frame-accurate audio EDLs for online editing of audio tracks
Frame-accurate EDLs for assembling footage from the transfer or for preparing an
online show master.
Chapter 1 General Workflow
16
Planning a 23.976p NTSC Project
Avid editing systems that include 24p support include a 23.976p NTSC project type. This
project type is especially designed for capture and output of digital audio that has been
transferred or recorded at 48 kHz, in sync with picture at 23.976 fps. A 23.976p project lets
you maintain digital standards for all NTSC input and output at 23.976 fps.
Select this project type for one of the following reasons:
Your film and audio sources have been synced in the telecine process and transferred to
digital videotape formats.
Your audio and video sources have been shot at a camera rate of 23.976 fps. This rate is
used for film (film-based television) or 24p HD video (television or feature film). These
sources can be downconverted to standard NTSC without further audio slowdown.
Audio recorded at 48 kHz can remain at 48 kHz throughout the project.
n
The 23.976 fps frame rate is sometimes referred to as 23.97 fps or 23.98 fps. The 23.976 fps
frame rate is in direct proportion to the NTSC broadcast frame rate of 29.97fps, which is
used for film-to-tape transfer to the Avid editing system.
Limitations for 23.976p Projects
You should be aware of the following limitations when you are planning a 23.976p project:
For film projects shot at 24 fps, audio must be “pulled down” or “slowed down” before
it can be captured into a 23.976p project. The user does not have the choice of capturing
non-pulled-down audio. Unlike 24p NTSC projects, where the audio pulldown switch
can be set to 1.0 or 0.99 to support either 24 fps or 23.976 fps, 23.976p projects do not
use the audio pulldown switch. These 23.976p projects can only support 48 kHz audio
that is in sync with 23.976-fps picture on a 29.97-fps transfer tape.
Media created in 24p projects and media created in 23.976p projects are not compatible.
If you start working in one type of project and then decide to switch to the other, you
need to recapture all video and audio media. You cannot relink video media or audio
media across the two project types.
OMF and AAF files that are output from a 23.976p project look slightly different from those
from a 24p project. The edit rates will show up as 23.976 fps in these files.
Project Formats
17
HDTV
High-definition television (HDTV) is a digital broadcasting technology that delivers a larger,
clearer, more detailed picture than standard definition television (SDTV). HDTV refers to
specific digital television (DTV) formats that have been standardized by the Advanced
Television Systems Committee (ATSC) and adopted by the United States Federal
Communications Commission (FCC). HDTV for PAL has been standardized by the Digital
Video Broadcasting (DVB) consortium.
HDTV uses a 16:9 aspect ratio in place of the standard definition 4:3 ratio. The following
illustration compares the pixel size of the most common HD formats — 720p and 1080i —
to that of the digital version of standard definition NTSC media (ITU-R 601). Both 1080i
and 720p formats fill the 16x9 screen on HD television sets. For more information about HD
technology, see the Avid HD Handbook: An A to Z Guide, which is available on the Avid
web site, www.avid.com.
HDTV output is commonly used for:
Creation of film-based television programs that originate on film footage and that are
planned for NTSC HDTV broadcast. This workflow lets you change the project and
sequence format, eliminating the need to create a new project and sequence. Modifying
the format of the sequence lets you keep both offline SD material and online HD
material available in the same project. For PAL broadcast, transfer film at 1080p/25, edit
offline in a 25p PAL project, and edit online in a 1080p/25 project. For more
information, see “Changing the Project Format” in the help.
Chapter 1 General Workflow
18
Creation of video-based television programs that originate on video footage and are
planned for HDTV broadcast. The workflow for creating such programs uses a single
system for offline and online editing, but you can adapt it to use one system for offline
editing and another for online editing. This workflow lets you change the project and
sequence format, eliminating the need to create a new project and sequence. Modifying
the format of the sequence lets you keep both offline SD material and online HD
material available in the same project. You can use this workflow for video footage shot
at 720p/23.976, 720p/59.94 or 1080p/29.97. In these cases, however, you cannot simply
change the project format. Instead, you need to create a new project that matches the
source footage, open the bin or bins from the NTSC 30i project, change the sequence
format, decompose, and batch capture. For a more information, see “Decompose” in the
Help.
Creation of video graphics, such as bumpers and promos, for HDTV broadcast.
System Compatibilities
File naming
To make sure that files transfer correctly, consider the following:
Do not use the following characters in project, bin, or other file names:
/ \ : * ? ” < > |
Do not add spaces at the beginning or end of a file name.
Do not use a period at the end of a file name.
The Use Windows Compatible File Names setting in the General Settings dialog box is
selected by default. With this setting selected, 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 also attached to existing files.
Title Fonts
If the project includes titles and you are moving between systems, make sure you have the
same font with exactly the same name (preferably from the same supplier) on all systems.
For best results, use OpenType® fonts, which reduce problems when transferring.
System Compatibilities
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Preparing Graphics
The most critical step when preparing graphics is to make sure that the elements you are
going to import are created correctly. The following table summarizes various requirements.
Aspect Requirements Notes
Frame size
(4:3)
Square pixels:
648 x 486 (NTSC)
640 x480 (NTSC DV)
768 x 576 (PAL)
These are the preferred sizes. 720 x 540 can
also be used, in some situations, for both NTSC
and PAL. These are stored by the application as
non-square pixels.
Frame size
(16:9)
Square pixels:
864 x 486 (NTSC anamorphic)
1024 x 576 (PAL anamorphic)
1280 x 720 (HD)
1920 x 1080 (HD)
Preferred sizes. SD media is stored by the
application as non-square pixels.
Alpha channel White foreground (transparent),
black background (opaque)
This is the standard used by graphics,
animation, and compositing packages. The
graphics need to have the alpha channel
inverted on import.
Color mode RGB
ITU-R 601
ITU-R 709
Other formats, including CMYK, can cause
import errors.
ITU-R 601 is used for SD and ITU-R 709 is
used for HD.
In HD projects, the Avid application
automatically converts the media.
File format Various The Avid application accepts many file input
formats, with TIFF (.tif) and PICT (.pct) as the
most commonly used.
File field order Odd (Upper field first)
Even (Lower field first)
For interlaced media, the Avid application uses
the following order:
NTSC (601 and DV): lower field first
PAL 601: upper field first
PAL DV: lower field first
HD Interlaced: upper field first
If the field order of the graphic is not correct,
select the field order of the graphic during
import. The application will reverse the fields
appropriately. Field order does not apply to
progressive media.
Chapter 1 General Workflow
20
Send To...
The Send To feature enables you to send sequences or master clips from your Avid editor to
other applications, automating your workflow. The Send To feature provides you with a
choice of several pre-defined templates to streamline your workflow. These templates are set
to default parameters customized for specific workflows.
If you have Avid Studio, you should use the Avid Studio options. Avid recommends you use
the pre-defined template default settings, which have been qualified by Avid; however, you
can also define your own templates if your situation requires it.
Send to options include:
Avid Studio, Encoding for Avid DVD by Sonic, or Avid3D (This is the preferred
method for export to Avid Studio Toolkit.)
DigiDelivery and DigiDesign, as either Avid Video or QuickTime, both with embedded
audio
Digidesign Pro Tools on Unity, as either Video and Audio, QuickTime with audio link,
Video Mixdown with Audio link
DVD, to create a QT reference movie
Encoding, Sorenson Squeeze
Avid | DS
•AudioVision
Make New
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The menu choices in your actual Avid editor may vary from those listed here, depending on
your license.
Exchanging Files between the Avid Applications
Avid Studio makes it easy to move media and their metadata between the other Avid Studio
tools, but you have to be aware of the media and metadata format requirements of each of
the applications. The following table provides the guidelines for importing and exporting
media and metadata.
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Avid Studio Studio Toolkit 5.6 User guide

Category
Software manuals
Type
User guide

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