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Setting Avid Media Composer 8.4

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ACHMAD AFANDI

This document provides a summary of all the available settings in an Avid editing application. It begins by explaining the different types of settings and how to work with settings by viewing, modifying, filtering, duplicating, renaming, selecting, deleting, and restoring them. The document then provides a table that briefly describes each individual setting and where to find more information about it. Some of the settings covered include audio settings, bin settings, capture settings, cloud settings, color correction settings, controller settings, and many others.

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33 Settings This chapter provides information on how to use settings. • Understanding Settings • Working with Settings • Options for Moving User Settings Files This chapter also provides reference information for all settings categories. • Summary of Settings • Link Settings • Audio Settings • Audio Multiple Mix Settings • Bin Settings • Capture Settings • Cloud Download Settings (Media Composer Cloud Clients Only) • Cloud Playback Settings (Media Composer Cloud Clients Only) • Cloud Upload Settings (Media Composer Cloud Clients Only) • Communication (Serial) Ports Tool Settings • Composer Settings • Controller Settings • Correction Settings • Deck Configuration Settings • Deck Preferences Settings • Dynamic Relink Settings • Effect Editor Settings • E-mail Settings • Export Settings • Film and 24P Settings
1201 20 • Full Screen Playback Settings • General Settings • Grid Settings • Import Settings • Interface Settings • Interplay Folder, Interplay Server, and Interplay User Settings • Keyboard Settings • Marquee Title Settings • Media Creation Settings • Mouse Settings • NRCS Settings (Media Composer | NewsCutter Option) • Passthrough Mix Tool • PortServer Settings • Production Services Settings (Windows Only) • Remote Play and Capture Settings • Render Settings • S3D Settings • Safe Colors Settings • Script Settings • Sound Card Configuration Settings (Windows Only) • Timeline Settings • Trim Settings • Transfer Settings • Video Display Settings • Video Input Tool Settings • Video Output Tool Settings • Video Satellite Settings • Workspace Linking Settings
Understanding Settings 1211 21 Understanding Settings The Settings tab in the Project window contains a list of settings that control many aspects of your Avid editing application’s behavior. Using the Settings list, you can: • Open Settings dialog boxes to view and modify settings. • Switch between settings. • Manage settings in a variety of ways. For more information, see “Working with Settings” on page 1403. You can also switch between users and work with user profiles. For more information, see “Switching to Another Set of User Settings” on page 1406 and “Understanding User Profiles” on page 77. The following illustration shows the Settings tab in the Project window. Top to bottom: Settings tab, Settings Fast menu, Settings list (with setting names in the left column and setting types in the right column)
n 1221 22 Understanding Settings Types of Settings There are three types of settings: • User settings are specific to a particular editor and reflect individual preferences for adjusting the user interface in your Avid editing application. User settings are stored in each user folder. • Project settings are directly related to individual projects. When you change a Project setting, it affects all editors working on the project. Project settings are stored in each project folder. For information about the location of the user and project folders, see “Avid Projects and Avid Users Folders” on page 46. • Site settings establish default parameters for all new users and projects on a particular system. They can apply to particular configurations of equipment installed at the site. They can also include other User or Project settings that you copy into the Site Settings window. Site settings are stored in a separate Settings folder: - (Windows) drive:UsersPublicPublic DocumentsAvid editing applicationSettings - (Macintosh) Macintosh HD/Applications/Avid editing application/ Settings For more information, see “Using Site Settings” on page 1411. Examples of Ways to Use Settings If you organize and manage your settings carefully, you can use them to speed your workflow. For example, you can use settings to address specific needs for one stage of your workflow. Because you can have multiple versions of settings in your Settings list in the Project window, you can also establish settings specific to one user on your team and that user’s work tasks. For example, you can create: • Two Bin settings — one that automatically saves more often when you are editing intensively, and one that automatically saves less often when you are doing organizational work in the bins. • Multiple Capture settings for capturing various types of source material.
Working with Settings 1231 23 • Multiple Keyboard and Composer settings to use for various activities such as capturing, offline editing, or online effects editing. • Multiple Deck Preferences settings for various types of capturing or for output. • User settings for the assistant editor that facilitate logging, capturing, and organizing projects. • User settings for the editor that include editing interface preferences. • Bin View settings that display useful columns of information in bins. For more information, see “Understanding Bin Views” on page 317 and “Saving a Custom Bin View” on page 318). If you establish your settings once, and then select the appropriate setting or bin view for your current needs, you can save time and effort that you might spend searching for information or adjusting bin headings on-the-fly. Working with Settings You can open a dialog box for most settings that lets you view the current settings and to change them if necessary. You can also duplicate, rename, copy, and move settings among files or systems. Viewing and Modifying Settings You can view most settings in a dialog box or window that also lets you change the settings. You cannot modify the following types of settings: • Settings that require the presence of standalone peripherals. • Settings that are only modifiable from within the tools in which they are used, such as Timeline views. • Film and 24p settings when you are working in nonfilm projects. To view a category of settings: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click a setting in the Settings list. A dialog box or window opens.
1241 24 Working with Settings To modify available settings: 1. In the dialog box or window for the setting, type new values or select new options for the setting. For information about navigating within a Settings dialog box, see “Using the Keyboard for Navigating in Dialog Boxes and Menus” on page 35. 2. Click OK, Save, Apply, or Cancel, or click the Close button. Your Avid editing application saves changes in the appropriate User, Project, or Site settings file. Filtering the Settings List You can filter the Settings list in the Project window so that it displays a more focused group of settings. To change the Settings list display in the Project window: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click the Fast Menu button, and select a settings group. The selected settings group has a check mark in the Settings menu, and the Settings list displays only the settings in that group.
1251 25 Working with Settings The following table describes the different Settings display groups. Option Description Active Settings Displays currently active settings. All Settings Displays all settings available. Base Settings Displays Project, User, and Site settings only. Does not display views. Bin Views Displays all Bin View settings you have created. Export Settings Displays all Export settings. Import Settings Displays all Import settings. Timeline Views Displays all Timeline View settings you have created. Title Styles Displays all templates you have created for the Title tool. Video Tools Settings Displays only the Video Input Tool and Video Output Tool settings. Workspace Linked Displays only linked workspaces. Workspaces Displays all Workspace settings you have created.
1261 26 Working with Settings Option Description Site Settings Displays all Site settings in the Site_Settings file. Switching to Another Set of User Settings User settings are not project or site specific, so you can display another set of User settings in the Project window. To select another user: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click the User Selection menu, and select another name. User Selection menu in the Project window Your Avid editing application saves the previous user’s settings, loads the new user’s settings, and displays them in the Project window.
n 1271 27 Working with Settings Duplicating Settings To create a new version of a setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click the setting you want to copy. Ctrl+click (Windows) or Command+click (Macintosh) any additional settings you want to copy. 3. Select Edit > Duplicate. A copy of each selected setting appears in the Settings list. If you are duplicating settings with custom setting names, a period followed by a version number appears at the end of the custom setting name of the duplicated settings. 4. Name your settings to indicate their functions. For more information, see “Naming Settings” on page 1407. Naming Settings You can give settings custom names to differentiate among copies or to indicate a specific use. To enter a custom setting name: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click the Custom setting name column to the right of the setting name.
1281 28 Working with Settings Custom setting name column in the Project window 3. Type a name, and press Enter (Windows) or Return (Macintosh). The new name appears in the list and is saved in the settings file. Selecting Among Multiple Settings If you have multiple versions of a setting (for example, multiple Export settings), only one setting at a time is active. Settings that are currently active have a check mark to the left of the setting name. To change the active setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click in the space to the left of the setting that you want to select as the active setting. Deleting Settings You can delete settings from the Settings list in the Project window at any time. For example, you might choose to delete one or more versions of a particular setting, or you might want to delete all but a few settings for transfer into another Settings window.
c 1291 29 Working with Settings You cannot undo a deletion. You can, however, restore the default settings or copy settings from other files. For more information, see “Restoring Default Settings” on page 1409 and “Copying Settings Between Settings Files” on page 1409. To delete a setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click a setting to select it. Ctrl+click (Windows) or Command+click (Macintosh) each additional setting you want to delete. 3. Do one of the following: t Press the Delete key. t Select Edit > Delete. The selected settings are removed immediately. Restoring Default Settings To restore settings to their default values: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click a setting to select it. Ctrl+click (Windows) or Command+click (Macintosh) each additional setting you want to select. 3. Right-click the selected setting (or one of the multiple selected settings), and select Restore to Default. A message box opens. 4. Click Copy & Restore to copy the current settings before restoring the default settings, or click Restore to discard the current settings. The system restores the default values for the selected settings. Copying Settings Between Settings Files You can copy selected settings: • Between existing settings files. • Into a new settings file for use in other projects. • Into the Settings folder to establish standard system settings for all new projects and
1301 30 Working with Settings users. For more information, see “Using Site Settings” on page 1411. • To change one type of setting to another type.
n 1311 31 Working with Settings You can also transfer settings files to another Avid system. Starting with the release of Media Composer v6.0, Symphony v6.0 and NewsCutter v10.0, the user, project and site settings are saved in an .xml file. If you have an .avs settings file from a previous system, you can bring it forward to a current system and the .avs file will be converted to an xml file. To copy settings between setting files: 1. With the Settings list in the Project window active, open the destination settings file in one of the following ways: t Create and open a new settings file by selecting File > New Settings File. An untitled settings file window opens. t Open an existing settings file: select File > Open Settings File, locate and select a settings file (with the file name extension .xml) in the Avid Projects or Avid Users folder, and then click Open. The settings file window opens. 2. Click the setting you want to copy in the Settings list in the Project window. Ctrl+click (Windows) or Command+click (Macintosh) any additional settings that you want to copy. 3. Drag the selected setting to the destination settings window. Settings list in the Project window (left) and a destination settings window (right) The copied settings are saved when you close or save the file or project. You can also drag settings from the settings window into the Settings list in the Project window.
Options for Moving User Settings Files 1321 32 To copy a setting from a settings file into the Settings list with the setting active: 1. Drag the setting into the Settings list. A message box opens. 2. Do one of the following t Click Add to add the new settings to the project without affecting the project’s current settings. t Click Replace to replace the current version of each setting with the new settings. Additional versions of each setting are not affected. Using Site Settings When your Avid editing application opens a new project, it first searches the Site_Settings file and loads site settings and any other settings you have placed there. Your Avid editing application then proceeds to load any Project and User settings not included in the Site_Settings file. Adding settings to the site settings files is useful if you need to establish global settings for all new users and projects, such as switcher settings, a specific start timecode for all sequences, or various customized features of the interface. To load settings into the Site_Settings file: 1. Open a project with the settings you want to establish as Site settings. If a project does not already exist with the settings you want, create a project and make adjustments to the default settings as needed. 2. Select Special > Site Settings. 3. Click a Project or User setting in the Settings list in the Project window, or Ctrl+click (Windows) or Command+click (Macintosh) multiple settings. 4. Drag the selected setting to the Site Settings window. Copies appear in the Site Settings window. 5. Close the Site Settings window. All new users and projects opened from the Select Project dialog box use these settings as the default settings. Options for Moving User Settings Files You might want to move user settings information from one location to another on your
Options for Moving User Settings Files 1331 33 system, or from one system to another.
Summary of Settings 1341 34 The easiest and most reliable way to do this is to take advantage of user profiles. When you import a user profile, your Avid editing application finds all the necessary files and copies them to the correct location. For more information about using and creating User Profiles, see “Understanding User Profiles” on page 77. Experienced Avid users, however, are accustomed to moving user settings around manually on their systems. If you choose to take this approach, make sure you copy the entire user or user profile folder, not just the individual settings files, and place the copied folder in your user folder. Summary of Settings The following table briefly describes each item in the Settings list and where you can find additional information on a particular item. Setting Name Description Reference Topic AMA Sets options for creating bins and mounting volumes when you are working with AMA (Avid Media Access). “Link Settings” on page 1490 Audio Sets the default audio pan and options for audio scrub. For more information, see “Using Clip Volume and Pan Mode” on page 774 and “Adjusting Digital Scrub Parameters” on page 747. “Audio Settings” on page 1416 Audio Project Defines the audio settings for the project and the audio input and output methods. “Audio Multiple Mix Settings” on page 1423 Bin Sets options for bins and for the SuperBin. “Bin Settings” on page 1423 Bin View Selects and formats the information displayed in bins. For more information, see “Understanding Bin Views” on page 317. Capture Defines how your Avid editing application captures and batch captures in specific situations. “Capture Settings” on page 1424 Cloud Download Allows Media Composer Cloud clients to specify settings for remotely downloading media. “Cloud Download Settings (Media Composer Cloud Clients Only)” on page 1430 Cloud Playback Allows Media Composer Cloud clients to specify the quality for remote media and allows you to manage the settings for the CloudCache folder. “Cloud Playback Settings (Media Composer Cloud Clients Only)” on page 1430
Setting Name Description Reference Topic Cloud Upload Allows Media Composer Cloud clients to specify settings for uploading media. “Cloud Upload Settings (Media Composer Cloud Clients Only)” on page 1431 Color Management Allows you to specify setting for color management. “Color Management Settings” on page 1432 Communication (Serial) Ports Sets a port for Remote Play and Capture. “Communication (Serial) Ports Tool Settings” on page 1432 Composer Configures the display and behavior of buttons and information in the Playback, Source, and Record monitors. “Composer Settings” on page 1433 Controller Settings Sets the default controller, port selection, and custom controller buttons. “Controller Settings” on page 1437 Correction Sets options for the Color Correction tool. “Correction Settings” on page 1437 Deck Configuration Configures channels and decks into your system. “Deck Configuration Settings” on page 1439 Deck Sets custom naming and configuration information for decks. “Deck Settings” on page 1440 Deck Preferences Sets preferences that affect all decks configured into the system. “Deck Preferences Settings” on page 1441 Desktop Play Delay Allows you to increase or decrease the amount of frame offset. “Desktop Play Delay” on page 1443 Dynamic Relink Sets options that control how clips link to media files when you are working in a MultiRez environment. “Dynamic Relink Settings” on page 1443 Effect Editor Sets options for how controls appear and behave in the Effect Editor. “Effect Editor Settings” on page 1446 Email Sets options for receiving email notification when a render operation completes. “E-mail Settings” on page 1448 Export Sets options for file export. “Export Settings” on page 1449 Film and 24p Sets options for edit play rate, ink number format, and transfer rate. “Film and 24P Settings” on page 1474 Full-Screen Playback Sets options for viewing your video on a full-screen monitor. “Full Screen Playback Settings” on page 1475
Setting Name Description Reference Topic General Defines default values such as the default starting timecode and temporary file location for your project. “General Settings” on page 1478 Grid Defines the grid to use when you create effects. For more information, seeFor more information, see “Setting Effect Grid Options” in the Help. “Grid Settings” on page 1479 Import Sets options for file import. “Import Settings” on page 1481 Interface Defines the appearance and function of certain interface elements. For more information, see “Customizing the Avid User Interface” on page 80. “Interface Settings” on page 1487 Interplay Folder Lets you specify a project directory on the asset manager to use for checking in media objects. “Interplay Folder Settings” on page 1489 Interplay Server Lets you specify the Avid Interplay Server location on the network. “Interplay Server Settings” on page 1489 Interplay User Lets you set the preference for accessing Avid asset manager. “Interplay User Settings” on page 1489 Keyboard Lets you map commands from the Command palette to the keyboard. “Keyboard Settings” on page 1490 Marquee Title Lets you select the Title tool for creating titles and provides options for promoting titles. “Marquee Title Settings” on page 1494 Media Creation Sets options for video resolution and selects the drives for capturing, creating titles, importing, performing audio and video mixdown, and motion effects. “Media Creation Settings” on page 1494 Production Services Configures your Avid editing application to work with the Avid Interplay Production Services Engine. “Production Services Settings (Windows Only)” on page 1500 Mouse Lets you set the speed of scrolling with the mouse wheel within your Avid editing application. For more information, see “Using the Mouse Scroll Wheel for Navigating” on page 36. “Mouse Settings” on page 1497 NRCS (NewsCutter Option) Defines the name of the Newsroom Computer System server and the default user name. Sets Message of the Day and Mail options for the NRCS tool. “NRCS Settings (Media Composer | NewsCutter Option)” on page 1497
Passthrough Mix Tool Opens the Passthrough Mix Tool “Using the Passthrough Mix Tool” on page 188
Setting Name Description Reference Topic PortServer Sets up the LANshare client so your Avid editing application recognizes its workspaces. “PortServer Settings” on page 1500 Remote Play and Capture Lets you use your Avid editing application like a videotape recorder. “Remote Play and Capture Settings” on page 1501 Render Sets options for managing render operations and defining the methods your Avid editing application uses when rendering. “Render Settings” on page 1502 S3D Sets stereoscopic parameters. “S3D Settings” on page 126 Safe Colors Sets the safe color parameters for the Color Correction tool. “Safe Colors Settings” on page 1505 Script Sets the default display options for scripts imported using script integration. “Script Settings” on page 1506 Sound Card Configuration (Windows only) Lets you map audio input sources directly to the output sources available with your audio hardware “Sound Card Configuration Settings (Windows Only)” on page 1507 Timecode Window Displays various timecodes in an adjustable window. Appears in the Settings list to facilitate copying settings. For more information, see “Using the Timecode Window” on page 497. Timeline Sets general Timeline preferences. “Timeline Settings” on page 1507 Trim Customizes the Trim mode environment. “Trim Settings” on page 1512 Video Display Sets options for video input, desktop video, Client monitor use, and effects preview. “Video Display Settings” on page 1513 Video Input Lets you calibrate for video input. “Video Input Tool Settings” on page 1514 Video Output Lets you calibrate for video output. “Video Output Tool Settings” on page 1515 Video Satellite Lets you synchronize video playback with a Pro Tools|HD® session. “Video Satellite Settings” on page 1520 Workspace Lets you associate settings and windows with a workspace. For more information, see “Linking User Settings and Workspaces” on page 86. “Workspace Linking Settings” on page 1521
Audio Settings n Audio Settings Option Description Mix Tool Display Options Opens a dialog that allows you to add or remove items such as faders, legends, effect buttons, and the solo and mute buttons: Source Monitor Scrub Defines the number of outgoing and incoming frames you hear as you scrub. Record Monitor Scrub Defines the number of outgoing and incoming frames you hear as you scrub. Source Scrub Defines the number of outgoing and incoming frames you hear as you scrub the source. Timeline Scrub Defines the number of outgoing and incoming frames you hear as you scrub in the timeline. Default Pan for mono tracks Controls the way you want sound to pan between speakers: • Alternating L/R: Sends the odd tracks to the left channel and the even tracks to the right channel. • All Tracks Centered: Centers the pan of all tracks between the two speakers for monitoring and output. Play Buffer Size in Samples (Software-only Models) Defines the size of the host audio play buffer during playback and digital cut. Use this option if you experience performance problems with playback to the host audio device. Avid recommends the default value for this option. Changing this parameter might cause audio or video underruns, dropped frames, or increased noise in the audio output. For more information, see “Adjusting the Play Buffer Size for Audio (Software-only Models)” on page 764. To return this option to its default value, click the rs (recommended sample) button.
Audio Project Settings n n Option Description Tool Buffer Size in Samples (Software-only Models) Defines the size of the host audio play buffer during audio loop play and audio tools play (such as volume automation recording). Reducing the tools play buffer size decreases the overall latency between the time you adjust an audio parameter in your Avid editing application and the time you hear those changes through the speaker. Changing this option might cause audio or video underruns, dropped frames, or increased noise in the audio output. Because performance varies from machine to machine, experiment to find a value that works best. For best results when adjusting this option, turn off or disconnect all DV devices. For more information, see “Adjusting the Play Buffer Size for Audio (Software-only Models)” on page 764. To return this option to its default value, click the rs (recommended sample) button. Monitors Volume Controls the volume of the desktop speakers. Use the Mute button to mute audio output to speakers or headphones. Audio Project Settings You can save multiple Audio Project settings and select one as the active setting. If you edit an inactive setting, your Avid editing application does not display items that are not saved. For example, Mix Mode does not display in an inactive setting because you cannot save it in the Project settings. The Direct Out mode is saved in the Audio settings, not the Audio Project settings. You set it in the Output tab of the Audio Project window but the system saves the value in the active Audio settings. Audio Projects Settings: Main Tab Option Description Sample Rate Defines the audio sample rate for the entire system for playing and recording. The broadcast standard for most high-end video postproduction houses is 48 kHz or higher.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 Audio Sample Rate for Sequences and Audio Clips” on page 812.
n Option Description Audio File Format Defines the file format for audio: • WAVE (OMF): Compatible with Windows applications. • AIFF-C (OMF): Compatible with many third-party applications, including Pro Tools. • PCM (MXF): Enables easy exchange of material between servers, tape streamers, and digital archives. Media Composer has limited support for Sound Designer II™ audio. For more information, see “Transferring and Working with Sound Designer II Audio Files from Macintosh Systems” on page 1136. Bit Depth Defines the sample size you use when you work with audio files: • 16 Bit: For CD-quality audio. • 24 Bit: For work with higher resolution audio. DV Audio Pattern Controls whether variation in the audio sample rate is allowed. Select the option 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. Depending on your Avid input/output hardware, this option might be unavailable because the option is automatically selected depending on the deck template you choose. The option is set to Locked Audio for DVCPro device templates, and to Unlocked Audio for all other device templates. Convert Sample Rates When Playing Controls whether or not your Avid editing application performs on-the-fly sample rate conversion of segments that do not match the rate defined in Sample Rate. • Never: Your Avid editing application does not perform sample rate conversion (segments play as silence). • Always: Your Avid editing application attempts to perform a sample rate conversion. The resulting audio quality might not be useful for a finished project, but can be useful during an editing session because it prevents audio from playing back with silence. For information on changing the sample rate for individual sequences and audio clips, see “Changing the Audio Sample Rate for Sequences and Audio Clips” on page 812. Show Mismatched Sample Rates as Different Color
Controls whether or not your Avid editing application identifies mismatched sample rates by color if you have a sequence with several different sample rates.
n Option Description Remove Extra Filler After Punchin Controls whether your Avid editing application removes or keeps extra filler added during an audio punch-in recording. Optical Connection Depending on your Avid input/output hardware, defines whether you use ADAT or S/PDIF output for use with an optical connection. Keep Dolby E Material Safe Select this option to ensure the capture of Dolby E media. Audio Project Settings: Input Tab The options that appear in this tab depend on your audio configuration and the hardware installed on your system. Your options might differ from those listed here. Option Description Input Gain slider Depending on your Avid input/output hardware, controls your computer’s volume settings. (Windows only) Select the +20 dB check box to boost gain for low gain inputs. Input Source Controls the type of audio input. The types available depend on the audio hardware installed in or connected to your system. If you select IEEE 1394 as your input device, this option is automatically set to Host-1394. For more information, see “Connecting a DV Device” on page 166. Sample Rate Conversion Controls sample rate conversion: • When needed: Your Avid editing application automatically converts incoming audio sample rates to match the project sample rate. • Never: Your Avid editing application does not perform sample rate conversion. For more information, see “Selecting the Audio Sample Rate and Controlling Audio Sample Rate Conversion” on page 181. Output Sync During Passthrough Controls the timing reference for output: • Same as Video Out with SRC (Sample Rate Conversion): This is the default setting and is used for most applications. The timing reference is the same for the audio and video output clock. • Same as Audio In: Uses the audio capture clock as the audio output clock while you are capturing. This option does not require the use of a sample rate converter and is useful when using encoded digital audio stream. Options for HD SDI input 16ch: Lets you capture up to 16 audio channels of HD-SDI input.
nN o t a l l d e c k s s u p p o r t 1 6 - c h a n n e l a u d i o . F o r m o r e information, see the documentation for your deck.
Audio Project Settings: Output Tab The options that appear in this tab depend on your audio configuration and the hardware installed on your system. Your options might differ from those listed here. Option Description Output Gain Controls the volume of global audio output. Mix Mode Selection button Controls how your system interprets audio values during playback: • Stereo: Mixes the currently monitored audio tracks into a stereo pair. Depending on your Avid input/output hardware, you can customize the mix using the Stereo Mix Tracks option. • Mono: Pans all the currently monitored tracks to center and ignores pan effects. • Direct Out (available depending on your Avid input/output hardware): Maps tracks directly to the available output channels. Ignores pan settings. You can remap a track to any channel by clicking the Channel Assignment menu and selecting another channel. Stereo Mix Tracks This option is available with some Avid input/output hardware. Customizes the mix of tracks with Stereo selected in the Mix Mode Selection Menu button. Your Avid editing application sends a stereo mix to the two channels you select. Material panned to the left is sent to the odd channel, and material panned to the right is sent to the even channel. The number of channels available depends on the audio output you select or on the options you select in the SD SDI tab. First six tracks are 5.1 surround: L, R, C, LFE, LR, RR Available when you select Direct Out with the Mix Mode Selection Menu button and when you are using or an Avid Mojo DX. Select this option when the media in the Timeline is set up as surround sound media even if your speakers are set up as stereo. You can use the Direct Out channel selections to reset which tracks go to which channels. Deselect this option if you are using stereo media in the Timeline. All or Timeline Track Maps Available when you select Direct Out with the Mix Mode Selection Menu button. Maps the track and output channels: • All: Lets you choose between all available tracks. • Timeline: Lets you assign output channels to the tracks monitored in the Timeline.
n Option Description Which Set of Track Maps Available when you select Direct Out with the Mix Mode Selection Menu button. Defines the groups 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. Reset Available when you select Direct Out with the Mix Mode Selection Menu button. Reassigns the audio tracks of the sequence to the default channels that are currently available. Output type option tab: Analog Turns analog output on or off. Output type option tab: SD SDI This option is available depending on your Avid input/output hardware. Use the On or Off option to control whether to embed the audio with the video in SDI output. Select one of the following based on the number of channels you want and the sample rate you want on the outgoing SDI signal: • 4 channels 20-bits • 4 channels 24-bits • 8 channels 20-bits • 8 channels 24-bits With some Avid input/output hardware devices, you must use 48-kHz audio when SDI is enabled. With Avid Nitris DX or , you do not need 48- kHz audio. Output type option tab: HD SDI This option is available for HD projects depending on your Avid input/output hardware. Use the On or Off option to control whether to embed the audio with the video in HD SDI output. Select either 4 channels 24-bits or 8 channels 24-bits, based on the number of channels you want on the outgoing SDI signal. Audio Project Settings: Hardware Tab Apart from HW Calibration, the settings in the Hardware tab are for informational purposes only and list defaults set by your system, depending on your audio hardware and configuration. Option Description
Card Indicates the type of audio card installed.
n Option Description Peripheral Indicates the type of peripheral audio device (audio interface) attached to the system. Sync Mode Sync ensures that the audio sample clock is always in sync with the video clock for audio input and output. 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. When you change the audio input selection, your Avid editing application automatically selects the correct audio clock source for audio sync. HW Calibration Depending on your Avid input/output hardware, matches the software audio calibration to your Avid hardware. The default value for the software and hardware is -20dBFS. Other available values are -14dBFS and -18dBFS. If you don’t change your hardware settings, keep this value at -20dBFS. For information on changing the hardware setting, see “Calibrating Audio Hardware for Avid Nitris DX and Avid Mojo DX” on page 190. Open Calibration window Available when you are using Avid Nitris DX or Avid Mojo DX. Opens the Audio Hardware Calibration tool, see “Calibrating Audio Hardware for Avid Nitris DX and Avid Mojo DX” on page 190. Audio Project Settings: Effects Tab Option Description Effect Bypass panel Controls which of the volume settings established with the audio tools your Avid editing application ignores when playing back or recording a sequence: • Clip Gain: Bypasses the clip gain mode of the Audio Mixer tool. • Volume: Bypasses all Volume Automation and Pan effects set in the Volume Automation and Pan mode of the Audio Mixer tool. • RT EQ: Bypasses all unrendered EQ effects set in the Audio EQ tool. These buttons function the same as the Bypass buttons in the audio tools. Render Sample Rate Conversion Quality Controls the conversion quality of all non-real-time sample rate conversions. The following options are available: High and Slow, Balanced, Low and Fast. Real-Time Audio Dissolves When Enabled is selected, you can play audio dissolves (also called crossfades) as real-time effects. Select Disabled if you experience an audio performance delay in your
Avid editing application.
Audio Multiple Mix Settings Option Description Dissolve Midpoint Attenuation Controls the method your Avid editing application uses 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. Audio Multiple Mix Settings You can save Audio Multiple Mix settings and select one as the active setting. See “Mixing Down Multiple Audio Tracks” on page 815. Bin Settings Option Description Auto-Save interval n minutes Defines the interval between attempts to auto-save project files. The default is 15 minutes. To avoid interrupting an edit, your Avid editing application waits until your system is inactive before auto-saving. Use the option “Force Auto-Save at” to specify an interval at which your Avid editing application interrupts an edit to make the auto-save. Inactivity period n seconds Defines how long your Avid editing application waits when your system is inactive before automatically saving the project files. The default is 15 seconds. Force Auto-Save at n minutes Defines the maximum interval between auto-saves. Once this time elapses, your Avid editing application auto-saves the project files even if it must interrupt an edit to do so. The default is 17minutes. Maximum files in a project’s attic Defines the maximum number of files stored in the Avid Attic folder for each project. When a bin or script is saved, your Avid editing application copies the current version of the bin or script to a subfolder within the special folder called the Avid Attic. Each project has its own subfolder and each bin or script saved in a project has its own subfolder within the project folder. The default is 1000 files per project. The overall file count for the entire Avid Attic will reflect the files stored for each project on the system. Max versions of a file in the attic Defines the maximum number of single-bin or script copies stored in a project's attic. This setting prevents filling the project's attic with too many versions of one bin or
Audio Multiple Mix Settings script. The default is 50 versions.
Capture Settings Option Description Double-click loads object in Determines what happens when you double-click an object in the bin: • New Pop-up Monitor: Creates a new Source pop-up monitor and automatically loads the clip when you double-click an object in the bin. • Source or Record Monitor: When you have the Composer monitor stretched into two monitors, loads the clip into the Source monitor or the sequence into the Record monitor. When you are using the single Composer monitor, loads the clip or sequence into the existing Source pop-up monitor. Enable edit from bin (Splice, Overwrite) Lets you edit clips directly from a bin by selecting a clip and clicking the Splice-in or the Overwrite button. Always keep at least one version in Attic. This option is on by default and when enabled will keep one version of each bin in the Attic. If you deselect this option, multiple copies of the bins you have currently been working on will be saved rather than making sure one copy of every bin will be saved. If you deselect this option, older bins may have all Attic versions removed to keep to the Max Files limit. Show local media icons Clip icons will appear blue to indicate the media is local or pink to indicate mixed resolution. Frame View Determines how border colors and icons appear in Frame View Show Border Colors: Use color based on object type displays a colored border around the following: • Blue - Precomputes and source side motion effects • Green - Master clips • Dark Green - Subclips and Group clips • Red - Sequences • Purple - Media files in the Media Tool Show Border Colors: Use clip color, assigns the same colors you assigned to clips in Text View to items in Frame View. Show icons displays the applicable bin item icon, for example sequence, clip, subclip, title. Capture Settings Capture settings include essential options for capturing, batch capturing, auto capturing, capturing to multiple media files, DV scene extraction, and setting key commands.
Capture Settings: General Tab Option Description Stop deck after capture When this option is selected, the deck stops when the capture operation is complete. Pause deck after capture When this option is selected, the deck pauses when the capture operation is complete. Preroll Method Defines the preroll method. For more information, see “Selecting Settings for Preroll Method and for Capturing Across Timecode Breaks” on page 155. Force unique clip names When this option is selected, your Avid editing application automatically assigns a clip name based on the bin’s name and ensures this name, or another name you select, is not already used by any other object in the bin. Activate bin window after capture When this option is selected, your Avid editing application changes the focus from the Capture Tool window to a bin window after capturing or logging is complete. This lets you start working in the bin immediately. Space bar stops capture When this option is selected, you can use the space bar to create clip names during the capturing process. When you press the space bar during a capture operation, your Avid editing application stops capturing, creates a clip from the captured material, and places the clip in the active bin. Capture across timecode breaks When this option is selected, your Avid editing application captures sections of discontinuous timecode on a tape as separate clips. When this option is deselected, your Avid editing application stops capturing and reports an error when it encounters a timecode break. Stop capture if a bad frame is detected When this option is selected, your Avid editing application stops capturing if a corrupt frame is detected. This setting is enabled by default. Latency for no deck mode n frames Compensates for problems that might occur when you capture with external timecode. For more information, see “Capturing in Satellite Mode or No Device Control” on page 250. If you notice that your captured media consistently starts on the wrong frame (usually one or two frames off), use this option to ensure that capturing starts on the correct frame. The option is set to zero by default. This option is not available in software-only configurations. Ignore Detected Media Read Errors When this option is selected, capture accuracy improves, especially on tapes that appear to be experiencing a lot of dropouts. Capture a single video frame only When this option is selected, your Avid editing application captures a single frame of video from your clip. When you click the Record button, your Avid editing application
captures the currently displayed frame.
n Option Description Ask before discarding a canceled clip When this option is selected, your Avid editing application lets you choose whether to discard the canceled clip, keep it, or try again. Ask for name when a new tape is seen When this option is selected, your Avid editing application asks you for a name when it detects a new tape. Display incoming video in the client monitor When this option is selected, your Avid editing application displays incoming video in the Client monitor as soon as you open the Capture tool. Pause deck while logging When this option is selected, the deck pauses after you set an OUT point while you log clips. This gives you time to type the name of the clip. For more information, see “Logging Directly into a Bin” on page 120. When this option is deselected, the camera or deck continues playing after you set an OUT point. Capture Settings: Batch Tab Option Description Optimize for disk space When this option is selected, your Avid editing application captures only the exact amount of material in the master clips plus any additional handles. The tape pauses and prerolls independently for each master clip that is batch captured. Optimize for batch speed When this option is selected, your Avid editing application speeds up batch capturing by allowing the deck to continue to roll forward between adjoining clips. To qualify for this operation, the two adjoining clips must meet the following criteria: • There is 5 seconds or less between the OUT point of the first clip and the IN point of the second clip. • The two clips have the same video resolution and the same audio rate. If you select this option, your Avid editing application might occasionally capture more material than you need. Switch to emptiest drive if current drive is full When this option is selected, your Avid editing application switches to the target media storage drive with the most available space when the current target drive becomes full during batch capturing. Your Avid editing application switches before starting to capture the clip, based on the number of minutes in the clip. For more information, see “Batch Capturing from Logged Clips” on page 223. When this option is deselected, your Avid editing application stops capturing when a drive becomes full. Rewind tape when finished
When this option is selected, your Avid editing application automatically rewinds tapes after batch capturing finishes.
Option Description Eject tape when finished When this option is selected, the tape ejects as soon as the last shot from that tape is captured. You can do other tasks while the tape is in use and be alerted as soon as the tape is no longer needed. Log errors to the console and continue capturing When this option is selected, your Avid editing application continues capturing if an error occurs during the capture process. Capture the tracks logged for each clip When this option is selected, your Avid editing application captures the tracks logged for each clip. Use the audio sample rate logged for each clip When this option is selected, your Avid editing application uses the audio sample rate logged for each clip. Use the audio bit depth logged for each clip When this option is selected, your Avid editing application uses the audio bit depth logged for each clip. Use the video compression logged for each clip When this option is selected, your Avid editing application uses the video compression logged for each clip. Capture Settings: Edit Tab Option Description Enable edit to timeline (splice, overwrite) When this option is selected, Splice-in Edit and Overwrite Edit buttons display in the Capture tool. Handles Controls the amount of footage you capture before and after the IN and OUT points of the clips (when capturing to the Timeline only). Enable voice-over When this option is selected, the Voice-Over button displays in the Capture tool. Preroll Postroll Controls the amount of preroll and postroll you want to capture before and after the voice-over. Capture Settings: OMF Media Files Tab The OMF Media Files tab is available in the Capture Settings dialog box when you select OMF in the Media Type tab of the Media Creation dialog box. Option Description Capture to a single file, 2 GB limit
When this option is selected, capture stops when the media captured has taken up 2 gigabytes (GB) of storage space on the media drive.
Option Description Capture to multiple files When this option is selected, your Avid editing application writes captured video or audio to multiple files across multiple drive partitions. Select this option for clips that might exceed the 2-GB file-size limit. Maximum (default) capture time n minutes Determines how much space your Avid editing application preallocates on the target drive or drives before a capture begins. The default capture time is 30 minutes. This option applies only to capture-on-the-fly and capture from an IN point without an OUT point. Capture from an IN point to an OUT point overrides this option. Change this option only if you intend to capture on-the-fly for longer than 30 minutes. Your Avid editing application captures for only the specified number of minutes, so be careful not to underestimate. Switch to emptiest drive when n minutes left When this option is selected, your Avid editing application switches to another storage drive when the specified amount of time remains. Capture Settings: MXF Media Files Tab The MXF Media Files tab is available in the Capture Settings dialog box when you select MXF in the Media Type tab of the Media Creation dialog box. Option Description Maximum (default) capture time n minutes Determines how much space your Avid editing application preallocates on the target drive or drives before a capture begins. The default capture time is 30 minutes. If Frame Chase capture is enabled (the “During capture, clip is updated in Interplay option is selected), this option defines the expected duration in minutes for a Frame Chase clip that you create during on-the-fly or open-ended capture (when no IN and OUT marks are set in the Capture tool). This option applies only to capture-on-the-fly and capture from an IN point without an OUT point. Capture from an IN point to an OUT point overrides this option. Change this option only if you intend to capture on-the-fly for longer than 30 minutes. Your Avid editing application captures for only the specified number of minutes, so be careful not to underestimate.
Option Description During capture, clip is updated in Interplay When this option is selected, Frame Chase capture is enabled. An initial check-in takes place 10 seconds after a capture begins. Subsequent Interplay updates occur at intervals defined by the Update Interval option. Select an update interval from the menu to determine how frequently updates to Interplay occur during a Frame Chase capture. In most circumstances you should keep the update interval low (1 minute or 2 minutes). This ensures that information added during capture (for example, comments or markers) is available as quickly as possible. For more information, see “Enabling Frame Chase Capture” on page 221. Switch to emptiest drive when n minutes left When this option is selected, your Avid editing application switches to another storage drive when the specified amount of time remains. Capture Settings: DV & HDV Options Tab Option Description DV&HDV Scene Extraction When this option is selected, you can automatically generate subclips and markers based on time-of-day (TOD) information contained in the DV video format. For more information, see “DV and HDV Scene Extraction” on page 267. • Add Markers: Creates marker marks where the TOD information breaks occur while capturing. • Create Subclips: Creates subclip marks where the TOD information breaks occur while capturing. • Both: Creates markers and subclips where the TOD information breaks occur while capturing. Enable detection of small timecode breaks When this option is selected, batch capture is more accurate for footage captured over 1394 due to undetected small timecode breaks. Capture Settings: Keys Tab Option Description Function Key Commands (while capturing/logging) Changes the commands that are mapped to the function keys on your keyboard. These mappings apply to Capture mode only. Timed Subclip Defines a preset duration for subclips created while capturing.
Cloud Download Settings (Media Composer Cloud Clients Only) Cloud Download Settings (Media Composer Cloud Clients Only) The following table describes the options available in the Cloud Playback Settings dialog box. Option Description Local Volume You can use this option to select a local drive to store the downloaded media. Priority You can use the Priority option to set the priority for your upload operation. The upload queue is sorted by priority so that high priority jobs are uploaded first. You can also change the priority of a specific clip or upload job in the Upload Queue window. Handles This option specifies the length of handles on the incoming and outgoing sides of the clip. Type the number of frames you want to use as handles for uploaded clips in the Handles: nn Frames text box. Handles refer to material outside the In and Out points that you can use for dissolves and trims with the uploaded master clips. The default is 30. Cloud Playback Settings (Media Composer Cloud Clients Only) The following table describes the options available in the Cloud Playback Settings dialog box. Option Description Disk Cache This option displays the default location of the CloudCache folder holding prefetched media files. You can change the default location by clicking Browse and navigating to a new location on your local system. Disk Cache Size This text box displays the maximum size of the CloudCache folder. You can modify the cache size by entering a new number in the text box. The default cache size is 2 GB. Quality You can set the playback quality for remote media to Low (the default) or High. Use the High setting only when you have a high-capacity connection to your Interplay system — for example, when you have an Ethernet connection to Interplay. Clear Local Caches This option allows you to manually delete the CloudCache folder and its contents.
Cloud Upload Settings (Media Composer Cloud Clients Only) n Cloud Upload Settings (Media Composer Cloud Clients Only) The following table describes the options available in the Cloud Upload Settings dialog box. Option Description Upload Quality This option allows you to select media settings for upload. You can specify settings for uploading high resolution media using the High Quality option. Only one proxy format is currently available for remote media upload to Interplay. • Proxy (H.264 video | MP2 Audio) — Uploads media at the default proxy resolution. • High — Uploads media using the video resolution and audio format specified in the High Quality settings. • Proxy then High — Uploads media first using the default proxy resolution, and then uploads media as a background process using the High Quality settings. High Quality This option ia available if you select either the High or the Proxy then High option for your upload quality. • Video - Select Same as Source (when possible) if you want to upload video with no resolution change from the source video clip. If the source resolution is not available, the upload uses the resolution selected in the Resolution menu. - Click the Resolution menu and select a resolution to use if the source resolution is not available. • Audio - Select Same as Source (when possible) if you want to upload audio without converting the sample rate or change from the source audio clip. If the source format is not available, the upload uses the default format. - The default format used to mix down audio when the source format is not available is a PCM audio file with a 48 kHz sample rate and a 16-bit audio bit depth. Handles This option specifies the length of handles on the incoming and outgoing sides of the clip. Type the number of frames you want to use as handles for uploaded clips in the Handles: nn Frames text box. Handles refer to material outside the In and Out points that you can use for dissolves and trims with the uploaded master clips. The default is
Cloud Upload Settings (Media Composer Cloud Clients Only) 30. Local Volume This option allows you to specify the location where the upload operation creates media files before uploading them to Interplay.
Color Management Settings Option Description Priority You can use the Priority option to set the priority for your upload operation. The upload queue is sorted by priority so that high priority jobs are uploaded first. You can also change the priority of a specific clip or upload job in the Upload Queue window. Destination The option allows you to specify the destination used for the upload operation. • Workspace — Type the name of the destination ISIS workspace used for the upload. You do not need to be connected to ISIS for the upload to complete successfully, but you must specify a workspace where ISIS saves the uploaded media files. • Interplay Folder — The Interplay folder is set in the Interplay Folder Settings dialog box. The remote upload operation checks in the media files to this folder. See “Interplay Folder Settings” on page 1489 for more information. Color Management Settings Option Description Insert color transformations automatically in the source settings upon linking Applies any color transformations already specified in the source settings. Do not select this option if you want to work with the original media files. See “Setting the Color Properties of Acquired Media” in the Help. Use CDL values from ASC_SOP and ASC_SAT bin columns when available Primary color grading can be performed as one of the pre-post functions on dailies systems and then passed on to the offline editing system. If you are editing with MXF media, these colors are already applied. However, if you want to use the original media, you can select this option to read the CDL values associated with the media and apply them to the master clips. Install LUT Click to browse for a LUT file associated with your media. Communication (Serial) Ports Tool Settings The Communication (Serial) Ports tool lets you view the current configuration of the serial interface at any time during editing. You can also use it to reconfigure the ports without closing your Avid editing application or shutting down the computer.
Composer Settings Option Description Remote Play and Capture Sets a port for an edit controller that uses the Sony serial control protocol. For more information, see “Remote Play, Capture, and Punch-In” on page 258. Composer Settings Composer Settings: Window Tab Option Description Data Display at Top • Off — When this option is selected, your Avid editing application turns off the information display above the monitors. • Always Display One Row of Data — When this option is selected, your Avid editing application displays one row of tracking, duration, and clip or sequence title information above the Source and Record monitors. • Always Display Two Rows of Data — When this option is selected, your Avid editing application displays a second row of information above the first row. The second row includes Fast Menu icons, duration information, and, when applicable, ganging and multicamera icons. • Flow Data Dynamically — When this option is selected, your Avid editing application adjusts the display of information above the monitors as you resize them. Button Display at Bottom • Off — When this option is selected, your Avid editing application turns off the display of buttons under the Source and Record monitors. • One Row — When this option is selected, your Avid editing application displays only the top row of Monitor command buttons. • Two Rows — When this option is selected, your Avid editing application displays a second row of buttons under the Source and Record monitors and includes mode buttons in the lower center of Source/Record mode beneath the Splice-in and Overwrite buttons. Center Duration When this option is selected, your Avid editing application displays duration data (Mark In/Out) for the material in the Source or Record monitor, depending on which monitor is active. Tick Marks in Position Bars When this option is selected, your Avid editing application switches the display of tick marks (duration indicators) that appear incrementally along the position bars located directly beneath the Source and Record monitors. When this option is deselected, the tick marks are invisible.
Composer Settings: Edit Tab Option Description Color Framing When this option is selected, color framing indicator lights display above the Overwrite and Splice-in buttons. Deselect this option if you are not performing an online edit with material captured from 1-inch, reel-to-reel tapes. This option is deselected by default. When this option is deselected, you might have to make adjustments during online editing if your edits interrupt the color-sync, signals-per-frame fields in the sequence. The following field options are available: • 4 field: For NTSC video. • 8 field: For PAL video. The green color framing indicator lights (similar to LEDs) above the Overwrite and Splice-in buttons are off when the color-sync signal is not in phase for that frame. Steady green lights indicate a frame that is properly phased. If the green light is off, find the proper color phasing when editing by trimming the IN to OUT points by a frame or two until the light comes on and stays on. For more information on color framing, see “Tracking Color Frame Shifts” on page 703. Sync Point Editing (Overwrites) When this option is selected, your Avid editing application overwrites material onto your sequence so that a particular point in the source material is in sync with a particular point in the sequence. Single Mark Editing When this option is selected, you can mark an IN or OUT point in the Source monitor and then perform a splice, overwrite, or replace edit. Your Avid editing application uses the current location of the position indicator as the corresponding OUT or IN point. Phantom Marks When this option is selected, your Avid editing application provides visual guidance when you set fewer than four IN or OUT points while editing. Phantom marks (shaded IN or OUT mark icons) indicate the remaining edit points calculated by your Avid editing application to complete the edit. For more information, see “Working with Phantom Marks” on page 601. Auto-create New Tracks When this option is selected, whenever you edit material into the Timeline, your Avid editing application automatically creates any new tracks in the sequence that match existing tracks in the source material. This option is selected by default. Note, if you do not have any tracks in your Timeline and you have this option
deselected, new tracks will be created. However if you have at least one track, for example, v2, but your source material is patched on an empty v1, a new track will not be created. This also applies to audio tracks.
Option Description Auto-enable Source Tracks When this option is selected, whenever you load new source material into the Source monitor, your Avid editing application automatically enables all existing source tracks. This option is selected by default. Copy Source Markers When this option is selected, if you have markers in a clip in the Source monitor, your Avid editing application copies the markers when you edit the clip into the Record monitor. This option is selected by default. Undo Only Record Events When this option is selected, you can limit the Undo command to undo only record actions. For more information, see “Undoing or Redoing Edits” on page 564. Activate Record Monitor After Edit When this option is selected, the Record monitor will be active after you perform an edit. If the option is not enabled, whichever monitor was selected before you made an edit will be the active monitor after the edit. This option is not enabled by default. Show Composer Markers With this option, you can choose whether or not markers appear in the Composer window. Show Spanned Markers With this option, you can choose whether or not spanned markers appear in the Composer window. You can also select which colored markers appear in the Composer window. Composer Settings: FF/REW Tab The options in the FF/REW tab control how the position indicator moves when you use the Fast Forward and Rewind buttons in your Avid editing application monitors. These buttons behave differently from the equivalent buttons on a tape deck. When a sequence is loaded in a monitor, the Fast Forward or Rewind button causes a jump (forward or backward) to the next edit that is common to all selected tracks in the Timeline. When a clip is loaded in a monitor, the Fast Forward or Rewind button causes a jump to the beginning or end of the clip. Option Description Stop at Head Frames When this option is selected, the position indicator stops at the first frame (head frame) of the clip on the selected track. This option is the default setting. Each time you use either the Fast Forward and Rewind button, the position indicator moves to the next consecutive head frame. Stop at Tail Frames When this option is selected, the position indicator stops at the last frame (tail frame) of the clip on the selected track.
n Option Description Stop at Markers When this option is selected, the position indicator moves to the next consecutive frame containing a marker. For more information on using markers, see “Using Markers” on page 524. Ignore Track Selectors When this option is selected, your Avid editing application ignores the selected tracks and cues directly to the start (head) frame of the next edit, regardless of the track on which it occurs. The position indicator’s final location depends on whether the Stop at Head Frames and Stop at Tail Frames options are selected. Composer Settings: MultiCam Tab Option Description Split Mode Play Controls split mode play: • Quad or Nine Split: Allows playback in the Source monitor of all camera angles in either quad split view or nine split view. • Fullscreen: Allows playback in the Source monitor of real-time effects for the active camera angle, which displays in full-monitor size. MultiCam Mode Client Monitor Controls client monitor display with MultiCam: • Off: Disables the client monitor during playback of group clips and multigroup clips. • Quad or Nine Split: Allows the client monitor to display group clips and multigroup clips during playback. • Linecut: Allows a linecut (a playback of the edited multicamera sequence) to display in the client monitor. The client monitor displays only SD multicamera linecuts. You can view playback of HD multicamera sequences in the Source monitor only.
Controller Settings Controller Settings Option Description Controller Defines the controller to use. Select one of the following: • No Controller • JL Cooper MCS3 Controller • 002 Controller • Command|8 Port Defines the port you use to connect your controller. Edit Settings If you have selected a port and controller, select this option to map the controller functions. Gain Controller Port Defines a port for a fader or a mixer to record audio gain information. The options on this menu differ depending on the ports you have configured on your Avid editing application. Correction Settings For more information, see “Customizing Color Correction Mode Settings” in the Help.
Correction Settings Correction Settings: Features Tab Option Description Saved Color Labels Controls how custom colors are named in bins: • None: When this option is selected, your Avid editing application does not supply a name. • RGB: When this option is selected, your Avid editing application uses the 8-bit values for the red, green, and blue components as the name. • Name: When this option is selected, your Avid editing application uses the name from the standard HTML color scheme that most closely matches the color you are saving. • Name and RGB: When this option is selected, your Avid editing application uses both the Name and the RGB information as the name. This is the default option. For information on saving custom colors, see “Assigning Colors to Objects in a Bin” on page 330. Eyedropper 3 x 3 Averaging When this option is selected, your Avid editing application calculates the color value to pick by averaging the values of a 3 x 3 sample of pixels centered on the eyedropper’s position. This is often useful for picking up a color accurately by sight because it compensates for shifts in color value from one pixel to another. When this option is deselected, your Avid editing application selects the color value of the exact pixel at the eyedropper’s position. Show Eyedropper Info When this option is selected, the numerical RGB values appear on the color swatches in the Color Match controls. Eyedropper Picks from Anywhere in Application When this option is selected, you can pick colors from anywhere in your Avid editing application, not only from video images in the Source/Record monitor, using the Color Match eyedroppers.
Deck Configuration Settings Correction Settings: AutoCorrect Tab Option Description When applying Color correction from the Effect Palette, perform the following operations: Defines the first, second, and third automatic color correction that your Avid editing application makes when you apply the Color Correction effect from the Effect Palette: • Nothing: Makes no adjustment. For example, if you only want to make two automatic corrections when you drag the Color Correction effect from the Effect Palette, set the Third Correction menu in the AutoCorrect tab to Nothing. • HSL Auto Balance: Makes adjustments to the three ChromaWheels to balance the colors in the image. This is the equivalent of clicking the Auto Balance button in the Hue Offsets subdividing tab of the HSL tab. • HSL Auto Black: Adjusts the Setup slider in the Hue Offsets subdividing tab of the HSL tab to make the darkest areas of the image as dark as possible. This is the equivalent of clicking the Auto Black button in the Hue Offsets subdividing tab of the HSL tab. • HSL Auto Contrast: Adjusts the Gain and Setup sliders in the Hue Offsets subdividing tab of the HSL tab to maximize the tonal range in the image. This is the equivalent of clicking the Auto Contrast button in the Hue Offsets subdividing tab of the HSL tab. • HSL Auto White: Adjusts the Gain slider in the Hue Offsets subdividing tab of the HSL tab to make the brightest areas of the image as bright as possible. This is the equivalent of clicking the Auto White button in the Hue Offsets subdividing tab of the HSL tab. • Curves Auto Balance: Makes adjustments to the Red, Green, and Blue curves to balance the colors in the image. This is the equivalent of clicking the Auto Balance button in the Curves tab. • Curves Auto Contrast: Makes an adjustment to the Master curve to maximize the tonal range in the image. This is the equivalent of clicking the Auto Contrast button in the Curves tab. Deck Configuration Settings Option Description Configuration name Type a name for the configuration.
Deck Configuration Settings Add channel Click to add a new channel box. Opens the Channel dialog box.
Deck Settings n Option Description Add deck Click to add a deck or DV device. Opens the Deck Settings dialog box. For information on the Deck Settings options, see “Deck Settings” on page 1440. Delete Click to delete a deck or DV device. Auto-configure When this option is selected, and with a deck or DV device already connected to your Avid editing application, your Avid editing application bypasses the Deck Settings dialog box and automatically configures a deck or DV device with the default settings. Because some DV devices do not respond to the Auto-configure command, Auto-configure selects only the generic device settings for a DV device. Verify configuration against actual decks When this option is selected, your Avid editing application checks the deck configuration against the devices physically connected to the system. Deck Settings You can access the Deck Settings dialog box in any of the following ways: • Click the Add Deck button in the Deck Configuration dialog box. • In the deck controller section of the Capture tool, click the Deck Selection menu, and select Adjust Deck. • Double-click the deck name in the Deck Settings dialog box. Option Description Name Defines a custom name for the tape deck. The default name matches the deck type. Description Defines notes about the deck. Notes Displays configuration information, supplied by Avid, about the deck or DV device you have selected. Not all decks or devices include this information. You can supply your own information in the Description field, and then save the configuration. Device Defines the device manufacturer and model. If your device does not appear in the list, click the Manufacturer menu and select Generic, and then click the Model menu and select the type of device. If you continually see a message box that reads “Fail to find preroll” while you are
Deck Settings capturing, click the Model menu, and select GenericDVBasicDevice-NTSC or GenericDVBasicDevice-PAL Address For VLXi use only. See your VLXi documentation. If you are using direct serial port deck control, this option is unavailable.
Deck Preferences Settings Option Description Show Filters the devices that display in the Device menu: • All Devices: Displays all devices by manufacturer and model. • Decks: Displays only decks by manufacturer and model. • Transcoders: Displays only transcoders by manufacturer and model. Preroll Defines how many seconds the tape rolls before capture or digital cut starts. The default is based on the type of videotape recorder (VTR). Fast Cue Speeds up long searches if your decks can read timecode in fast forward or rewind mode. Select one of the following options: • Switch to ff/rew (seconds): n: When this option is selected, your Avid editing application switches to fast forward or rewind if the target timecode is beyond the specified number of seconds from your current location on the tape. By default, the deck switches to fast forward or rewind to reach a target timecode that is more than 60 seconds away. If your deck shuttles very quickly, you can increase this number so that your Avid editing application uses fast cue only for long searches. • Switch to Search (seconds): n: When this option is selected, your Avid editing application switches out of fast forward or rewind when it is within the specified number of seconds of the target timecode. By default, your Avid editing application switches to search mode when it is 60 seconds from the target timecode. Deck Preferences Settings Option Description When the deck contains no tape or drop frame cannot be detected set timecode to Sets the timecode format (Drop Frame or Non-drop Frame) for logging clips when no tape is in the deck or when your Avid editing application cannot detect drop frame or non-drop frame. When a tape is in the deck, your Avid editing application automatically uses the existing timecode format on the tape. For more information, see “Understanding Timecode” on page 165.
Option Description Allow assemble edit & crash record for digital cut When this option is selected, you can use the assemble-edit and crash- record features in the Digital Cut tool, along with the assemble-editing and manual recording capabilities of your record deck. Select this option to record frame-accurate digital cuts quickly and without striping entire tapes in advance while using the assemble edit feature. Select this option also if you want to operate the deck manually. For more information about digital cuts and assemble editing, see “Generating Output” on page 1032. For information about crash recording, see “Crash Recording Through Remote Deck Control” on page 1063. Stop key pauses deck Defines the function of the Stop key (space bar) on the keyboard. Select this option to map the space bar to the Pause button on the deck. Deselect this option to map the space bar to the Stop button. If the videotape heads are down in “Stop key pauses deck” mode, pressing the space bar brings up the heads and pauses the deck. The Stop button in the Capture tool always stops the decks. Shuttle holds speed When this option is selected, the Shuttle button continues shuttling at a constant speed instead of stopping when you release it. Stop any paused decks when quitting When this option is selected, any paused decks stop when you quit your Avid editing application. Selecting this option saves wear on the deck heads. Poll deck during digital cut When this option is selected, your Avid editing application checks the deck for the current timecode and displays it in the timecode window of the deck controller. If you see degraded image quality on your digital cut (particularly visible as noise during black), deselect this option and record the digital cut again. When this option is deselected, the Record button does not flash and the timecode display in the deck controller does not update for the duration of the digital cut. Host-1394 DV Capture Offset & Digital Cut Offset (when Host 1394 capture is available) Digital Cut Offset (when Host 1394 capture is not available) This group of options varies depending on your DV input/output configuration. • Capture Offset (frames): Defines the number of frames by which you want to offset while you capture. For more information, see “Understanding DV Capture Offset” on page 216. This option only appears when Host 1394 capture is available. • Override Recommended Digital Cut Offset: Defines a digital cut delay. For more information, see “Understanding DV Digital Cut Delay” on page 1076. Relax coincidence point detection This option is off by default. Depending on the deck, device control hardware or system you are using, marking an In point in the Capture Tool and performing a capture can result in a “coincidence point detection error.” If you select this option, the editing application is less strict on finding the coincidence point. Note,
relaxing the detection can allow captures to succeed but has a greater possibility of capturing from the wrong in-point.
Desktop Play Delay Desktop Play Delay Option Description Frames Click the Desktop Play Delay Frames slider to increase or decrease the amount of frame offset. You might need to readjust the frames a few times to find the correct offset.For more information, see “Adjusting the Play Delay Offset” on page 502. Dynamic Relink Settings Dynamic Relink is available only on Avid editing systems that have the Avid Interplay Media Indexer installed. Dialog Box Area Option Description Top area Enable Dynamic Relink Turns the dynamic relink feature on or off. When this option is selected, your Avid editing application performs a dynamic relink whenever you load clips into the source monitor or the Timeline. When this option is deselected, no settings are available. When you select this option again, your Avid editing application restores the previous settings. Allow Mixed Frame Rate Media Lets you use dynamic relink with mixed rate clips. When this option is selected, your Avid editing application tries to link your clips to media with the appropriate frame rate. If it cannot find any media with a compatible frame rate, your Avid editing application uses the lowest and nearest resolution to your project frame rate. For more information, see “Using Dynamic Relink with Mixed Rate Clips” on page 1336. Override Working Settings with Target Settings Lets you perform a dynamic relink to the target settings. When this option is selected, the working settings are not available but the target settings remain active and modifiable. In the Timeline and monitors, you see media that matches the target settings. For more information, see “Dynamically Relinking to the Target Settings” on page 1335.
Dynamic Relink Settings Dialog Box Area Option Description (Continued) Working settings tab and Target settings tab If no match is found Defines the action to take if no media is available that matches the working or target settings. You can select one option as a working setting and a different option as a target setting. Select one of the following: • Keep Existing Media: Your Avid editing application displays the media to which the clips are currently linked. • Relink to Offline: Your Avid editing application displays a “Media Offline” slide in the monitors. Relinking to offline does not delete existing media. • Use Closest Media: Your Avid editing application displays the media that most closely matches the working or target settings. For example, this might be useful when you are editing progressive media into a sequence that contains both progressive and interlaced media. For information about enabling a visual display of which media is available, see “Displaying Whether Media Is Available for Dynamic Relinking” on page 1338. Video Parameters Target format (Target settings only) Defines the project format for your target settings, which determines the resolutions that are available in the Dynamic Relink target settings. You can set this format independently of the format set in the Format tab of the Project window. Relink Method Defines how your Avid editing application dynamically relinks to video material. Select one of the following: Most Recent (the latest media files created), Highest Quality, Most Compressed, or Specific Resolution.
n Dialog Box Area Option Description (Continued) Relink if quality Available when Specific Resolution is the Relink method. Defines a relational operator and a resolution to compare against. Select one of the following relational operators: • Greater than or equal to: If the selected resolution is not available, your Avid editing application uses the nearest resolution that is better (more pixels, less compression) than the requested one and that has the closest video format (image size, field topness). If none of the available resolutions satisfy these criteria, the clip displays as specified in the “If no match is found” list: Keep Existing Media, Relink to Offline, or Use Closest Media. • Equal to: If the selected resolution is not available, the clip displays as specified in the “If no match is found” list. • Less than or equal to: If the selected resolution is not available, your Avid editing application uses the nearest resolution that is less (fewer pixels, more compression) than the requested one and that has the closest video format (image size, field topness). If none of the available resolutions satisfy these criteria, the clip displays as specified in the “If no match is found” list. Preferred media format Defines your preferred media type as either linked or native media. When “Use Closest Media” is selected and Prefer linked media is selected, the system will try to relink to linked media first. If linked media is not found, it will try and relink to the native media. If Prefer native media is selected, the system will try and relink to native media first. Audio Parameters Relink method Defines the relink option for relinking to audio material. Select one of the following: Most Recent (the latest media files created), Highest Sample Rate, Highest Bit Depth, Compressed, or Specific Quality. Compressed audio through the Avid Encoder IPV is always 48 kHz and 16 bit. No other selections are available.
Effect Editor Settings n Dialog Box Area Option Description (Continued) Relink if sample rate and bit depth The relational operators on the left for sample rate and bit depth are similar to the relational operators for the Video parameter “Relink if quality” menu. However, the two menus have an additional entry, “Any,” which lets you use one criteria and ignore the other. For example, you could select sample rate equal to 44.1 kHz and bit depth to “Any”. The corresponding menus on the right contain values appropriate to the corresponding quality parameter. The sample rate and bit depth relational operators work as a Boolean AND operation (that is, the intersection of all constraints). These are not available if you select “Any.” Compression Lets you choose “uncompressed only” or “any,” which lets you use one criteria and ignore the other. Your Avid editing application chooses the best media available. You can only play compressed audio at this time. You cannot consolidate or transcode compressed audio. Choose uncompressed audio for your final output. n You cannot mix down compressed audio. Preferred media type Defines your first choice of media format: PCM (MXF) or Any (OMF or MXF). Effect Editor Settings The Effect Editor settings and the commands in the Effect Editor shortcut menu are similar but not identical. Option Description Indent Rows When this option is selected, parameter rows are indented from the parameter group row, and any parameter subgroups are indented again. When this option is deselected, the left edges of parameter rows line up with the parameter group row. Large Text When this option is selected, text in the Effect Editor appears in 12-point size. When this option is deselected, text in the Effect Editor appears in the default size, 10 points (Windows) or 9 points (Macintosh). Thumbwheels When this option is deselected, variable controls in the Effect Editor appear as the default sliders. When this option is selected, variable controls appear as
Effect Editor Settings thumbwheels. For information on using thumbwheels, see “Changing a Parameter with a Slider in the Effect Editor” in the Help.
n Option Description Real Time Update When this option is selected, your Avid editing application updates the rendered effect image in real time. Because the update can be slow for complex effects, you have the option to deselect real-time updating. Set Position To Keyframe When this option is selected, your Avid editing application moves the position indicator to the keyframe when you click a keyframe indicator. When this option is deselected, the position indicator does not move when you click a keyframe indicator. Deselecting this option lets you align a keyframe to the position indicator. For more information, see “Aligning Advanced Keyframes” in the Help. Update Position While Playing When this option is selected, the position indicator in the Effect Editor moves while you play the effect. Because this option can cause video underrun problems in complex real-time effects, it is deselected by default. Show Add Keyframe Mode Menu When this option is selected, the Add Keyframe Mode menu (or the Delete Keyframe Mode menu) appears when you use the Add Keyframe button to add (or delete) keyframes. For more information, see “Keyframe Mode Menu Commands” in the Help. When this option is deselected, the Add Keyframe button performs the default command from the following list (Add Keyframe button commands), without displaying the Add Keyframe Mode menu or the Delete Keyframe Mode menu. Add Keyframe button commands • Add Keyframe To Active Parameter • Add Keyframes To Active Group • Add Keyframes To Open Groups • Add Keyframes To Enabled Groups • Add Keyframes To Open Graphs • Add Keyframes To All Parameters Defines the default command for the Add Keyframe button. • When Show Add Keyframe Mode Menu is deselected, clicking the Add Keyframe button once performs the default command. • When Show Add Keyframe Mode Menu is selected, clicking the Add Keyframe button twice performs the default command. (The first click displays the Add Keyframe Mode menu, at which point you can select another command.) The Add Keyframe Mode menu and the Delete Keyframe Mode menu mirror one another. When you change one, you change both. For a description of each command, see “Keyframe Mode Menu Commands” in the Help.
E-mail Settings n E-mail Settings The Email Settings dialog box lets you configure your Avid editing application so that it can notify you by e-mail when any of the following operations completes: • Render • Export • Consolidate or Transcode Some mobile telephone services can deliver e-mail as a text message or notify you by text message when an e-mail has been received. If your service includes this feature, consider using it as a convenient way to receive your notifications. Option Description Server Settings Use the options in this area to define the server settings that your Avid editing application uses to communicate with your e-mail account and send e-mail notifications. Check the documentation for your e-mail application, or talk to your internet service provider or information technology department, to obtain the information you need to define these settings correctly. Your e-mail account must use the SMTP protocol for outgoing mail. SMTP Server Defines the SMTP (outgoing mail) server address for your e-mail account. Typically, this address has one of the following formats: smtp.service_name.com or smtp.mail.service_name.com. Port Defines the port that the SMTP server uses. The default value, 25, is used by several common e-mail services, but your server might require a different port number. Authenticate with username/passwor d When this option is selected, your Avid editing application includes username and password information to authenticate any e-mail it sends. Type the username and password for your e-mail account in the Username and Password text boxes. Some e-mail services require authentication as a security measure. Store password after closing project When this option is selected, your Avid editing application saves the password in the Password text box when the current project closes. This eliminates the need to re- enter the password each time you open a project. Use SSL When this option is selected, your Avid editing application uses the Secure Sockets Layer (SSL) security protocol when sending e-mail notifications. Some e-mail services require this as a security measure. Email Settings
Export Settings Option Description From Name Defines the name that appears in the From header field of an e-mail your Avid editing application sends. From Address Defines the e-mail address for the account that your Avid editing application uses to send the e-mail. To Address Defines the e-mail address to which your Avid editing application sends the e-mail. Send Email Events When you select one or more options, your Avid editing application sends an e-mail notification when the following operation completes: • Render Complete • Export Complete • Consolidate or Transcode Complete You must have the Server Settings and Email Settings options configured correctly, and the Enable Sending of Email option selected. Master Email Control Enable Sending of Email When this option is selected, your Avid editing application is able to send email notifications. Send Test Email Click this button to send a test email using the current Server Settings and Email Settings options. Export Settings Common Export Settings Standard Formats for Export The following table describes the standard Export file formats available in the Export As menu of the Export Settings dialog box. You can also Export to P2 cards or XDCAM disks. For more information, see “Export Settings: P2” on page 1473 and “Export Settings: XDCAM” on page 1473.
n Option Description OMFI 1.0 OMFI 2.0 When this option is selected, your Avid editing application exports a standard OMFI composition for transfer to a third-party workstation that supports OMFI. You can choose to export composition only, or embed the video and audio, or both. For more information, see “Guidelines for Exporting OMFI and AAF Files” on page 1010. AAF When this option is selected, your application creates an Advanced Authoring Format (AAF) file. You can choose to export composition only, or embed the video and audio, or both. For more information, see “Guidelines for Exporting OMFI and AAF Files” on page 1010. AFE (Windows only) When this option is selected, your Avid editing application exports as AFE. This format is compatible with systems such as Avid DS. For more information, see “Exporting Projects and Bins Using AFE Files (Windows Only)” on page 1013. QuickTime Reference When this option is selected, your Avid editing application creates a QuickTime reference movie. A QuickTime reference movie contains pointers (links) to movie files. This is similar to exporting as composition only. You can also export LongGOP QuickTime Reference movies with this option. For more information, see “Exporting QuickTime Movies” on page 1015. HDV When this option is selected, your Avid editing application creates a transport stream. For more information, see “Exporting an HDV Transport Stream” on page 1602. XDCAM MXF OP1a Video Format: Lists all XDCAM codecs supported by your project type. Audio Bit Depth: Defines bit depth, based on the sample rates supported by your project type. You can use this option if your sequence has a mix of sample rates and you need to create a single sample rate. (You set the project rate in the Audio Project Settings dialog box. Aspect Ratio: Defines an image size for the video you want to export. The available aspect ratios depend on what your project type and device support. This lets you control the display format without modifying the source file. DV Stream When this option is selected, your Avid editing application creates a standard DV stream. The DV Stream format is often used for distribution on a CD-ROM or over the Web. Use this option when exporting video that will be combined or processed with other DV-formatted media. This option requires a video track. The DV Stream format appears after you install QuickTime. If you want to use QuickTime for exporting sequences, download the latest version of QuickTime from the Apple® Web site at: www.apple.com/.
n n Option Description QuickTime Movie When this option is selected, your Avid editing application creates a self-contained QuickTime movie. For more information, see “Exporting QuickTime Movies” on page 1015. If you install additional QuickTime Export formats, they appear in the menu with tildes (~) before their names. This indicates they are not qualified or supported by Avid. AVI When this option is selected, your application exports an AVI file through QuickTime or other compression tools. For more information, see “Export Settings: AVI Through QuickTime” on page 1463. Windows Media (Windows only) When this option is selected, your Avid editing application exports your sequence as native Windows Media. You can export your media using one of the Avid- supplied templates or using a custom audio and video template. For more information, see “Exporting as Windows Media (Windows Only)” on page 1020. Audio When this option is selected, your Avid editing application exports audio tracks in the WAVE format, SD II (Macintosh only), or AIFF-C audio format. For more information, see “Export Settings: Audio” on page 1468. Graphic When this option is selected, your Avid editing application exports a single frame, a series of frames, or a file type that supports multiple frames as a graphic file. Select a file type from the menu. For information about supported file types, see “File Format Specifications” on page 1522. Avid Log Exchange When this option is selected, your Avid editing application exports the selected bin as a shot log file that complies with Avid Log Exchange (ALE) specifications. ALE and tab-delimited files include information for master clips and subclips only. Information for other objects, such as group clips, sequences, and precomputes, is not included. Tab Delimited When this option is selected, your Avid editing application exports the selected bin as a shot log file in the form of a tab-delimited ASCII text file. Use Marks and Use Selected Tracks Options The following table describes options that determine which material in the selected clip or sequence your Avid editing application exports.
n n Option Description Use Marks When this option is selected, your Avid editing application uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option or mark the entire clip or sequence. Use Selected Tracks When this option is selected, your Avid editing application exports the tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. This option is selected by default. Include Inactive Audio Tracks When this option is selected, your Avid editing application exports inactive audio tracks. Export Settings: OMFI, AAF, and AFE Option Description Export As: Defines the export format: • AAF: Select this option if the application to which you are exporting supports AAF • OMF 1.0: Select this option if the application to which you are exporting does not support OMFI Version 2.0 • OMF 2.0: Select this option if the application to which you are exporting supports OMFI Version 2.0. If you are not sure, select OMF 1.0. • AFE (Windows only): Select this option if the application to which you are exporting supports AFE There are no options available to you when you select AFE. Your Avid editing application uses the default settings. Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. AAF Edit Protocol When you select this option, exported AAF files are AAF Edit Protocol compliant. The AAF Edit Protocol specification supports interchange of metadata that describes edit decisions, audio and visual effects, and embedded non-AAF files. This option only appears when Export As is set to AAF. AAF Edit Protocol exported files can exceed the 2GB size limit. AAF Edit Protocol compliant files are not compatible with Pro Tools v7.1 and earlier. Include All Video/Data Tracks in Sequence When you select this option, the Video Details tab appears, and your Avid editing application includes all video and data tracks from the sequence in the AAF or OMFI file.
Option Description Include All Audio Tracks in Sequence When you select this option, the Audio Details tab appears, and your Avid editing application includes all audio tracks from the sequence in the AAF or the OMFI file. The following options appear in the Video Details tab, the Audio Details tab, or both, depending on the export method: Export Method: Defines an export method. Other options change depending on which method you choose. This option appears in both the Video Details tab and the Audio Details tab. • Link to (Don’t Export) Media: Select this option when you want to export an AAF or an OMFI composition with links to the media in its current location. Your Avid editing application does not embed media in the file or export media. • Copy All Media: Select this option when you want to copy media to another drive or folder and export an AAF or an OMFI composition • Consolidate Media: Select this option when you want to export an AAF or an OMFI composition with links to media that you have consolidated. For more information, see “Consolidating Media” on page 451. Use the Handle Length: nn Frames text box to enter the number of frames you want to use as handles for consolidated clips. Handles refer to material outside the IN and OUT points that is used for dissolves and trims with the new, shorter master clips. The default is 60. Export Method: Video Mixdown Creates a new video mixdown track for the sequence. For more information, see “Performing a Video Mixdown” in the Help. • Mixdown with Video Edits: Creates a mixdown compatible with Avid Pro Tools v7.2 or later • Mixdown without Video Edits: Creates a mixdown compatible with all Avid Pro Tools versions Render Video Effects When you select this option, your Avid editing application renders video effects during export. Transcode Video to: Defines the resolution to which you want to transcode the video to during export. Include Rendered Audio Effects When you select this option, your Avid editing application includes rendered audio effects during export. Render All Audio Effects When you select this option, your Avid editing application renders all audio effects during export. Remove Track Effects Selecting this option removes all audio track effects — for example, Audio Track effects — during export. This option is selected by default.
Option Description Split Tracks to Mono Selecting this option splits all multichannel audio tracks to separate mono tracks. For more information, see “Splitting Multichannel Tracks to Mono Tracks” on page 817. This option is selected by default. Add Audio Mixdown Track(s) When you select this option, your Avid editing application adds an audio mixdown track. Select the type of track you want, either Mono or Stereo. For more information about audio mixing, see “Using Live Mix Mode” on page 803. Convert Audio Sample Rate to: Defines the audio sample rate for the export. Select this option if your sequence has a mix of sample rates and you need to create a single sample rate. (You set the project rate in the Audio Project Settings window. For more information, see “Audio Multiple Mix Settings” on page 1423.) You can also use this option to change the sample rate if the application to which you are exporting does not support the current sample rate. Depending on your system, the following suboptions are available: Project rate, 32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz. Convert Audio Bit Depth to: Defines the audio bit rate for the export. Select this option if your sequence has a mix of bit depths and you need to create a single bit depth. (You set the project bit depth in the Audio Project Settings window. For more information see “Audio Multiple Mix Settings” on page 1423.) You can also use this option to change the bit depth if the application to which you are exporting does not support the current bit depth. The following suboptions are available: Project rate, 16 bit, and 24 bit. Convert Audio File Format to: Defines the audio format for the export. If your sequence has a mix of audio file formats, and you want to embed media, you must choose a single audio file format. (You set the project format in the Audio Project Settings window. For more information, see “Audio Multiple Mix Settings” on page 1423.) This choice is optional if you want to consolidate and link media. The following suboptions are available: • Project rate: Select this option to use the rate that matches the project format • WAVE: Select this option to link to or embed audio tracks in the WAVE format (.WAV file name extension). Most Windows applications that support sound use WAVE files. QuickTime also supports the WAVE format. • AIFF-C: Select AIFF-C to link to or embed audio tracks in the industry-standard AIFF-C format. Note that your Avid editing application does not compress audio media. • PCM: This is the only audio file format available for AAF export
Option Description The following options appear in the Media Destinations area for Video and Audio, depending on the export methods: Media Drive Defines a destination media drive for newly created or copied media. When Use Media Creation Settings is selected, your Avid editing application uses the drive you selected in the Media Creation dialog box. If you deselect Use Media Creation Settings, you can select a different destination drive. Folder Defines the destination folder for newly created or copied media. If you deselect Use Same Folder as AAF File, a path name appears. Click Select Folder to navigate to a different folder. Embedded in AAF/OMF When this option is selected, your Avid editing application embeds media files in the exported AAF or OMFI file specified in the Export dialog box. Export Settings: QuickTime Reference Options Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. Fast Draft Defaults When this option is selected, export is faster. This option automatically selects Flatten Video Tracks and Fill Spaces with Black, and automatically deselects Render All Video Effects and Premix Audio Tracks. Digital Mastering Defaults When this option is selected, your Avid editing application renders all video effects and premixes audio tracks before exporting the file. This option automatically selects Flatten Video Tracks, Fill Spaces with Black, Render All Video Effects, and Premix Audio Tracks. Flatten Video Tracks When this option is selected, your Avid editing application exports the composition as one video track. When this option is deselected, your Avid editing application generates one QuickTime video track for each video track in the composition, and you cannot select Fill Spaces with Black. Because most third-party applications do not understand multiple QuickTime video tracks, it is a good idea to select this option. This option is automatically selected if you select Fast Draft Defaults and Digital Mastering Defaults. Fill Spaces with Black When this option is selected, your Avid editing application fills blank spaces in video tracks with black in the QuickTime reference movie. Because QuickTime reference movies do not recognize blank spaces, it is a good idea to select this option. When this option is deselected, a QuickTime reference movie might interpret spaces in the video track as gray or as the background of the player. This option is automatically selected if you select Fast Draft Defaults and Digital Mastering Defaults.
Option Description Render All Video Effects When this option is selected, your Avid editing application renders all unrendered video effects, including matte keys and titles, before export. When this option is deselected, your Avid editing application ignores any unrendered effects. This option is automatically selected if you select Digital Mastering Defaults. Display Aspect Ratio Defines an image size for the video you want to export: Native, 4:3, or 16:9. This lets you control the display format without modifying the source file. This option creates metadata that is stored with the QuickTime movie. Some applications, such as the QuickTime Player, can interpret this metadata and scale the image at display time. This option is useful for QuickTime reference movies because you do not modify the source files of referenced movies. For example, you can create two different QuickTime reference movies with different display aspect ratios that use the same referenced source files. The menu selections depend on how you open the Export Settings dialog box and whether you have done a prior export. Mixdown Audio Tracks When this option is selected, your Avid editing application mixes the audio tracks in the composition to stereo files that it creates at the same location as the movie. When this option is deselected, the Quick Time Reference movie references the original audio media. This option is selected automatically if you select Digital Mastering Defaults. If you select this option, you can also select an audio format, a sample rate, and a bit depth. Audio Format Defines the audio format. Select the format that is supported by the application into which you will be importing the QuickTime reference movie. • WAVE: Compatible with Windows applications. • AIFF-C: Compatible with many third-party applications, including Pro Tools. Select AIFF-C for all audio media files you plan to transfer directly to a Pro Tools or an AudioVision® system for sweetening. Sample Rate Defines the audio sample rate for the export, either Project Rate, 32 kHz, 44.1 kHz, or 48 kHz. You can use this option if your sequence has a mix of sample rates and you need to create a single sample rate. (You set the project rate in the Audio Project Settings dialog box. For more information, see “Audio Project Settings for Capture” on page 180.) You can also use this option to change the sample rate if the application to which you are exporting does not support the current sample rate. Bit Depth Defines the audio bit depth for the export, either 16 bit or 24 bit.
n Option Description Use Network Media References When this option is selected, the exported movie uses the machine and drive share name of the media drive in the QuickTime reference movie instead of a drive letter. Select this option when the media files referenced by the movie are accessed remotely over the network. If the media files are stored on the same drive as the QuickTime reference movie, you do not need to select this option. When this option is deselected, you cannot select Add Shares for Media Drives. Add Shares for Media Drives When this option is selected, your Avid editing application creates a new drive share for referenced media files stored on unshared network drives. The drive share is hidden, so other users do not see the shared drive when browsing your computer. You do not need to select this option when media is stored on the same drive as the QuickTime reference movie. Use Avid DV Codec Deselect this option when you are working in a cooperative environment where one or more non-Avid systems also have access to the media. This option is selected by default. Select this option if the non-Avid systems have the Avid DV Codec. Color Scaling Keep as Legal Range. Scale from Legal Range to Full Range. Export Settings: QuickTime Movie Export Options Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. Same as Source When you select this option, your Avid editing application copies the media files directly with no resolution change. This method is fast and creates output that uses the same quality as your source files. This is the best method to use if you plan to process the video on another system, using a third-party application like After Effects® or media cleaner® . Deselect the Use Avid DV Codec suboption when you are working in a cooperative environment where one or more non-Avid systems also have access to the media. This option is selected by default. If you export DV media from a 24p or 23.976 project using Same as Source, you must use the Avid DV Codec to ensure the QuickTime movies retain all of the progressive information. If you do not use the Avid DV Codec, your Avid editing application treats movies as interlaced sources when you re-import them. Custom When you select this option, your Avid editing application decompresses the files, processes them, and compresses the files at the requested resolution and audio format.
This method is slower and often loses quality. Use this option only if you have to directly export a clip or sequence in a particular file format.
Option Description Format Options This option appears when you select Custom. It opens the Movie Settings dialog box to let you set further QuickTime options, including options for changing the codec (compressor/decompressor) used for compression. For more information, see “Export Settings: QuickTime Movie Settings” on page 1459. Video and Audio, Video Only, Audio Only Defines whether your Avid editing application exports video only, audio only, or both. Use Video Only, for example, if you want to add effects in a third-party application or to use only the video in a multimedia project. Use Audio Only, for example, if you want to use or enhance audio in a third-party application or you want to use the audio in a multimedia project. Video Format The following options might be available, depending on your other settings: • Width x Height: Defines the size of the clip. You can type in values or select from the predefined values in the Fast menu. The values in the Fast menu suggest a typical use for each size, for example, 320 x 240 (Internet video, large). The Size to Fit suboption sizes to fit the specified width and height. The Crop/Pad suboption instructs your Avid editing application not to scale or resize the frames. If necessary, it adds black lines to the top and bottom of the frame to achieve the correct size. • Color Levels: Sets the color levels to either RGB (Full Range) or 601/709 (Legal Range). • File Field Order: Defines which field is the upper field during export. For 23.976p, 24p, or 25p projects, these options do not appear, and all fields are automatically exported as progressive (still) frames. Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1 becomes the upper field (its lines become the odd-numbered lines) in the frame. Field 2's lines become the even-numbered lines. Use the Even (Lower Field First) suboption if you are in an NTSC project. Field 1 becomes the lower field (its lines become the even-numbered lines) in the frame. Field 2's lines become the odd-numbered lines. Use the Single Field suboption if you want the output file to consist of only Field 1. In this case, your Avid editing application resizes the single field of 243 lines for NTSC (288 lines for PAL) to fit the frame as specified in the width and height selection.
n Option Description Audio Format The following QT Audio Options are available for exporting audio: • Mono • Stereo • 5.1 • 7.1 • Direct Out If you select Direct Out as your audio format, you should select Same as Source for your export option for media that includes surround sound audio. This allows you to export the track assignments in your source sequence accurately. Create Preview When this options is selected, your Avid editing application creates a preview of the QuickTime movie. Display Aspect Ratio Defines an image size for the video you want to export: Native, 4:3, or 16:9. This lets you control the display format without modifying the source file. This option creates metadata data that is stored with the QuickTime movie. Some applications, such as the QuickTime Player, can interpret this metadata and scale the image at display time. This option is useful for the Same as Source option because that option also preserves the original format. When you select Same as Source, the selections in the Display Aspect Ratio area are based on the resolution of the media you are exporting and the project type (NTSC or PAL). When you select Custom, your Avid editing application calculates the Display Aspect Ratio selections from the values you enter for Width x Height in the Video Format tab. Export Settings: QuickTime Movie Settings Option Description Video Settings Opens the Standard Video Compression Settings dialog box. For more information, see “Export Settings: QuickTime Compression Settings” on page 1460. Filter Opens the Choose Video Filter dialog box, which lets you apply a single effect filter during an export. Size Opens the Export Size Settings dialog box. QuickTime lets you set a size, but Avid recommends you set the size in the Width and Height text boxes of the Export Settings dialog box. Both settings have the same effect, and the QuickTime size setting overrides the Avid size setting.
Option Description Sound Settings Opens the Sound Settings dialog box, which lets you select a sound compression setting for your export, along with other options. Prepare for Internet Streaming • Fast Start: The movie can begin playing over the Internet without having to download completely first. This method of playing movies over the Internet is referred to as progressive download or HTTP streaming. It does not require a streaming video server. • Fast Start - Compressed Header: This option is a better choice for progressive downloading. It works the same as Fast Start, but compresses the header information. The header is the portion of the file that allows the movie to start playing before the entire movie is downloaded. Compressing the header allows it to download faster. This is important for large movies (movies that are longer than several minutes). • Hinted Streaming: Select this option if you are putting the exported file on a streaming video server. The file does not stream without a hint track for each track in the movie. Hint tracks allow the streaming video server to split the file into packets for the streaming. A file with hinted streaming also plays as a progressive download. However, it will probably play more slowly than a Fast Start movie because it contains additional information and is therefore larger. For additional options, click Track Hinter Settings to open the RTP (Real Time Protocol) Track Settings dialog box. For more information, see your QuickTime documentation. Export Settings: QuickTime Compression Settings The Standard Video Compression Settings dialog box provides access to a wide range of QuickTime video codecs. The codecs available from the Compression Type list might vary depending on your computer’s configuration and your operating system. Other options in the dialog box vary depending on the codec you select from the Compression Type list. If you have an Internet connection, you can get help on using the options in this dialog box from the QuickTime web site by pressing the ? button in the bottom left corner of the dialog box. The list of codecs includes Avid codecs, which create encapsulated media files for export of high-resolution files that are readable within QuickTime applications. You must install the Avid codec you use to export the file on the system running the QuickTime application for the application to read the exported file. For more information, see “Installing or Copying the Avid Codecs for QuickTime on Other Systems” on page 1018. When you select an Avid codec and then click the Options button, the Codec Configuration dialog box lets you configure further options. For Color Levels or Color Input, select the color levels of the source media. If you are exporting from an Avid editing system, use ITU-R 601
(SD) or 709 (HD).
The following table describes the Avid codecs available in the Standard Video Compression Settings dialog. Codec Description Avid 1:1x For high quality, 8-bit, lossless resolution (in which no picture information is lost). Available for use with MXF media files. Meridien-based systems cannot use this format. Current Avid editing systems, including Avid DS, can use this format. It uses 4:2:2 sampling. Avid DNxHD™ Codec For DNxHD encoding with 8-bit and 10-bit resolutions. Available for use with MXF media files. Current Avid editing systems, including Avid DS, can use this format. Avid DNxHR Codec For DNxHR encoding. This Avid codec is for resolutions considered above greater than HD media, including 2K and 4K. Avid DV For compression compatible with Avid Xpress DV and Avid NewsCutter products or with Avid Meridien products with the DV/MPEG option. Avid DV100 Codec For DVCPRO HD encoding. Meridien-based systems cannot use this format. Current Avid editing systems, including Avid DS, can use this format. It uses 4:2:2 sampling. Avid Meridien Compressed For compression compatible with Avid Meridien-based products. Avid Meridien Uncompressed For 1:1 resolution used in Avid Meridien-based products. Avid MPEG2 50 mbit For MPEG-2 IMX 50,40,30 encoding, an interframe compression used in Sony IMX VTRs and cameras. It uses 4:2:2 sampling. Avid Packed Codec For high quality, 10-bit, lossless resolution (in which no picture information is lost). Available for use with MXF media files. Meridien-based systems cannot use this format. Current Avid editing systems, including Avid DS, can use this format. It uses 4:2:2 sampling. Avid RGB Packed Codec For high quality, 10-bit, lossless resolution (in which no picture information is lost). Available for use with MXF media files. Meridien-based systems cannot use this format. Current Avid editing systems, including Avid DS, can use this format. It uses 4:4:4 sampling. Export Settings: HDV Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451.
Option Description Video Quality Defines the video quality, either Draft, Better, or Best. The higher the quality, the longer the time required to complete the export. Draft is fastest, while Best takes the longest time to complete but has the best quality. If you have a slower system, you might want to see if the Better or Draft options provide acceptable quality. Stream Type Defines the transport stream type: • Transport Stream: Use this option for both video and audio, for example, when exporting to other devices. • Elementary Streams: Use this option for either video only or audio only. Export Settings: DV Stream Option Description Use Marks, Use SelectedTracks See “Use Marks and Use Selected Tracks Options” on page 1451. Format Options Opens the DV Export Settings dialog box, which lets you select the DV format, video format, and audio format options you want. If you select DV as the DV format, you can choose to provide locked or unlocked audio. For compatibility with DV cameras that require unlocked audio, deselect Locked. If you select DVCPRO as the DV format, audio is always locked and the Locked option is grayed out. Also, the audio rate is always 48 kHz and the Audio Rate menu is grayed out. Video and Audio, Video Only, Audio Only Defines whether your Avid editing application exports video only, audio only, or both. Use Video Only, for example, if you want to add effects in a third-party application or to use only the video in a multimedia project. Use Audio Only, for example, if you want to use or enhance audio in a third-party application or you want to use the audio in a multimedia project.
Option Description Video Format • Color Levels: Sets the color to either RGB or 601/709. • File Field Order: Defines which field is the upper field during export. For 23.976p, 24p, or 25p projects, these options do not appear, and all fields are automatically exported as progressive (still) frames. Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1 becomes the upper field (its lines become the odd-numbered lines) in the frame. Field 2's lines become the even-numbered lines. Use the Even (Lower Field First) suboption if you are in an NTSC project. Field 1 becomes the lower field (its lines become the even-numbered lines) in the frame. Field 2's lines become the odd-numbered lines. Use the Single Field suboption if you want the output file to consist of only Field 1. In this case, your Avid editing application resizes the single field of 243 lines for NTSC (288 lines for PAL) to fit the frame as specified in the width and height selection. Export Settings: AVI Through QuickTime Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. Video and Audio, Video Only, Audio Only Defines whether your Avid editing application exports video only, audio only, or both. Use Video Only, for example, if you want to add effects in a third-party application or to use only the video in a multimedia project. Use Audio Only, for example, if you want to use or enhance audio in a third-party application or you want to use the audio in a multimedia project. Video Format • Color Levels: Sets the color to either RGB or 601/709. • File Field Order: Defines which field is the upper field during export. For 23.976p, 24p, or 25p projects, these options do not appear, and all fields are automatically exported as progressive (still) frames. Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1 becomes the upper field (its lines become the odd-numbered lines) in the frame. Field 2's lines become the even-numbered lines. Use the Even (Lower Field First) suboption if you are in an NTSC project. Field 1 becomes the lower field (its lines become the even-numbered lines) in the frame. Field 2's lines become the odd-numbered lines. Use the Single Field suboption if you want the output file to consist of only Field 1. In this
case, your Avid editing application resizes the single field of 243 lines for NTSC (288 lines for PAL) to fit the frame as specified in the width and height selection.
Export Settings: AVI Video Compression Option Description Compressor • Cinepak Codec by Radius: For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screen-size playback from CD-ROM or hard drive. This codec uses a compression algorithm optimized for CD-ROM playback. Click Configure to open the Cinepak for Windows 32 configuration dialog box. You can then choose to compress to color or to black and white. • Apple’s QuickTime Codecs include: DV - PAL, DV/DVCPRO - NTSC and DVCPRO - PAL Compression Quality slider Adjusts compression quality for certain codecs. Key Frame Every n frames When this option is selected, your Avid editing application uses keyframes as a reference for subsequent frames. Enter a numeric value to specify the frequency of the keyframes. Limit Data Rate n KB/sec Defines a limit to the data rate for the compressed file, in kilobytes per second. Export Settings: Windows Media (Windows Only) Windows Media Legacy Template The following table describes options available when you select Windows Media Legacy Template from the Windows Media menu in the Export Settings dialog box. Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. Version Lets you select one of the available (v8, v7, or v4) Windows Media versions. Templates Lets you choose one of the Avid supplied Windows Media templates. For more information, see “Exporting as Windows Media (Windows Only)” on page 1020. Existing Windows Media Custom Profile The following table describes options available when you select Windows Media Custom Profile from the Windows Media menu in the Export Settings dialog box.
Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. Set Lets you browse to find an existing .prx file on your system. For more information, see “Exporting as Windows Media (Windows Only)” on page 1020. Windows Media Video Settings The following table describes options available when you select Windows Media from the Windows Media menu in the Export Settings dialog box and then select a video track. Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. Width, Height, FPS Set the width, height, and frame-per-second (fps) rate of the clips for export. Video Type Defines the video type, either Progressive or Interlaced. Pixel Aspect Ratio When this option is selected, your Avid editing application scales the video. This lets you control the display format without modifying the source file. Uncompressed When this option is selected, your Avid editing application creates a high-quality export in which no picture information is lost. This option does not compress the file and can result in very large files.
Option Description Codec (not available when you select Uncompressed.) Choose one of the following codecs: • Windows Media MPEG-4 Video V3: This codec creates high-quality video for streaming, download, and play. Enables playback of interlaced content on televisions. • ISO MPEG-4 Video V1: This codec delivers DVD (MPEG-2) quality video at lower data rates and smaller file sizes. • Windows Media Video V7: This codec enables Windows Media Player 7 to view encoded video content without first having to download the latest codecs. This is the best choice when the encoding computer cannot support the performance requirements of the newer Windows Media Video codecs. • Windows Media Screen V7: This codec is specially optimized for use for screen captures and some animations. • Windows Media Video 9 Screen: This codec is optimized for screen captures. This codec is ideal for delivering demos or demonstrating computer use for training. Windows Media Video 9 Screen delivers better handling of bitmap images and screen motion, even on relatively slow CPUs. • Windows Media Video 9: This codec offers improved quality over Windows Media Video 8, with the highest gains seen at the higher bit rates, and provides improved interlaced support. • Windows Media Video V8: This codec supports a wide variety of network bandwidths, and deinterlaces interlaced content before encoding. • Windows Media Video 9 Advanced Profile: Use this profile to deliver either progressive or interlaced content at data rates as low as one-third that of the MPEG-2 codec but with the same quality as MPEG-2. Passes (not available when you select Uncompressed) Defines the number of encoding passes, either 1 or 2. With 1 Pass encoding, the content passes through the encoder once, and compression is applied as the content is encountered. With 2 Pass encoding, the content is analyzed during the first pass, and then encoded in the second pass based on the data gathered in the first pass. 2 Pass encoding might result in better quality but takes longer. VBR (not available when you select Uncompressed) Variable Bit Rate. This option defines the quality of the video profile setting. Quality Choose Constrained or Unconstrained. Choose Constrained when playing either locally or on a device that has a constrained reading speed, such as a CD or DVD player. Bit Rate Defines the size of the data stream in megabits per second.
Option Description Buffer Size Defines the number of seconds that you want content to be stored before encoding begins. A larger buffer results in better quality content, but requires more memory. When you encode content, the encoding process is delayed by the amount of time specified in the buffer. The content is also delayed by the same amount of time when streaming to a player. Quality Values for this option range from 0 to 100, with 100 being the highest quality. Keyframe Defines the number of keyframes used as part of the encoding sequence. The value is the number of keyframes used for every second of video. A lower number results in higher quality, but larger files. Language Select from the list of available languages. Windows Media Audio Settings The following table describes options available when you select Windows Media from the Windows Media menu in the Export Settings dialog box and then select an audio track. Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. Uncompressed When this option is selected, your Avid editing application creates a high-quality export in which no picture information is lost. This option does not compress the file and can result in very large files. Codec (not available when you select Uncompressed.) Select one of the following codecs: • Windows Media Audio 9.1: This codec provides improvement in compression over the Windows Media 8 Audio codec and supports VBR audio encoding. • ACELP.net: In some instances, the Sipro Labs ACELP codec appears in the list of codecs, for example, if you import a profile that was created by using Windows Media Encoder version 7.1. If this occurs, Avid recommends that you use the Windows Media Audio 9 Voice codec instead. • Windows Media Audio 9 Voice: This codec provides superior quality for audio content with a voice emphasis and provides for mixed-mode encoding of voice and music. It is intended for playback at bit rates at 20 Kbps or lower. • Windows Media Audio 9.1 Professional: This codec supports a full surround-sound experience and dynamic range control. It is intended for data rates of 128 to 768 Kbps. • Windows Media Audio 9.1 Lossless: This codec provides lossless encoding of audio
content. It supports multichannel audio encoding and dynamic range control.
Option Description Passes (not available when you select Uncompressed) Defines the number of encoding passes, either 1 or 2. With 1 Pass encoding, the content passes through the encoder once, and compression is applied as the content is encountered. With 2 Pass encoding, the content is analyzed during the first pass, and then encoded in the second pass based on the data gathered in the first pass. 2 Pass encoding might result in better quality but takes longer. VBR (not available when you select Uncompressed) Variable Bit Rate. When you select this option, the formats available are VBR formats. If you deselect this option, the formats available are CBR formats. Format (These options change when you select VBR.) You can encode audio and video content at either a constant bit rate (CBR) or a variable bit rate (VBR). Use CBR if you plan to stream the content. Use VBR when you plan to distribute the content for downloading and playing either locally or on a device that has a constrained reading speed such as a CD or DVD player. Choose from one of the format options. Buffer Size Defines the number of seconds that you want content to be stored before encoding begins. A larger buffer results in better quality content, but requires more memory. When you encode content, the encoding process is delayed by the amount of time specified in the buffer. The content is also delayed by the same amount of time when streaming to a player. Language Select from the list of available languages. Export Settings: Audio Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. Mono Stereo Use this option to export audio tracks in either mono or stereo. Sample Rate Defines an audio sample rate, either Project rate, 32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz, or 96 kHz. You can use this option if your sequence has a mix of sample rates and you need to create a single sample rate. (You set the project rate in the Audio Project Settings dialog box. For more information, see “Audio Project Settings for Capture” on page 180.) You can also use this option to change the sample rate if the application to which you are exporting does not support the current sample rate. Bit Depth Defines the bit depth, either Project bit depth, 16 bit, or 24 bit.
n Option Description Audio Format Defines the audio format: • Project: When this option is selected, your Avid editing application exports the audio format that you selected as the project default in the Audio Project Settings: Main tab. • WAVE: Select this option to export audio tracks in the WAVE format (.wav file name extension). Nearly all Windows applications that support sound use WAVE files. QuickTime also supports the WAVE format. • AIFF-C: Select this option to export audio tracks in the industry-standard AIFF-C format, which is compatible with many third-party sound editing and multimedia applications. • SDII (Macintosh only): Select this option to export audio tracks in the Sound Designer II format, which is compatible with Pro Tools and other third-party applications. If you export with the Project option selected and PCM (MXF) selected in the Audio Project Settings: Main tab, a WAVE file is exported. Export Settings: Graphic The following table describes options available in Export Settings: Graphic. Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. Graphic Format Defines a graphic format for export. The Format Options button lets you set export parameters. For more information on available graphic formats, see “Export Settings: Graphic Format” on page 1470. Width x Height Defines the size of the clip. Click the Fast Menu button, and select from a list of standard dimensions. The Size to Fit suboption sizes to fit the specified width and height. The Crop/Pad suboption instructs your Avid editing application not to scale or resize the frames. If necessary, it adds black lines to the top and bottom of the frame to achieve the correct size. Color Levels Set the color levels to either RGB (Full Range) or 601/709 (Legal Range).
Option Description Sequential Files When this option is selected, your Avid editing application produces a series of still images, numbered sequentially. The fps rate of the source file determines the number of still image files that are produced. Select Markers only to produce images only for those frames that contain markers. • Topmost Image: When this option is selected, if you have multiple tracks, and a marker is on a lower track but is obscured by a higher track clip, the highest available track will be used in the sequential list over the lower track. • Use Comments: When this option is selected, the marker comment will be used as the name for the saved graphic. File Field Order Defines which field is the upper field during export. For 23.976p, 24p, or 25p projects, these options do not appear, and all fields are automatically exported as progressive (still) frames. • Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1 becomes the upper field (its lines become the odd-numbered lines) in the frame. Field 2's lines become the even-numbered lines. • Use the Even (Lower Field First) suboption if you are in an NTSC project. Field 1 becomes the lower field (its lines become the even-numbered lines) in the frame. Field 2's lines become the odd-numbered lines. • Use the Single Field suboption if you want the output file to consist of only Field 1. In this case, your Avid editing application resizes the single field of 243 lines for NTSC (288 lines for PAL) to fit the frame as specified in the width and height selection. Export Settings: Graphic Format Format Options and Other Notes (if applicable) Alias™ BMP Windows: Creates files that are compatible with systems running the Windows operating system. OS/2: Creates files that are compatible with systems running the IBM® OS/2® operating system. Chyron®
Format Options and Other Notes (if applicable) Cineon™ Blackpoint (Windows) or Black Point (Macintosh): Lets you adjust a film exposure value that corresponds to filming a 2% black card. Values can be between 0 and 1022. The default value of 0 is adequate for most uses. Whitepoint (Windows) or White Point (Macintosh): Lets you adjust a film exposure value that corresponds to filming a 90% white card. Values can be between 1 and 1023. If the files came from and will be transferred back to a Cineon™ system, use a white point of 1023. The default value of 685 is appropriate if the final destination is not a Cineon system — for example, a video display. Gamma: Defines an adjustment to correct for any gamma inconsistencies in the output display. Values can range from 0.01 to 100.0. The default value is 1.0. Use a value of 1.0 for images to display on a PC monitor, 0.59 for a Silicon Graphics® or a Macintosh monitor, and 0.45 for ITU-R 601 (CCIR 601) video. ERIMovie Pack 24 bits: Controls whether the image data is packed into 24-bit color depth (compressed) or is saved as 32-bit (raw) color depth. Framestore Your Avid editing application supports both compressed and uncompressed Framestore formats. IFF JPEG Quality: Controls the output file size and quality. Higher values produce better images but larger file sizes, while lower values reduce the image quality but result in smaller file sizes. Baseline: Selected by default. To see if this option is required, see the documentation for your JPEG-supported applications. Progressive: Lets you save progressive JPEG files, which divide the file into a series of scans of the image that increase in quality. Each scan progressively improves the recognizability of the image. Progressive JPEG files are only recognized by applications with progressive JPEG support, such as some Web browsers. OMF NTSC/PAL: Appears when you select a compression ratio that lets you select either NTSC or PAL. When you select an option, the system displays the required image size and the default frame rate. Compression: Controls the compression ratio and, therefore, the size of the file. You can choose from all the compression ratio options used by your Avid editing application when recapturing. For more information on Avid compression ratios, see “Resolutions and Storage Requirements” on page 1539. PCX™ Photoshop Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The Automatic suboption saves the image in the same depth as the original loaded image. Compression: Controls the size of the file on disk. Disabling this option creates larger files on disk. PICS This option is available on Macintosh only. It creates a Macintosh QuickDraw picture
encapsulated in IFF format.
Format Options and Other Notes (if applicable) PICT Create MacBinary header: This option, available on Windows only, creates a file with a MacBinary header. MacBinary is a file format for representing all the information in a Macintosh file in one binary file. It is a compact file format, useful for storing a Macintosh file on a non-Macintosh system for later retrieval. Use a file expander utility to decode a MacBinary file once it is back on a Macintosh system. Pixar® PNG Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The Automatic suboption saves the image in the same depth as the original loaded image. Interlaced: lets you save the file for progressive display, similar to progressive JPEG files. As the file is transmitted, the recognizability of the image improves. Interlaced PNG files are only recognized by applications with interlaced PNG support, such as some Web browsers. QRT Rendition SGI® The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image. Softimage SunRaster™ TARGA® Color Depth: The 5-bit option saves data in Targa 16 format. The 8-bit option saves data in Targa 24/32 format. Compression: Controls the size of the file on disk. Disabling compression creates larger files on disk. TIFF Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The Automatic suboption saves the image in the same depth as the original loaded image. Compression: Controls the size of the file on disk. With None, i RLE (run length encoded) produces relatively small and fairly portable files. JPEG • None: Image data is not compressed and can produce large file sizes. • RLE (run length encoded): Produces relatively small and portable files. • JPEG: Produces files that can vary in size, depending on the quality you set using the JPEG Quality slider. The higher the quality setting, the larger the file size. JPEG Quality: Adjusts the image quality of the JPEG file on a sliding scale from 0 to 100. The higher the value, the higher the image quality of the JPEG file.
Format Options and Other Notes (if applicable) Wavefront® Format Type: Defines one of two output file formats supported by Wavefront (either RLA or RLB). Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The Automatic suboption saves the image in the same depth as the original loaded image. Gamma: Defines an adjustment to correct for gamma differences between Macintosh and Windows output display. This option is intended for cross-platform applications that require adjustment. To see if you need to adjust this value, check the documentation for your Wavefront application. Usually, you can use the default setting. XWindows YUV Format: Controls the video format of saved images. If set to NTSC, NTSC video format (720 x 486) is used. If set to PAL, PAL video format (720 x 576) is used. Images are either padded with black or cropped. Smooth YUV: Enhances the fidelity of images saved in YUV color space (if originating in RGB color space). Export Settings: P2 To open the P2 Export Setting dialog box, select Output > Export to Device > P2. For more information, see “Exporting Your Clip or Sequence to a P2 Card” on page 1030. Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. P2 Device Defines the connected P2 device to which you want to export. Video Format Defines a video format. You can upconvert or downconvert. Bit Depth Defines the audio bit depth, either 16 bit or 24 bit. Panasonic supports 16-bit audio at this time. Export Settings: XDCAM To open the XDCAM Export Setting dialog box, select Output > Export to Device > XDCAM. For more information, see “Exporting Media to XDCAM Devices” on page 1022. Option Description Use Marks, Use Selected Tracks
See “Use Marks and Use Selected Tracks Options” on page 1451.
Film and 24P Settings Option Description Target XDCAM Disk Defines the connected XDCAM disk to which you want to export. Video Format Defines a video format. You can upconvert or downconvert. Bit Depth Defines the audio bit depth, either 16 bit or 24 bit. Film and 24P Settings Option Description Edit Play Rate Defines the edit play rate for your project. Options differ for PAL and NTSC projects. Master Default Film Type Defines the film type. Select an option to meet your production lab standards and the film type for your master. Master Default Edge Type Defines the edge type for the master display in bins and cut lists. Ink Number Default Film Type Defines the ink number film type. Select an option to meet your production lab standards and film type. Ink Number Default Edge Type Defines the edge type for the ink number display in bins and cut lists. Auxiliary Ink Default Film Type Defines the film type for a second ink number (this is useful for tracking additional information for different film gauges). The choices are the same as for Ink Number Default Film Type. Auxiliary Ink Default Edge Type Defines the format for the auxiliary ink number edge type. The choices are the same as for Ink Number Default Edge Type. Video Pulldown Cadence (NTSC only) Defines how your Avid editing application handles pulldown: • Video Rate, no pulldown: For 24-fps footage transferred MOS (without sound) to 30 fps by speeding up the film and using audio brought into your Avid system separately at 100% of the actual speed. • Standard 2:3:2:3 pulldown: For 24-fps footage transferred to 30 fps using Standard Pulldown with the audio synchronized to the picture. • Advanced 2:3:3:2 pulldown: For 24-fps footage recorded to 60 fields (NTSC) using
Film and 24P Settings Advanced Pulldown with the audio synchronized to the picture.
Full Screen Playback Settings Option Description Audio Transfer Rate (PAL only) Audio Source Tape TC Rate (NTSC only) Defines the transfer rate for audio in 24p PAL film projects. The choices are: • Film Rate (100%): For 24-fps film footage transferred MOS to 25 fps by speeding up film with the audio coming in separately at 100% of the actual speed. • Video Rate (100%+): For 24-fps film footage transferred to 25 fps by speeding up the film with the audio synchronized to the video picture. n It is important to keep the audio transfer rate constant for the project. Defines the source audio rate, either 30fps or 29.97 fps. Set Pulldown Phase of Timecode (NTSC only) Defines a default pulldown phase for a 23.976p or 24p NTSC project. Full Screen Playback Settings For information on using Full Screen Play, see “Playing Video to a Full-Screen Monitor” on page 501. Option Description Scaling Determines how images are scaled for full-screen playback: • Project: Uses the actual project type and aspect ratio to determine the scaling. • 4x3 (Standard): If you are editing an HD project that contains a lot of SD material that is stretched to fit the 16x9 aspect ratio, you might want to select this scaling option, letting you restore its original aspect ratio. • 16x9 (Widescreen): If you are in a 4x3 SD project, working with actual wide-screen material (such as 16x9 material captured by a DV Camcorder), you can select this option to display the material as 16x9 wide-screen. • Raw Pixel: This option lets you see the frame in the full screen window, pixel for pixel, with no scaling. If the image is larger, it is scaled to fit the screen. This is only useful when viewing SD in which pixels are non-square. Raw Pixel Aspect ratio is slightly wider than 4x3.
Option Description S3D View Mix: Displays a 50/50 blend of both the left and right eye images. Difference: Displays a blend of both left and right eyes, and highlights the difference between the two. Embossed areas show the differences, while gray pixels represent no differences. Frame Compatible: Displays both the left and right eye images as dictated by the project settings (side/side or over/under). Mono: Displays only one of the stereoscopic images. • Left: Displays only the left eye image. • Right: Displays only the right eye image. • Leading eye: Displays only the image set as the leading eye on the stereoscopic clip. Anaglyph: Displays a blended image with pixels for each eye corresponding to one of the following color options: • Red-Cyan: Uses red for the left eye and cyan for the right. • Green-Magenta: Uses green for the left eye and magenta for the right. • Amber-Blue: Uses amber for the left eye and blue for the right. B/W-Anaglyph: Displays a monochrome image with color highlights only where there are differences in the left and right eye. The pixels in each eye image can be mapped to the following color options: • B/W Red-Cyan: Shows differences in red and cyan for the left and right eyes respectively. • B/W Green-Magenta: Shows differences in green and magenta for the left and right eyes respectively. Checkerboard: When this option is selected, your Avid editing application displays the left and the right images simultaneously for stereoscopic viewing. The term “checkerboard” refers to the way in which blocks of the left and right images are displayed for stereoscopic viewing. Blocks are approximately n x n pixels in size. Compare: Compares the left and right eye images using a diagonal split screen. You can set the comparison mode to 25, 50, or 75%.
n Option Description S3D Overlay Displays the disparity guides on the viewer so that you can see the depth budget limits when adjusting the separation between your stereo 3D images. The guides for Parallax are based on the project’s S3D settings (set from the Project window, Settings tab). Parallax Near: Displays green guides that show the limits for objects that will appear in front of the screen plane. Parallax Far: Displays blue guides that show the limits for objects that will appear in front of the screen plane. Parallax Near/Far: Displays both guides (green and blue) that show the limits for objects that will appear in front and behind the screen plane. Target Mask Allows you to display the mask area in the viewers: • No Mask: Does not display masked region. • Mix to White: Displays masked region with a translucent white so that you can view the output frame in context of the full image. • Mix to Black: Displays masked region with a translucent black so that you can view the output frame in context of the full image. • Black Mask: Blacks out the masked region to display the image as it would appear when output. The mask margins are defined in the Format dialog box. See Viewing Sequences with Masked Regions in the Help. Full Screen This option is selected by default. When this option is deselected, the video displays with as little scaling as possible. Your Avid editing application tries to display the image at its native height, and then matches the width to the height using the Aspect Ratio selection from above. Deselecting Full Screen and working in Draft quality (green/yellow) mode or Best Performance (yellow/yellow) mode can also improve performance with some older video cards that have limited pixel shader processing power. Display Both Fields Select this option when your Avid editing application is connected to an interlaced display. If a progressive display (for example, an LCD monitor) is connected to the graphic card's video output and you select this option, toothcombing appears in interlaced images. Flip on Vertical Sync If your graphics board can render the frame of video before the vertical retrace, enabling this option removes the tearing seen on the Full Screen Play monitor. (Vertical retrace is the action within the monitor that turns the monitor beam off when moving it from the lower right corner of the monitor to the upper left.) If the board is unable to render the frame, you might see a stutter. The size of the video frame, the throughput of the board, and the speed of the bus that the graphics board runs affect
the ability of the board to complete the render in time. This option is deselected by default.
General Settings Option Description Expand Luminance For Computer Displays When this option is selected, the video image is represented more accurately when using Full Screen Play on a standard computer monitor. If you are driving a studio quality monitor through either component, DVI or HDMI inputs you might want to run with this option deselected. This option is deselected by default. Current Monitor Position Defines which monitor displays the full screen playback. Drag the entire Full Screen Playback Settings dialog box to the desired monitor, and then click Select Monitor. (Macintosh only) If two or more graphics cards are installed, choose a monitor that is connected to the primary graphics adapter. General Settings Option Description Project Format Displays the format currently selected for the project. Temporary File Directory When you use drag and drop Export or an export that creates an intermediate movie file, your Avid editing application must store the intermediate file, which can be as large as the final export. By default, the Temporary File Directory is located in the same directory as your Avid editing application. To improve efficiency or to avoid DISK_FULL errors when exporting, you can specify a different directory for these temporary files. The ideal setting for this field is to type in a directory on the drive to which you are exporting, or simply one with plenty of free space. Default Starting TC Defines the timecode value you want your Avid editing application to use as the default starting timecode for each new sequence. For more information, see “Understanding Timecode” on page 165. Default Starting EC Defines the edgecode value you want your Avid editing application to use as the default starting edgecode for each new sequence. Effect Apertures Controls the number of horizontal lines of an image that your Avid editing application uses to create an effect. • DV25: Select this option when you are using DV media exclusively. For more information, see “Setting Effect Aperture Options” in the Help. • ITU 601 (default): Select this option when you are using uncompressed media or mixed resolutions.
Grid Settings Option Description NTSC Has Setup This option allows systems using NTSC-EIAJ to use the correct color mapping. NTSC-EIAJ users should not select this option. All other users should select this option. Use Windows compatible file names (Macintosh only) Prevents you from using the characters /:*?”<>| and adding leading spaces, trailing spaces, or a trailing period in bin, project, or user names. These characters are not allowed in Windows file names. This option is useful for moving bins and projects from Macintosh to Windows platforms. Generate LTC On Playback Depending on your Avid input/output hardware, this option lets you output LTC timecode. For more information, see “Using LTC Timecode for Output” on page 1035. Grid Settings Grid Settings: Coordinates Tab Option Description Scale Mode Lets you work with a grid that indicates boundaries for a format other than the one in which you are working. This is useful when you are creating graphics (like titles) that must remain safe in other formats. Select one of the following options depending on the current and target formats you need. When you do not specifically need a grid that represents another format, use the Normal option, which is the default. • Normal • 4:3 Inside 16:9 Monitor • 4:3 Outside 16:9 Monitor • 1.66 Inside 4:3 • 1.77 Inside 4:3 • 1.85 Inside 4:3 Increments Lets you control grid increments. • Fields: Sets the number of tick marks along the grid axes as well as the number of visible grid points. The default value is 12. • Sub Fields: Sets the number of divisions between visible grid points for the snap-to-grid feature. Setting Sub Fields to 1 snaps objects to visible points only. A value of 2 provides 1/2-field jumps. A value of 4 (the default value) provides 1/4-field jumps, and so on. Setting Sub Fields to 0 turns off the snap-to-grid feature. Source Scan Size
Grid Settings For film projects, where an optical house scans film for the addition of visual effects. The default values are 720 x 486 pixels.
Option Description Source Grid Adjustments Lets you shrink or offset the grid. • Hor. Offset and Vert. Offset: These options move the grid on the image either horizontally or vertically, and are intended mainly for film projects. • Inset: This option shrinks the grid proportionally. Grid Settings: Display Tab Option Description Type Selects a different grid for each standard film type. For video projects, use the Square grid type. The grid for the Academy option includes a safety margin on the left that is used for adding the optical sound track. The following options are available: Square, Standard Film, Academy, Super 35, Anamorphic. Color Defines a color for the grid axes and the grid points. Show Safe Title Displays the safe title area. Create video titles within this area to ensure that they are viewable on a regular television screen. Show Safe Action Displays the safe action area for video display. This box is self-adjusting for different project formats. Show 14x9 Zone Show 1.66 Aspect Show 1.85 Aspect Show 1.77 Aspect Select one or more of these options to display the grid you want. Show Axes Displays the grid axes. Show Tick Marks Shows tick marks along the axes. Use the Fields option to set the number of tick marks. Show Thirds Divides the screen into three sections. This is especially useful if you are creating titles for the lower third of the screen. Show Points Shows the grid points. Use the Fields option to set the number of grid points. Show Position Info Displays the position coordinates of any point in the Effect Preview or Record monitor. Your Avid editing application uses compass coordinates and X, Y coordinates. For compass coordinates, (0, 0) is the center of the axes. For X, Y coordinates, (0, 0) is the top left corner of the monitor. X values increase to the right, and Y values increase as you move down. For more information, see “Displaying Position Coordinates” in the Help.
Import Settings Import Settings Import Settings: Image Tab Option Description Image Size Adjustment Controls the dimensions of imported images. Image sized for current format Select this option if the image is properly sized and formatted for the current project format, or to maintain field data when you import two-field media that follows exact NTSC or PAL dimensions. Your Avid editing application converts the existing pixel dimensions, if necessary, so that the image fills the screen. HD projects use the ITU-R 709 color space instead of ITU-R 601. This is the default option. If the aspect ratio of the original frames does not match the aspect ratio your Avid editing application is using, the imported frames might appear distorted. For best full-screen resolution in SD projects of files created in a square-pixel environment, use 648 x 486 (NTSC), 648 x 480 (NTSC DV) or 768 x 576 (PAL). To create a single resolution for both NTSC and PAL, use 720 x 540. Crop/Pad for DV scan line difference Select this option to compensate for the six missing scan lines in NTSC DV. If you select a 486-line resolution and are importing a 720x480 graphic or animation, your Avid editing application pads the frame out by six lines. If, on the other hand, you select the DV25 resolution and are importing a full- frame 720x486 graphic or movie, your Avid editing application crops the top four and bottom two scan lines out of the image. Do not resize smaller images Select this option to import graphic files that have a smaller size than the full-raster SD or HD frame. You typically use this option for either temporary web graphics (in either SD or HD) or to bring SD-formatted graphics into an HD project without blowing them up and losing quality. Resize image to fit format raster Select this option to resize both smaller and larger images to fit the full-raster SD or HD frame. Your Avid editing application maintains the file’s aspect ratio.
Import Settings Color Scaling Decide how you want the color levels to be handled. Do not modify, treat as Legal Range Your media’s color levels are already within the legal range. Select this option to keep them as is.
Option Description Scale from Full Range to Legal Range Scale the color levels from full range to legal (video levels). Select this option if the file you are importing uses full range RGB graphics levels (0 - 255). The RGB color values are remapped to legal color values appropriate for your Avid editing application. Dither image colors Select this option if the file you are importing uses complex color effects, such as a gradation, and you are importing at a high resolution (2:1). Do not use this option to re-import an image that you have already imported with dithering. Field Ordering in File Controls the field ordering (sometimes referred to as field dominance) of the media you are importing. For 23.976p, 24p, or 25p projects, these options do not appear, and all fields are automatically imported as progressive (still) frames. When the field ordering (or spatial field position) of the imported media matches the field ordering of the project format, no special processing is required. For more information, see “Field Ordering in Graphic Imports and Exports” on page 1536. This option does not apply to OMFI imports when the import resolution matches the OMFI file. The following options are available: • Ordered for current format: Select this option when the file you are importing is correctly field ordered for the video format being used (for example, Even or lower ordered for NTSC, Odd or upper ordered for 1080i HD). This is the default option. • Odd (Upper Field First) ordered: Select this option if the file is odd ordered and you are importing it into an even ordered format, for example, when you are importing PAL DV into PAL. • Even (Lower Field First) ordered: Select this option if the file is even ordered and you are importing it into an odd ordered format., for example, when you are importing NTSC into 1080i HD.
n Option Description Alpha Channel Controls how your Avid editing application handles the alpha channel in imported images. The following options are available: • Invert on import (white = opaque): Select this option to reverse the black and white elements of the alpha channel if they differ from the matte key requirements of your Avid editing application. Avid applications use a white background, a black foreground, and a gray transparency blend between the two. • Do not invert (black = opaque): Select this option to import the image, using the existing alpha channel information. • Ignore: Select this option to import an image that contains alpha channel transparency information as one opaque graphic. The imported graphic appears as a single master clip in the bin. If an image contains an embedded alpha channel but your Avid editing application does not support alpha channel import for the file type, select this option to import the image successfully. For information on alpha channel support, see “Import Specifications for Supported Graphics File Formats” on page 1522. Dilate Fill This option bleeds the fill just a bit along the edges where transparent alpha meets non-transparent alpha. It is useful when importing graphics files containing alpha that have abrupt transitions between transparent and opaque. It can help prevent black/gray pixels from seeping into the fill. Frame Import Duration Duration n seconds Defines the duration of the single frame your Avid editing application creates from the import. The default is 10 seconds. This option does not apply to importing sequential image files because each file represents one frame of the clip, so the total number of files determines the total duration. Importing an image with alpha channel creates a matte key effect as a single frame, with no associated media file. Importing as a single frame takes less time and requires less storage than importing as a media file. However, a single frame has limited real-time playback capabilities, particularly at high resolutions, because your Avid editing application loads the frame into memory and handles it in real time, rather than playing it back from a disk.
Option Description Autodetect Sequentially Numbered Files When this option is selected, your Avid editing application recognizes that a sequence of connected files is present and automatically imports the whole sequence. When this option is deselected, your Avid editing application does not automatically import a whole sequence of files that have sequential extensions. You can then select any single file for import. You can import sequential files for any of the supported still-image formats. For information on preparing a sequence of image files, see “Specifications for Animation Files” on page 1527. Import Settings: OMFI/AAF Tab Option Description Resolution Use the source file’s resolution. When this option is selected, your Avid editing application maintains the source file’s resolution. Your Avid editing application disregards the resolution setting in the Select Files to Import dialog box as well as the resolution set in the Import tab of the Media Creation dialog box. Use the current import resolution. When this option is selected, your Avid editing application disregards the source file resolution and uses the current import resolution setting. Ask me to set the resolution for each file that is different from the current import resolution setting. When this option is selected, your Avid editing application displays a query about resolution selection for each imported file when the resolution of the source file is different from the current import resolution setting. Import Settings: Shot Log Tab Option Description Maintain events as logged. When this option is selected, your Avid editing application maintains all events as originally logged. Combine events based on scene and automatically create subclips. When this option is selected, your Avid editing application combines all the events for a scene into a single master clip and then links the master clip to subclips that represent the original events for that scene. To use this option, you must have scene numbers logged in a scene column in the bin.
Option Description Combine events based on camera roll and automatically create subclips. When this option is selected, your Avid editing application combines all the events from a camera roll into a single master clip and then links the master clip to subclips that represent the original events for that camera roll. To use this option, you must have camera roll numbers logged in a camera roll column in the bin for a film project. Merge events with known sources and automatically create subclips. Merge events with known master clips. When this option is selected, your Avid editing application creates subclips for events that are merged or relinked to their source clips upon import. Use this option if you have already entered master clips in a bin for each camera roll or master scene, and have subsequently logged all the events related to those clips for import. n You must select the clips that you want to merge before selecting this option. When this option is selected, your Avid editing application merges information in the shot log onto selected master clips based on the matching tape name. Use this option if you have already logged (or captured) master clips in a bin for each take. n You must select the clips that you want to merge before selecting this option. Import Settings: Audio Tab Option Description Multichannel Audio Allows you to map source audio channels to multichannel or mono tracks in your imported clips. Click Edit to open the Set Multichannel Audio dialog box and specify mono or audio tracks for a maximum of 16 audio channels. For more information, see “Importing with Multichannel Audio” on page 278. Sample rate convert source sample rate to project sample rate Controls sample rate conversion during audio import. When this option is selected, your Avid editing application converts incoming media to the sample rate of the current project. This option is selected by default. When this option is deselected, your Avid editing application imports audio media at the source sample rate. If your Avid editing application does not support the source sample rate, it autoconverts the audio media to the current project sample rate. If you select this option, the “Do not convert sources with pullup or pulldown rates” option is available. Select this option to skip the conversion of incoming media marked with pullup or pulldown sample rates to the sample rate of the current project. The length and pitch of the imported files are changed by plus or minus .1%.
Deselect this option to convert audio media with pullup or pulldown source sample rates to the project sample rate. Length and duration do not change for the imported audio files. This option is selected by default. For more information, see “Sample Rate Conversion and Audio Import” on page 282.
Option Description Convert source bit depth to project bit depth Controls bit depth conversion during audio import. When this option is selected, your Avid editing application converts the incoming media to the bit depth of the current project (deselected by default). When this option is deselected, your Avid editing application imports audio media at the source bit depth. If your Avid editing application does not support the source bit depth, it autoconverts the audio media to the current project bit depth. Apply attenuation/gain effect on import When this option is selected, your Avid editing application applies attenuation/ gain effects made to clips prior to import. If you apply gain from the Clip menu after you have adjusted the gain before import, the pre-import gain is ignored. For example, if you apply -6 dB before import, and then apply another -6 dB to the clip, the clip remains at -6 db and not -12 db. Select the CD only option if you only want to apply attenuation/gain to all of the music files on a CD. Automatically center pan monophonic clips When this option is selected, your Avid editing application adds a center pan effect to all monophonic clips on import. Autodetect Broadcast Wave Monophonic Groups When this option is selected, your Avid editing application imports multichannel, monophonic BWF files as a single master clip. This lets you import an eight-track recording, for example, as an eight-track master clip with sequential file names based on the track order (filename_1.wav is associated with track A1, filename_2.wav is associated with track A2). Subframe Alignment to Broadcast WAV Start Time Media Composer has frame-accurate time stamping and Pro Tools has sample- accurate time stamping. This can result in misalignment when importing from Media Composer into Pro Tools. When this option is selected, imported broadcast WAV files have either silence added to the beginning, or up to half a frame of audio deleted from the beginning, in order to be in alignment with the audio start time specified in the original Broadcast Wave media file. This results in an AAF export whose audio will be in alignment with the same audio imported into Pro Tools. Import Settings: XDCAM Tab Option Description Force import of both Proxy & High-resolution When this option is selected, your Avid editing application imports both proxy and high-resolution versions of the selected file or files. When this option is deselected, your Avid editing application imports only the selected files (proxy or high-resolution). Your Avid editing application imports proxy files first.
Only import clips with Good Shot Flag When this option is selected, your Avid editing application restricts XDCAM imports to only those clips described with the OK or KP (keep) flag. You can flag clips with these and other descriptive values in the Sony proxy browser software.
Interface Settings Option Description Batch import High-resolution Video When this option is selected, your Avid editing application uses the Batch Import function to import high-resolution media from the XDCAM device and automatically conform it with the low-resolution proxy media. Type the number of frames you want to use as handles for batch imported clips in the Handle Length: nn Frames text box. Handles refer to material outside the IN and OUT points that you can use for dissolves and trims with the new, shorter master clips. The default is 30. Automatically import Proxies when disk is inserted When this option is selected, your Avid editing application imports all proxy media stored on the XDCAM disc when you insert the disc in the XDCAM device. Deselect this option if you want to import only selected media files. Import Essence Marks as Markers When this option is selected, your Avid editing application imports XDCAM Essence Marks as markers that you can display in the Source/Record monitor or in the Markers Window. Convert Proxy Audio to Project Rate during Import When this option is selected, your Avid editing application converts the sample rate for proxy media (8 kHz) to the project rate when you import the media. This option is selected by default. Import Audio Channels Defines the maximum number of audio channels to import: 2, 4, 6, or 8. For example, if a file has 8 channels of audio, you can select 8 to import all 8 channels or you can select 2 to import only the first 2 channels of audio. Interface Settings Option Description Interface Brightness Controls the brightness of the user interface. Preview Displays a preview of the foreground color as you move the Interface Brightness slider. Highlight Color Lets you select the color of button highlighting from available presets. Default Timeline V Tracks Selecting this option sets the color of all Timeline video tracks to the default. If you change the track color for a video track, this option changes to deselected. Default Timeline A Tracks Selecting this option sets the color of all Timeline audio tracks to the default. If you change the track color for an audio track, this option changes to
Interface Settings deselected.
Option Description Default Timeline TC Tracks Selecting this option sets the color of the Timeline timecode track to the default. If you change the track color for the timecode track, this option changes to deselected. Allow Custom Bin Backgrounds When you select this option, you can set custom background colors for bins. Show Labels in Tool Palette When this option is selected, your Avid editing application displays text labels with the icons on the Tool palette. This option is selected by default. Show ToolTips When this option is selected, your application displays labels for buttons and icons when you position the mouse pointer over them. This option is selected by default. You can also turn ToolTips on and off from the Help menu. Delay n seconds before showing Controls the length of the delay before tooltip labels display. This lets you move the mouse pointer across the interface without displaying the labels on items between the starting point and the destination of the mouse pointer. Windows Standard Alt Key Behavior (Windows only) Switches between standard Windows and Avid application Alt key behavior. When this option is selected, pressing and holding the Alt key together with another key works as a keyboard shortcut for certain Windows actions (for example, opening menus). When this option is deselected, pressing and releasing the Alt key and then pressing another key works as the Windows keyboard shortcut. Pressing and holding the Alt key together with another key works as a keyboard shortcut for certain Avid functions. This is the default option. For more information on Windows shortcuts, see the Windows documentation. For more information on Avid shortcuts, select Help > Shortcuts. Automatic Num Lock Activation (Windows only) When this option is selected, your application automatically sets the numeric keypad in numeric mode the next time you start the application. When this option is deselected, the Num Lock key on the keyboard controls the mode of the numeric keypad. With either selection, you can use the Num Lock key to change the mode of the numeric keypad. Automatically Launch Last Project at Startup When this option is selected, your application opens your last project when it starts. Use Classic Character Mapping When this option is selected, your application uses default text character mapping tables from older versions of Avid editing applications. These default
mappings differ from current character mappings. Using the classic mappings might correct some text display problems in the Title Tool — for example, the display of Greek text or of special characters. For more information, see “Controlling Character Mapping for Title Text” in the Help.
Interplay Folder, Interplay Server, and Interplay User Settings Interplay Folder, Interplay Server, and Interplay User Settings You need to configure your Avid editing application before you can interact with the asset manager. For more information, see the Avid Interplay Installation Guide. Interplay Folder Settings Option Description Interplay Root Folder for this Project Defines the default directory for your workgroup project (where the asset manager checks in media assets). Set Lets you navigate to a directory on the Interplay Server and set a new default Interplay Root Folder. Append project to directory path Automatically adds the name of your project to the directory path specified in the Interplay Root Folder text box. Verify directory path On login: A message box asks you to confirm the directory path after you log in to Interplay. Select “for new projects only” if you want this message box displayed only after you create a new project. If you select the option “force selection of directory path.” you will be prompted to select the directory path for the new project. You must click Set to select the directory path. On first checkin: The first time you check in from a bin, displays a message box that asks you to verify the folder into which the assets will be checked in. This message box is displayed once each time you work in a project. Interplay Server Settings Option Description Interplay Server Name Lets you enter the computer name of your Interplay Server. Interplay User Settings Option Description User Name Lets you enter a user name. This name must be a known workgroup user. Automatic Login at Project Selection
Interplay Folder, Interplay Server, and Interplay User Settings Logs you in to the asset manager automatically every time you open a project.
Keyboard Settings Option Description Login/Logout Connects to or disconnects from the asset manager. Keyboard Settings The following illustration displays the default keyboard settings. To view the name of a button in the Keyboard settings window, move the mouse pointer over the button. To get help for the button, right-click and select What’s This? For information on mapping buttons, see “Mapping User-Selectable Buttons” on page 104. When you open the Keyboard palette from the Settings list and select Map Foreign Keyboard, you can map user-selectable buttons to the keyboard. If the Windows operating system is set to French or German regional settings, and you click the center of the Enter key in the Keyboard palette, foreign keyboard mapping mode turns off. To return to foreign keyboard mapping mode, Select Standard, and then select Map Foreign Keyboard again. Link Settings Link Settings: Bins Tab Option Description Use active bin When this option is selected, your Avid editing application uses the currently active bin to store clips linked using AMA.
Link Settings Option Description Create a new bin When this option is selected, your Avid editing application creates a new bin to store linked clips and controls the bin name. This is the default option. • Default bin naming convention: uses the project name for the bin (bin name followed by a consecutive number). • Volume name: the name or label of the volume (for example D:). • Specify bin name: lets you enter a new bin name. Display imported headframe When this option is selected, your Avid editing application displays the device-defined headframe. Display editor headframe When this option is selected, your Avid editing application displays your Avid editing application’s headframe or frame icon in Frame view. Link Settings: Quality Tab Option Description Link Preference: Video This option allows you to select a quality resolution: Highest Quality or Most Compressed before linking your video media. Link Preference: Audio This option allows you to select a quality resolution: Highest Quality or Most Compressed before linking your audio media. Consolidate/Transcode Preference: Video This option allows you to consolidate/transcode your video media to the Highest Quality or Most Compressed resolution. Consolidate/Transcode Preference: Audio This option allows you to consolidate/transcode your audio media to the Highest Quality or Most Compressed resolution. Link Settings: Volume Mounting Tab Option Description Enable Legacy P2 import (disables linked P2) Enables the non-linked P2 workflow for importing media. Enable Legacy XDCAM import (disables linked XDCAM) Enables the non-linked XDCAM workflow for importing media. Automatically link to volumes With this option enabled volumes/disks are automatically mounted. With this option disabled, you can load media without the clips appearing in a bin.
Option Description When mounting previously mounted volumes, do not check for modifications to the volume. If you select this option, your Avid editing application automatically scans and links all clips from the third-party device and drive every time a device or drive is attached to your system. If you do not select this option, the system checks the modification date of the device or drive against the last time the clips were linked. If the date is the same, the clips come back online. If the date is different, the system links the clips again, and links any new clips added to the volume. The option is off by default. Link Settings: Link Options Tab Option Description Multichannel Audio Select this option if you want to assign audio tracks to specific channels in your linked media, up to a maximum of 16 audio channels for the clips in your bins. This allows you to specify which source channels are treated as mono or multichannel audio tracks in your project, rather than having to modify the clips in your bin after you link to the media. Click Edit to open the Multiple Mixes dialog box, which allows you to map audio tracks to channels. For more information, see “Linking with Multichannel Audio” on page 395. Audio Start-Time Option (for Broadcast Wav Sets the interpretation of audio start time for Broadcast Wave and iXML files. For details on using this option, see “iXML Metadata in Broadcast Wave and AIFF Files” on page 1534. Alpha Channel Controls how your Avid editing application handles the alpha channel in linked images. The following options are available • Invert on import (white = opaque): Select this option to reverse the black and white elements of the alpha channel if they differ from the matte key requirements of your Avid editing application. Avid applications use a white background, a black foreground, and a gray transparency blend between the two. • Do not invert (black = opaque): Select this option to import the image, using the existing alpha channel information. • Ignore: Select this option to import an image that contains alpha channel transparency information as one opaque graphic. The imported graphic appears as a single master clip in the bin. QuickTime Live Link Select this option if your editing workflow includes QuickTime movies where the number of tracks, the duration, or the edit rate, but not the file name have been changed in After Effects or Final Cut Pro. See “Using the QuickTime AMA Plug-In” on
page 432. Properties of New Clips
Option Description Reformattting option Set the default for all new clips that are created. For a description of the different options, see “Reformatting Options Reference” on page 580. Always use 16:9 aspect ratio for SD clips Forces all SD media to be set to a 16:9 aspect ratio. Link Settings: AIS MetadataTab Description Reel name for Labroll column based on: Select from where to read the Reel name. This information will appear in the Labroll bin column. If data exists in the Input Device field of the DPX file, this information will appear in the Camroll bin column after linking to the file. If no data exists in the Input Device field, the Camroll bin column will be empty. • Source file name - Enabling this setting gets the Reel Name from the source file name. If the source file name is only numeric characters, no data will appear in the Labroll bin column. • Source folder name - Enabling this setting gets the Reel Name from the folder name specified. When Source folder name is enabled, a pulldown menu becomes active. The pulldown menu is used to select a particular folder in the DPX folder directory structure. The directory range is one folder (that contains the DPX files) up to eight folders higher. Frame Count for DPX column: Select how you want Frame count to appear in the DPX bin column and Tracking Information. The frame count will appear as a 7 digit number in the DPX bin column. The DPX pre-fix is derived from the Labroll bin column. If no data exists in the Labroll column, then the DPX prefix will be empty. • Start frame count at 0 - Enabling this setting starts the frame count in the DPX column at 0000000 • Start frame count at 1 - Enabling this setting starts the frame count in the DPX column at 0000001 • Convert timecode to frames - Enabling this setting extracts timecode from the header and converts it to frames based on the current timebase • From the File name - Enabling this setting gets frame information from the file name
Marquee Title Settings Description Timecode for Start column: Select where to read the Timecode. This information will appear in the Start bin column. If no timecode can be extracted from either location, the column will populate with the default timecode. • Embedded in source file - Enabling this setting extracts the timecode from the Header file • From file name - Enabling this setting gets the timecode from the file name Marquee Title Settings Option Description Create New Title using Controls which Title tool your Avid editing application uses when you select Clip > New Title or Tools > Title Tool: • Marquee: Your Avid editing application always opens Marquee. • Title Tool: Your Avid editing application always opens the classic Title Tool. • Ask me: Your Avid editing application displays the New Title dialog box. You can then select either Marquee or the Title Tool. This is the default setting. Promote Title Tool titles to Marquee Controls whether your Avid editing application promotes classic Title Tool titles to Marquee when you open the title for editing from a bin or from within a sequence: • Yes: Your Avid editing application always promotes a Title Tool title to a Marquee title. For more information, see “Promoting Title Tool Titles to Marquee” in the Marquee Help. • No: Your Avid editing application never promotes a Title Tool title to a Marquee title. • Ask me: Your Avid editing application displays the Edit Title dialog box. You can then choose whether to promote the title to Marquee. This is the default setting. Backup Title on Promote When this option is selected, your Avid editing application creates a backup Title Tool version of any title that it promotes to Marquee. The backup copy is a fast-saved (unrendered) title with [TT] added to the name of the backup copy to differentiate it from the newly created Marquee version. Media Creation Settings
Marquee Title Settings For more information about options in the Media Creation Settings dialog box, see “Selecting Video Resolutions and Media Drives” on page 149.
Media Creation Settings n Media Creation Settings: Drive Filtering & Indexing Tab Option Description Filter Network Drives Based on Resolution Removes as a storage choice network drives that cannot support the selected resolution or cannot play back the selected resolution. Filter Out System Drive Removes as a storage choice the drive on which the operating system resides. Filter Out Launch Drive Removes as a storage choice the drive on which your Avid editing application resides. Auto-index local drives as they come online (using filtering rules) Enables automatic indexing of local drives by the Media Indexer, a background service that keeps track of the media files in storage locations that you identify. Auto-indexing uses filtering selections on the left side of the tab, so that if you select “Filter Out System Drive,” any media on that drive is not indexed. For more information about configuring the Media Indexer, see the Avid Interplay Software Installation Guide. Manual Storage Scan Enables immediate indexing of local drives by the Media Indexer. If the Auto-index option is deselected, you can click this button to index local drives and folders. You can then use the Interplay Service Configuration tool to remove specific drives or folders. On indexing failure Determines how your Avid editing application reports indexing failure messages. For information on using the Console, see “Using The Console Window” on page 107. Media Creation Settings: Common Options in Capture, Titles, Import, Mixdown & Transcode, Motion Effects, and Render Tabs Option Description Video Resolution Select a resolution. Apply to All Applies your chosen resolution to all the Media Creation dialog box tabs, and to any other place in your Avid editing application where you select a resolution. n The resolution options are not available in the Motion Effects tab. Your Avid editing application always renders an effect at the highest resolution used in the effect source clips. Video/Audio Drive Defines the drives your Avid editing application uses to store video and audio media. In the Titles tab, only a Video Drive option is available. Apply to All Applies your chosen video and audio drives to all the Media Creation dialog box tabs, and to any other place in your Avid editing application where you select drives.
Media Creation Settings: Additional Options for Capture Tab Option Description Slot Displays slot number 1-4. Data Type Defines the type of ancillary data you want to assign to a particular slot. DID and SSID Displays the DID and SDID number values for the ancillary data packets that your Avid editing application captures and preserves by default. n The DID and SDID information captured with the data clip displays in the bin. Enable Lets the system capture the ancillary data selected to the slot on the system. Ancillary Data Mode Setting (Avid Nitris DX or Avid Mojo DX) This option varies depending on your Avid input/output hardware: (Avid Nitris DX or Avid Mojo DX only) Choose between SMPTE 436M or Legacy. To capture to a data track, select SMPTE 436M or to capture ancillary data to a DNxHD video file, select Legacy Media Creation Settings: Additional Options for Render Tab Option Description Same as Source When this option is selected, your Avid editing application renders the effect using the resolution of the clip or clips used to create the effect. If an effect is created from clips that use different resolutions, your Avid editing application uses the highest quality resolution. Effects Processing Controls the resolution (bit depth) used for effects processing. The following options are available: • 8-bit: Select this option when rendering time is more important than image quality. Also use this option if you are mainly working with effects that don’t support 16- bit precision. • 16-bit: Select this option for the best overall image quality. Use this option if you use 10-bit resolutions, use many levels of nested effects, or want the best color fidelity for rendered effects. • Automatic: Select this option if you want the media source to determine the effects resolution. This is the default. Save after Render When this option is selected, your Avid editing application saves open bins after you perform a render operation.
Mouse Settings n Option Description Linked Source Scaling/Quality Sets the playback quality for AMA plug-ins that support adjustable playback quality (e.g. RED, Sony HDCAM-SR, Sony RAW, AVCHD, and ARRI RAW). You can choose Full, Half (Best Quality), Half (Good Quality), Quarter, Eighth, Sixteenth. The default setting is Full. Media Creation Settings: Media Type Tab Option Description Video File Format Defines the video file format, either Open Media Format (OMF) or Material Exchange Format (MXF). This option applies to video format menus in the Capture tool, the Consolidate/Transcode dialog box, and other places in your Avid editing application. For more information, see “File Format Specifications” on page 1522. If your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected by default. Mouse Settings Option Description Scroll Wheel Behavior — Vertical Scroll Speed Controls the speed of scrolling with the mouse wheel within your Avid editing application — Normal, Moderate, or Fast. For more information, see “Using the Mouse Scroll Wheel for Navigating” on page 36. Mouse Button Assignments Assigns functions to three additional mouse buttons. Drag buttons from the Command Palette. For more information, see “Customizing Mouse Functions” on page 36. NRCS Settings (Media Composer | NewsCutter Option) For more information about options in the NRCS Settings dialog box, see “Configuring the NRCS Tool” on page 1141.
NRCS Settings (Media Composer | NewsCutter Option) NRCS Settings: NRCS Tab Option Description Server Defines the name of the server. Server menu Defines the type of NRCS server (iNEWS or ENPS) you want to connect to. The second tab in the NRCS Settings dialog box changes to match the selection. Default User Name (iNEWS only) Defines a default iNEWS user name. Logout when NRCS Tool is closed When this option is selected, your Avid editing application terminates the connection to the server every time you close the NRCS tool. Automatic update from server (iNEWS only) When this option is selected, iNEWS updates the information in the NRCS tool periodically. Enter a time interval in the Update interval text box to set the time interval between updates. The default interval is 1 minute. NRCS Settings: iNEWS Tab (iNEWS Only) The following table describes the options in the iNEWS tab. Option Description Show Message-of-the-Day When this option is selected, a Message-of-the-Day (MOTD) displays. Select either Every Connection (to see the message on every connection) or First Connection (to see the message only on the first connection of the day). Message-of-the-Day Directory Defines the name of the MOTD directory if it is not the default directory on the server (SYSTEM.MESSAGE). Mail Directory Defines the name of the folder where you want your mail saved. “Create Sequence” Data When you use the Build Sequence button a to create a sequence from a story, the new sequence uses the specified Duration (tape-time), Name (title), and TapeID (video-id) from the iNEWS story fields setting. If you want to use another iNEWS field for the metadata, type the name of the story field in the appropriate text box. Type the default time you want for new sequences in the Default Value text box. If the heading in the Story Form is empty or is zero, you can set a default value for the duration of the new sequence.
n Option Description Browser Fields When this option is selected, the Labels text boxes list the column headings available for display in the Directory panel of the NRCS tool. If you want to change the default label, type a new name in the appropriate text box. The Page (page-number) and Name (title) fields are always available and do not need to be set in this dialog box. The Field text boxes display the default fields from the iNEWS server. If you want to change these fields, type the name of an iNEWS story field in the appropriate text box. For more information, see “Starting the NRCS Tool” on page 1146. NRCS Settings: ENPS Tab (ENPS Only) Option Description MOS Identification Defines how your Media Object Server (MOS) identification is determined. • Use Computer Name: Select this option if you want your Avid editing system to be identified in the ENPS by the computer name. The computer name appears in the MOS ID text box • Other: Select this option and type a specific MOS ID in the MOS ID text box if you want your Avid editing system to be identified in the ENPS by a specific name. Type the Network Computer System identification (NCS ID) of the server you are using in the NCS ID text box. List Format The following options are available: • Show running order start date/time: Select this option if you want running order names to be listed, including the Editorial Start date and time. • Show story page number: Select this option if you want story names to be listed, including the page number. Sequence Creation Defines the default duration for sequences created with the Build Sequence button. Type a value in the Default Duration text box. MOS Objects When Show MOS ID is selected, the MOS identification displays below MOS object cues in the Production panel. NRCS Settings: Post to Web Tab Option Description Include Closed Caption (green) text Converts all text marked as Closed Caption to plain text.
Passthrough Mix Tool n Option Description Add paragraph tags (<p>) at the start of new lines Converts line breaks into paragraph breaks, so each line is displayed as a separate paragraph on the Web page. Web formatting ignores line breaks that are the result of the text wrapping within the Story text box. It converts only those line breaks created when the user enters a new line. Convert story to lowercase The following options are available: • Always: Converts all stories to lowercase characters, even if the source script contains both uppercase and lowercase text. • Only if story is all UPPERCASE: Converts only those stories with no lowercase characters. Passthrough Mix Tool Option Description Passthrough Mix Tool See “Using the Passthrough Mix Tool” on page 188. PortServer Settings Option Description Auto-connect to LANshare at Launch Your Avid editing application recognizes LANshare workspaces when it starts. Connect/Disconnect Starts or terminates the connection. Production Services Settings (Windows Only) The Production Services Settings dialog box lets you connect to a Interplay Production Services Engine. You use the services provided by the Production Services Engine in an Interplay Production environment. For more information, see the Avid Interplay Production Services Setup and User’s Guide.
Remote Play and Capture Settings n Option Description Production Services are available Ensures that you are connected to the Production Services Engine (Broker). Deselect this option to disconnect without losing your setting information. Hostname Defines the Engine name as it appears in the Production Services Engine application window. This should be the computer name, for example: prod-svcs-eng Consult your Interplay Production administrator for this information. Username Defines your Production Services username. Password Defines your Production Services account password. Shared Storage Defines the directory where you intend to save QuickTime reference movies that the service creates. You can click the Browse button to locate the directory. Notify me of job completion by email When this option is selected, you are notified by email when jobs are completed. Email address If you select “Notify me of job completion by email,” type your e-mail address. You can also check the Production Services and Transfer Status tool Jobs page to see the status of your job. Remote Play and Capture Settings Remote Play and Capture lets you use your Avid editing application like a videotape recorder (VTR) or edit controller, giving you access to some of the features of an external editing suite through your Avid editing application interface. Option Description Mode When Remote Capture is selected, your Avid editing application captures the media being sent to it immediately without setting up parameters like IN and OUT points. Select this option when you want to perform a quick capture. This mode is also known as crash record. Remote Capture supports record and stop with the controller. When Remote Play is selected, you can control sequences via an edit controller. Remote Play supports play, cue, and stop. When Remote Punch-In is selected, you can perform a quick audio punch-in. Remote Punch-In allows your Avid editing application to record the audio being sent to it immediately without setting up all parameters, such as OUT points. Remote Punch-In supports play, cue, record, and stop with an external controller.
Render Settings Option Description Device Code Defines the device code that identifies the VTR to emulate. The edit controller adjusts to this choice. The default value is a Sony PVW-2800, which performs all the common play and capture functions. You do not need to change this option unless your edit controller does not recognize the VTR or you want to emulate a specific VTR. Runup (frames) This option is only available with Remote Play. Defines the time (measured in frames) it takes the deck to start playing from a cued position. The default value is 1 frame. When the runup times of two video devices are similar, it is easier for the edit controller to synchronize the devices during preroll. If your Avid VTR does not sync up as often as you want, try adjusting this value so the two devices attain full speed at nearly the same time. Inhibit preloading when cueing by single frame. This option is only available with Remote Play and Remote Punch-In. Avid recommends that you do not inhibit preloading under normal circumstances. Preloading occurs by default in your Avid editing application. It improves playback performance by preparing the digital media for playback each time you cue a new frame. When this option is selected, your Avid editing application matches the behavior of a tape deck when you step through footage frame by frame. Avid recommends this option only for projects that require quick cueing of one frame after another, for example, when you are using your Avid editing application to present a sequence of still images as in a slide presentation. Render Settings Option Description Image Interpolation This option allows you to choose filtering quality vs. speed. • Advanced (Polyphase) is the highest quality option, but is the most demanding. Images will appear sharpest with this option. • Standard (Bilinear) trades some quality for better performance. • Draft (Nearest Neighbor) is a low quality option that requires very little processing and is fastest.
Option Description Timewarps Render Using Determines the processing method when your Avid editing application render or rerenders Timewarp effects. The Original Preference, Duplicated Field, Both Fields, Interpolated Field, and VTR-Style options are the same as those for Motion Effects Render Using (see the preceding descriptions). The Blended Interpolated and Blended VTR options are also available. These options add pixel blending to the Interpolated Field or VTR-Style techniques. Your Avid editing application blends, or averages, pixels from the original frames or fields to create intermediate frames or fields. For example, at 25% speed, your Avid editing application creates three blended images between outgoing Image A and incoming Image B. The first blended image weights the pixels from Image A at 75% and Image B at 25%, the second weights the pixels from Image A at 50% and Image B at 50%, and the third weights the pixels from Image A at 25% and Image B at 75%. Objects in motion from Image A to Image B appear to fade out of Image A and fade in to Image B. Timewarp effects that render using Blended Interpolated or Blended VTR render less quickly than Interpolated Field or VTR-Style. Motion Effects Render Using Determines the processing method when your Avid editing application renders existing motion effects. The following options are available: • Original Preference: Effects render as whatever type they were when originally created. • Duplicated Field: Displays a single field in the effect. For two-field media, this drops one field of the image, resulting in a lower quality image. For single-field media, this is usually the best choice because of its speed (the other options do not improve effect quality for single-field media). With JFIF resolutions, this option causes the effect to render in the shortest amount of time. With DV and MPEG resolutions, the effect renders approximately as quickly as it would if you select Both Fields as the rendering option. You can use this option to remove unwanted field motion in interlaced material brought into a progressive project. • Both Fields: Displays both fields in the effect. For example, the first two frames of a half-speed (50%) slow-motion effect repeat the original Frame 1 (both fields) twice. This option is good for shots without inter-field motion, NTSC or PAL film-to-tape transfers, and still shots. With footage that includes inter-field motion, this option might result in minor shifting or bumping of the image because it disturbs the original order of fields: a Field 1 appears both before and after the corresponding Field 2. The effect renders relatively quickly. For best results with this option, use evenly divisible frame rates.
n Option Description • Interpolated Field: Creates a second field for the effect by combining scan line pairs from the first field in the original media. This option calculates the motion effect at the field level rather than the frame level. Because your Avid editing application considers all fields and does not disturb the original order of fields, the smoothest effect results. Effects that render using this option take the longest amount of time to render. • VTR-Style: Creates a second field for the effect by shifting selected video fields of the original media by a full scan line. High-quality professional video decks use a similar technique when playing footage at less than normal speed. This option also creates the motion effect at the field level rather than the frame level. However, because pixels are not filtered, the final image is sharper than that created by the Interpolated Field option. The image might jitter slightly at certain speeds. Effects that render using this option take longer to render than effects created using either Duplicated Field or Both Fields, and a similar time to those created using Interpolated Field. Render Completion Sound Defines a sound that your Avid editing application plays once the rendering process is complete. This is useful when you are rendering multiple effects. The following options are available: • None: Disables the rendering completion sound. This is the default. • System Beep: Sets the rendering completion sound to match the sound set for your operating system. • Render Sound: Sets the rendering completion sound to a customized sound. On Macintosh systems, several customized sound choices are available. Use frame blending in Motion Adapters. When clips of a different frame rate than the sequence are dropped on the timeline, a motion adapter is automatically applied. Motion Adapter effects allow mixed rate clips to play at the project’s frame rate and to have the correct field motion. The frame blending setting will give you some flexibility with mixed-rate media by offering a choice between temporal smoothness and spatial smoothness. It controls whether or not any new motion adapters use the Blended Interpolated render option. When this option is selected, the Blended Interpolated mode is used. The behavior is the same as previous versions of Media Composer, and uses Blended Interpolated for most motion adapters. When it is not selected, the Interpolated Field mode is used for interlaced clips, and Both Fields mode is used for progressive clips. Changing this setting does not have any effect on existing motion adapters. If you want to apply this to an existing motion adapter, you will need to reload the cross-rate source clips into the source viewer after changing the setting.
S3D Settings S3D Settings Option Description Unit System Choose between Imperial or Metric units of measure. Viewing Distance Enter the average distance between the audience and the screen. Screen Width Enter the width of the screen for which the final output will be delivered. Raster Resolution Enter the resolution at which the final output will be projected. Eye Separation Set the average intra-ocular distance between human eyes (the default is 6.35 cm). Depth Limit Near Enter the depth budget available in front of the screen. This is always a negative value. Depth Limit Far Enter the depth budget available behind the screen. This is always a positive value. Parallax Near This distance is automatically calculated. If you set the drop-down button to manual, you may override the calculated setting. Parallax Far This distance is automatically calculated. If you set the drop-down button to manual, you may override the calculated setting. Safe Colors Settings Option Description Composite Defines safe color values for the composite video signal. Luminance Defines safe color values based on brightness. RGB Gamut Defines safe color values based on color range.
Script Settings n Option Description Units buttons Define the units of measurement for the three types of safe color values. The following options are available for the Luminance and RGB Gamut menus: • 8 Bit: Measures the adjustment on a scale from 0 to 255. The RGB value for a color in the Color Correction tool is not identical to the RGB value for the same color in a graphics application such as Adobe Photoshop. For example, the 8-bit RGB values for reference black and reference white are 16 and 235 respectively. • %: Measures the adjustment on a percentage scale from 0 to 100. • IRE: Measures the adjustment in IRE units. • mVolts: Measures the adjustment in millivolts. For the Composite Units menu, only the IRE and the mVolts (millivolts) options are available. Actions buttons Define how your Avid editing application implements the safe color settings. The top menu controls both the Composite and the Luminance limit types. The bottom menu controls the RGB Gamut limit type. The following options are available: • Ignore: Your Avid editing application does not limit based on these settings. This is the default setting. • Warn: Your Avid editing application provides warnings when an image exceeds these limits. For more information on safe color warnings, see “Understanding Safe Color Warnings” in the Help. Script Settings Option Description Font Defines the font for imported scripts. Size Defines the font size. The default is 12 points. Left Margin (pixels) Defines the left margin size. The default is 40 pixels. Take Coloring Defines the color that your Avid editing application applies to takes. Show Frames When this option is selected, your Avid editing application shows frames in take slates. Show All Takes When this option is selected, your Avid editing application shows all takes in each slate. When this option is deselected, your Avid editing application displays only one take per slate.
Sound Card Configuration Settings (Windows Only) Option Description Interpolate Position When this option is selected, you can click in a take line within a script, and the image in the Source monitor updates to the approximate position in the take where you have clicked. If you deselect this option, the Source monitor does not respond when you click in a take line. Hold Slates Onscreen When this option is selected, slates stay on the screen when you scroll through a script in the Script window. Each slate remains on the screen as long as the take lines to which it is linked remain on the screen. Sound Card Configuration Settings (Windows Only) Sound Card Configuration Settings are only available in software-only configurations. Options Description Record/Input list Lists the input sources available with the audio hardware installed on your system. Playback/Output list Maps input sources to the output sources available with the audio hardware installed on your system. The options available on your system determine which sources are listed as sub-options. Select <No Match> if you do not want an input source mapped to an output source. Override Source menu Lets you override settings made by your Avid editing application and accept the default settings of the Windows Master Volume control. The options available on your system determine which sources are listed as sub-options. Use Windows Mixer When this option is selected, all options in the dialog box are deselected, and your Avid editing application allows the Windows mixer to map input sources to output sources. Audio device name Lists the sound card installed on your system. Timeline Settings Timeline Settings: Display Tab Option Description
Sound Card Configuration Settings (Windows Only) Show Toolbar When this option is selected, the Timeline top toolbar displays.
Timeline Settings Option Description Show Marked Region When this option is selected, the region from the IN point to the OUT point is highlighted in the Timeline. This option modifies the behavior of the Replace Edit function. When this option is selected, Replace Edit obeys IN and OUT marks in the Timeline. When this option is deselected, Replace Edit ignores IN and OUT marks in the Timeline. For more information, see “Performing a Replace Edit” on page 567. Show Marked Waveforms When this option is selected, your Avid editing application draws waveforms between an IN point and an OUT point instead of over the entire composition. Highlight Suggested Render Areas After Playback When this option is selected, thin colored indicator lines display in the Timecode track of the Timeline. These lines provide information about the real-time effects in your sequence. For more information, see “Real-Time Playback of Video Effects” in the Help. Show Position Bar When this option is selected, the Timeline shows the blue position bar. Show Effect Contents When this option is selected, your Avid editing application displays effect information in the Timeline. Double-Click to Show Nesting When this option is selected, your Avid editing application lets you double-click segments in the Timeline to display the nested effects. Show Four-Frame Display When this option is selected, your Avid editing application shows the head and tail of incoming or outgoing frames of video when you drag a segment. Use Fast Scrub When this option is selected, your Avid editing application responds faster and more smoothly when you drag the position indicator through the Timeline (scrub). However, markers such as the start-of-clip and end-of-clip marks, sawtooth marks for IN and OUT points, and markers do not display, and some effects do not display completely in HD projects. When this option is deselected, all markers and HD effects display. This is the default option. Movement During Play Select one option to control the movement of the Timeline while you play a sequence: • Page — moves the Timeline section by section as the position indicator reaches the end of the visible Timeline. • Scroll — moves the Timeline while keeping the position indicator stationary. • None — keeps the Timeline stationary as the position indicator moves, even after the indicator goes beyond the end of the visible Timeline.
Timeline Settings: Edit Tab Option Description Start Filler Duration Defines a default duration for the filler added at the start of a sequence. For more information, see “Adding Filler” on page 561. Find Flash Frames Shorter Than n frames Defines the maximum number of flash frames you want your Avid editing application to detect. The default is 10, which tells your Avid editing application to detect clips with 9 frames or fewer. For more information, see “Finding Black Holes and Flash Frames” on page 704. Auto-Patching When this option is selected, your Avid editing application automatically patches the enabled source tracks to the tracks enabled in the Timeline sequence. Auto-Monitoring When this option is selected, your Avid editing application monitors the track you patch. This option is selected by default. Segment Drag Sync Locks When this option is selected and you click the Sync Lock buttons in the Track Selector panel, your Avid editing application maintains audio and video synchronization when you drag clips in Segment mode. Your Avid editing application adds filler where necessary. For more information, see “Maintaining Sync with Segment Edits” on page 671. Default Snap-To Edit When this option is selected, clips snap to an existing transition endpoint when you drag them from a bin to the Timeline. When this option is deselected, clips move freely to any position on the track. Default Sync Locks On Enables sync locks on all video and audio tracks as the default Timeline setting. Select Filler with Segment Tools This option allows you to choose whether or not you want filler to be selected when using the Segment Tools. Clicking the TC Track or ruler Disables Smart Tools Allows you to disable all edit tools in the Smart tool on the Timeline palette by clicking either the Timeline ruler or the Timecode track. Only One Segment Tool Can Be Enabled At A Time Prevents both segment tools from being enabled at once. Default Segment Tool Specifies which segment tool — Segment Insert or Segment Overwrite — is enabled by default when you select segments for segment editing with no segment tools active on the Timeline palette. New Sequences Defines the number of video and audio tracks that display in the Timeline for new sequences. You can select a maximum of 24 video tracks and 24 audio tracks.
Transfer Settings Option Description Lassoing transitions enters: Trim Mode: Select this option if you want the editing application to enter Trim Mode when lassoing transitions. Segment Mode: Select this option if you want the editing application to enter Segment Mode when lassoing transitions. This works only when the Keyframe Selection Tool is deselected. Transfer Settings The Transfer Settings dialog box appears only if your system is part of an Avid Interplay environment and you have configured Avid Interplay Transfer. For more information, see the Avid Interplay Transfer Setup and User’s Guide. Settings Tab Option Description Standalone/Incoming Requests • Refuse all Requests — Select this option if you do not want to receive files from another workgroup. • User Dialog To Accept/Refuse — Select this option if you want accept files from another workgroup, and then select one of the following dialog box options: Accept/Refuse Dialog Behavior: • Wait for User Action (No Timeout) — You receive a message request for a transfer. You must click OK for the transfer to occur. • Accept after Timeout — The system automatically accepts the file after the timeout. • Refuse after Timeout — The system does not accept the file after the timeout. You can specify the timeout period by typing the number of seconds in the Timeout (seconds) text box. Status Window Update Frequency (seconds): [n] — Type the number of seconds that you want the status window to update after in the text box. Bring up window if error occurs — Select this option if you want errors to display.
n Option Description Send to Playback • Highlight mixed-resolution items — This option allows you to identify any mixed-resolution sequences before you try to send them to playback. Output Audio Mix • Direct channel output — Select this option if you do not want to perform a mixdown on audio tracks before sending them to playback. • Stereo Output — Select this option to mix all the tracks to a stereo pair, using pan controls to split the tracks. • Multiple Mixes — Select this option if you want to assign audio tracks to specific output channels for the send to playback operation. Click Edit to open the Multiple Mixes dialog box, which allows you to map audio tracks to output channels. For more information, see “Mapping Audio Tracks to Output Channels” on page 1298. Transcode • Transcode before sending to playback — This option allows for the transcoding of clips before performing a send to playback operation. • Minimum resolution warning threshold — allows you to specify the lowest resolution allowed to transcode before a warning message is displayed. The warning is on by default. If you do not want the warning to appear, deselect this option. Tape ID character limit Allows you to specify a Tape ID character limit during Send to Playback. Certain playback systems truncate Tape ID names that are too long. This option allows you to set the Tape ID name length. TMClient.ini Tab Option Description My Workgroup • Server — In a workgroup environment, type the Interplay Transfer server computer name. (This can be any name you give your workgroup.) In a standalone environment, type the computer name of the local system (this computer). • Workgroup — In a workgroup environment, type the name of your workgroup. In a standalone environment, type the name you want to see in the Transfer menu. If you want to edit the names of any of the Interplay Transfer servers or workstations listed in the Other Workgroups area, select the
name, click Edit, and make the changes.
Trim Settings Option Description Other Workgroups Click Add to open the Add Workgroup to List dialog box. • In a workgroup environment, type the name of the other Interplay Transfer server in the Server text box, and type the name of the your workgroup in the Workgroup text box. • In a standalone environment, in the Server text box, type the computer name of other workstation, and in the Workgroup text box, type the name you want to see in the Transfer menu. Trim Settings Trim Settings: Play Loop Tab Option Description Preroll Defines a preroll value for a playback loop. Postroll Defines a postroll value for a playback loop. Intermission Defines a transition effect duration for a playback loop. Trim Settings: Features Tab Option Description Never use Small Trim mode When this option is selected, your Avid editing application enters Big Trim mode when you perform any operation that activates Trim mode. Big Trim mode replaces the Source and Record monitors with displays of outgoing and incoming frames. “Go to Transition” uses Small Trim mode When this option is selected, your Avid editing application enters Small Trim mode only when you click the Go to Previous or Go to Next button. Always use Small Trim mode When this option is selected, your Avid editing application enters Small Trim mode when you perform any operation that activates Trim mode. Small Trim mode leaves the Source monitor display, Information Row displays, user tool palettes, and some Monitor menu functions intact. This option lets you continue to perform basic editing functions. Auto focus when entering Trim mode When this option is selected, your Avid editing application enlarges the Timeline at the transition selected for trimming if you enter trim mode with no trim editing tools selected on the Timeline palette.
Video Display Settings Option Description Render On-the-Fly When this option is selected, your Avid editing application displays the results of effects as soon as you create them. This might slow down the editing of the sequence. Dual Image Play When this option is selected, your Avid editing application enables dual-image play (dual-roller trim) while trimming. Outgoing and incoming frames display in real time while you trim your edit (adding or removing the same number of frames on both sides of a transition). J-K-L Trim When the J-K-L Trim option is selected, you can use the J-K-L keys in Trim mode. For more information, see “Trimming with the J-K-L Keys” on page 723. Video Display Settings Option Description DV Output Setting The following options are available: • Output to DV Device: Select this option if you have connected a DV device to a software-only system. • Format: This option is available only if you have Output to DV Device selected and a device connected. Select the compressed format to send to the DV device. • Realtime Encoding: This option is available only if you are in an SD project with Output to DV Device selected and a device connected. Lets you enable or disable real-time effects for better performance. For more information, see “Playing Back to a DV Device” on page 515. Desktop Play Delay Defines a frame offset in the Composer monitor so that the media on the desktop and the media in the DV device play simultaneously. For more information, see “Adjusting the Play Delay Offset” on page 502. Open GL® Hardware Preview DVE effects with: Defines the Open GL processing method. Select either the Open GL board for your video display, or Software OpenGL if you do not have an OpenGL video board. For more information, see “Options for Controlling Real-Time Effects Playback” in the Help. Enable Confidence View (also called passthrough) When this option is selected, you can view incoming media in the Record monitor while you are capturing. Deselect this option for better performance.
Video Input Tool Settings Option Description High-Quality Scaling for Real-Time Decode When this option is selected, image quality is improved during playback of mixed-format sequences where material requires resizing. This option is selected by default, and only affects playback with the Full Quality or the Full Quality 10-bit video quality setting. For more information, see “Setting the Video Quality for Playback” on page 518. This option improves image quality for SD sequences that contain HD material, or for sequences that mix HD sizes (for example, 720p with 1080p). Because this option affects playback performance, you might want to deselect it if you are working with complex sequences. In particular, you might notice that a sequence with many video streams that played back successfully in previous releases of Avid editing applications does not play back smoothly. (This option functions differently in earlier releases that include it.) You have two alternatives: • If you do not need to view your sequence at full resolution, you can select either Draft Quality or Best Performance in the Video Quality menu. These quality settings do not use the High-Quality Scaling for Real-Time Decode option. • If you need to view your sequence at full resolution, you can deselect this option. Maximum Real Time Streams Defines the number of video streams your Avid editing application uses during playback. For more information, see “Options for Controlling Real-Time Effects Playback” in the Help. Video Input Tool Settings For information on how to use the Video Input Tool settings, see “Preparing to Capture Video” on page 194. Option Description Input menu Defines the video input for SD projects: Composite, Component, S-Video, or SDI. For HD projects, the menu displays HD-SDI. For SD or HD projects, if you are capturing DV media through a 1394 port on your system, the menu displays Host-1394. For more information, see “Capturing Directly from a DV Device” on page 216. Waveform Monitor and Vectorscope Monitor buttons
Video Input Tool Settings n Opens or hides the Waveform monitor and the Vectorscope monitor. Your Avid editing application supports the SMPTE/EBU component standard for 625 timing and Betacam component levels for 525 timing. Your Avid editing application does not support the MII component video standard. Sliders Let you change the value for each setting.
Video Output Tool Settings Option Description Preset buttons These buttons are highlighted when the factory preset levels are displayed. SignalLock Lets you switch between the following: • Professional: preset sync using a wider bandwidth for non-TBC sources. • Consumer: automatic sync using time-base correctors (TBC) internal to the video source Settings menu Lets you save the settings for an individual tape each time you calibrate bars. 100% Bars button Select this option when the source tape has color bars with 100% (versus 75%) chrominance levels. Video Output Tool Settings Specific options apply to different projects, resolutions, and Avid input/output hardware. You might not see all of the following options in your Avid editing application. The Video Output tool is not available in software-only versions of Avid editing applications. Video Output Tool Settings: Options Tab Option Description Sync Lock Locks your output connection to the reference or an internal signal on the Avid input/output hardware. Your Avid editing application detects the type of Avid input/output hardware you have and displays the appropriate options from the following: • Internal • Reference • REF 1 • REF 2 • TriLevel (on some models, your Avid editing application detects TriLevel Sync automatically so it does not appear as an option) • Loop through HDMI Color Space Defines the color standard (either YCbCr or RGB) to use for your HDMI (High-Definition Multimedia Interface) output. You must have HDMI-compatible Avid input/output hardware attached to your system. If you are working in the YUV color space, the RGB option appears as Convert to RGB. If you are working in the RGB color space, crossconvert is not
Video Output Tool Settings supported
c Video Output Tool Settings Option (Continued) Description HDMI Format • SDInterlaced • SDProgressive • HD Crossconvert Defines a format to output an HD format from an HD sequence with a compatible frame rate. The options are specific formats (choices depend on the format of the sequence) or OFF. Downconvert Defines how downconverted SD video is resized. The options are Anamorphic, Letterbox, Center Cut, or OFF. Component Format VBI (DV resolutions unsupported) Controls whether your Avid editing application preserves or blanks 5 lines above each field in NTSC and 8 lines above each field for PAL when you display a sequence or perform a digital cut. These lines store encoded information such as closed captioning, edgecodes or key numbers for film projects, or various interactive or enhanced TV codes. • Blank: Your Avid editing application blanks the VBI (vertical blanking interval) information and lets you turn off its display. Your Avid editing application fills the vertical blanking interval with video black (RGB: 16, 16, 16). This is the default option. • Preserve: Your Avid editing application preserves the VBI information for a digital cut (does not change the output signal). If your facility uses VBI information, you add the VBI information to the video before you capture the footage. Your Avid editing application automatically captures VBI information when you capture footage. You cannot preserve VBI information for DV or HD resolutions. You can only preserve VBI information for JFIF, uncompressed, and MPEG IMX resolutions. You should only preserve vertical blanking information if you have a specific need for it. For more information see “Vertical Blanking Information” on page 1097. Your Avid editing application saves the VBI value from session to session. You can change the value at any time before you perform a digital cut. Test Patterns Lets you choose a test pattern for calibrating during output. S3D View Set the display or output mode for your stereoscopic 3D sequence. Follow Project Outputs at the project format settings.
Video Output Tool Settings Mix Outputs a 50/50 blend of both the left and right eye images.
Option (Continued) Description Difference Outputs a blend of both left and right eyes, and highlights the difference between the two. Embossed areas show the differences, while gray pixels represent no differences. Frame Compatible Outputs both the left and right eye images as dictated by the project settings (side/side or over/under). Full Frame Outputs both the left and right eye at full resolution. Mono Outputs only one of the stereoscopic images. Left Outputs only the left eye image. Right Outputs only the right eye image. Leading eye Outputs only the image set as the leading eye on the stereoscopic clip. Mono-Anaglyph Outputs the image in grayscale with color highlights only where there are differences in the left and right eye. The pixels in each eye image can be mapped to the following color options: Mono Red-Cyan Uses red for the left eye and cyan for the right. Mono Green-Magenta Uses green for the left eye and magenta for the right. Anaglyph Outputs the image with the selected color highlights only where there are differences in the left and right eye. The pixels in each eye image can be mapped to any of the following color options: Red-Cyan Uses red for the left eye and cyan for the right. Green-Magenta Uses green for the left eye and magenta for the right. Amber-Blue Uses amber for the left eye and blue for the right. Checkerboard When this option is selected, your Avid editing application outputs the left and the right images simultaneously for stereoscopic viewing. The term “checkerboard” refers to the way in which blocks of the left and right images are displayed for stereoscopic viewing. You can set the block size accordingly. Compare Outputs a comparison between the left and right eye images using a diagonal split screen. You can set the comparison mode to 25, 50, or 75%. Follow S/R Outputs at the settings in the source/record monitors.
S3D Overlay Outputs with disparity guides over the image. Off Does not display any disparity guides.
Option (Continued) Description The following options display disparity guides on the viewer so that you can see the depth budget limits when adjusting the separation between your stereo 3D images. The guides for Parallax are based on the project’s S3D settings (set from the Project window, Settings tab). Parallax Near Displays green guides that show the limits for objects that will appear in front of the screen plane. Parallax Far Displays blue guides that show the limits for objects that will appear behind the screen plane. Parallax Near/Far Displays both guides (green and blue) that show the limits for objects that will appear in front and behind the screen plane. Settings menu Lets you save the settings for an individual tape each time you calibrate bars. Video Output Tool Settings: SD Cal Tab Option Description Output menu Lets you select either Component, Composite, S Video. On some systems, all outputs on the input/output hardware are active. Select an analog signal from the Output menu to calibrate for output. For more information, see “Calibrating for Video Output” on page 1037. H Phase Lets you adjust the horizontal blanking interval used to synchronize the timing of two or more video signals. Available on some systems for the S Video, Component, or Composite output. Hue Lets you adjust an attribution of color perception based on varying proportions of red, green, and blue in the video signal (also known as color phase). Available for S Video or Composite output. Sat Lets you adjust saturation, a measurement of chrominance or the intensity of color in the video signal. Available for S Video or Composite output. SC Phase Lets you adjust the subcarrier phase (the color-burst portion of a signal used to synchronize the timing of two or more video signals). Available for S Video or Composite output. Setup Lets you set the relative lightness and darkness of images. Available for S Video, Component, or Composite output. Gain Lets you adjust the variation of the lightest or brightest in comparison to
the darkest portions of the image. Available for S Video or Composite output.
Option (Continued) Description Y Gain, RY Gain, BY Gain, Pr Gain, Pb Gain Available for Component output only in some Avid input/output hardware configurations. • Y Gain: Lets you adjust Y Gain, a measurement of luma (Y) in the video signal that is the whitest point in the visible picture. Use color bars to set the white level. • RY Gain: Lets you adjust the red (R) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard. The signal consists of the following base equation for red (R), green (G), and blue (B) components: R–Y = –0.587G – 0.114B + 0.701R. • BY Gain: Lets you adjust the blue (B) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard. The signal consists of the following base equation for red (R), green (G), and blue (B) components: B–Y= (– 0.587G + 0.886B – 0.299R) * gain value. • Pr Gain: Lets you adjust the gain of the Pr color-difference signal (a scaled version of the RY signal) of an analog component system. • Pb Gain: Lets you adjust the gain of the Pb color-difference signal (a scaled version of the BY signal) of an analog component system. System Phase In some Avid input/output hardware configurations, lets you modulate the timing of the output signal and a reference signal. Available for S Video, Component, or Composite output. SubPixel HPhase Provides a fine adjustment of Horizontal phase. Available for S Video, Component, or Composite output. Settings menu Lets you save the settings for an individual tape each time you calibrate bars. Available for S Video, Component, or Composite output. Video Output Tool Settings: HD Cal Tab Option Description Output menu Lets you select an HD component output, either Convert to HD Component RGB or HD Component YPbPr. Gain Lets you adjust a measurement of luma (Y) in the video signal that is the whitest point in the visible picture. Use color bars to set the white level. Available on some systems for HD Component RGB or HD Component YPbPr output.
Video Satellite Settings Option (Continued) Description B Gain In some Avid input/output hardware configurations, lets you adjust the blue (B) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard. Available for HD Component RGB (on some systems) or HD Component YPbPr output. Pb Gain In some Avid input/output hardware configurations, lets you adjust the gain of the Pb color difference output, scaled from BY using the BT. 709 color space in HD component systems. Available for HD Component YPbPr output. R Gain In some Avid input/output hardware configurations, lets you adjust the red (R) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard. The signal consists of the following base equation for red (R), green (G), and blue (B) components: R–Y = –0.587G – 0.114B + 0.701R. Available for HD Component RGB or HD Component YPbPr output. Pr Gain In some Avid input/output hardware configurations, lets you adjust the gain of the Pr color-difference signal (a scaled version of the RY signal) of an analog component system. Available for component output only. H Phase Lets you adjust the horizontal blanking interval used to synchronize the timing of two or more video signals. Available on some systems for S Video, Component, or Composite output. System Phase Lets you modulate the timing of the output signal and a reference signal. Available for HD Component RGB or HD Component YPbPr output. Settings menu Lets you save the settings for an individual tape each time you calibrate bars. Video Satellite Settings For information on the use of these settings, see the Video Satellite Guide provided by Avid.
Workspace Linking Settings Workspace Linking Settings Option Description Link Timeline Mode Buttons to a Workspace: • Source/Record mode • Effect mode • Color Correction mode Lets you link the mode buttons in the Timeline palette to a workspace. Clicking a linked mode button (Source/Record mode, Effects mode, Color Correction mode) opens the linked workspace.

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Setting Avid Media Composer 8.4

  • 1. 33 Settings This chapter provides information on how to use settings. • Understanding Settings • Working with Settings • Options for Moving User Settings Files This chapter also provides reference information for all settings categories. • Summary of Settings • Link Settings • Audio Settings • Audio Multiple Mix Settings • Bin Settings • Capture Settings • Cloud Download Settings (Media Composer Cloud Clients Only) • Cloud Playback Settings (Media Composer Cloud Clients Only) • Cloud Upload Settings (Media Composer Cloud Clients Only) • Communication (Serial) Ports Tool Settings • Composer Settings • Controller Settings • Correction Settings • Deck Configuration Settings • Deck Preferences Settings • Dynamic Relink Settings • Effect Editor Settings • E-mail Settings • Export Settings • Film and 24P Settings
  • 2. 1201 20 • Full Screen Playback Settings • General Settings • Grid Settings • Import Settings • Interface Settings • Interplay Folder, Interplay Server, and Interplay User Settings • Keyboard Settings • Marquee Title Settings • Media Creation Settings • Mouse Settings • NRCS Settings (Media Composer | NewsCutter Option) • Passthrough Mix Tool • PortServer Settings • Production Services Settings (Windows Only) • Remote Play and Capture Settings • Render Settings • S3D Settings • Safe Colors Settings • Script Settings • Sound Card Configuration Settings (Windows Only) • Timeline Settings • Trim Settings • Transfer Settings • Video Display Settings • Video Input Tool Settings • Video Output Tool Settings • Video Satellite Settings • Workspace Linking Settings
  • 3. Understanding Settings 1211 21 Understanding Settings The Settings tab in the Project window contains a list of settings that control many aspects of your Avid editing application’s behavior. Using the Settings list, you can: • Open Settings dialog boxes to view and modify settings. • Switch between settings. • Manage settings in a variety of ways. For more information, see “Working with Settings” on page 1403. You can also switch between users and work with user profiles. For more information, see “Switching to Another Set of User Settings” on page 1406 and “Understanding User Profiles” on page 77. The following illustration shows the Settings tab in the Project window. Top to bottom: Settings tab, Settings Fast menu, Settings list (with setting names in the left column and setting types in the right column)
  • 4. n 1221 22 Understanding Settings Types of Settings There are three types of settings: • User settings are specific to a particular editor and reflect individual preferences for adjusting the user interface in your Avid editing application. User settings are stored in each user folder. • Project settings are directly related to individual projects. When you change a Project setting, it affects all editors working on the project. Project settings are stored in each project folder. For information about the location of the user and project folders, see “Avid Projects and Avid Users Folders” on page 46. • Site settings establish default parameters for all new users and projects on a particular system. They can apply to particular configurations of equipment installed at the site. They can also include other User or Project settings that you copy into the Site Settings window. Site settings are stored in a separate Settings folder: - (Windows) drive:UsersPublicPublic DocumentsAvid editing applicationSettings - (Macintosh) Macintosh HD/Applications/Avid editing application/ Settings For more information, see “Using Site Settings” on page 1411. Examples of Ways to Use Settings If you organize and manage your settings carefully, you can use them to speed your workflow. For example, you can use settings to address specific needs for one stage of your workflow. Because you can have multiple versions of settings in your Settings list in the Project window, you can also establish settings specific to one user on your team and that user’s work tasks. For example, you can create: • Two Bin settings — one that automatically saves more often when you are editing intensively, and one that automatically saves less often when you are doing organizational work in the bins. • Multiple Capture settings for capturing various types of source material.
  • 5. Working with Settings 1231 23 • Multiple Keyboard and Composer settings to use for various activities such as capturing, offline editing, or online effects editing. • Multiple Deck Preferences settings for various types of capturing or for output. • User settings for the assistant editor that facilitate logging, capturing, and organizing projects. • User settings for the editor that include editing interface preferences. • Bin View settings that display useful columns of information in bins. For more information, see “Understanding Bin Views” on page 317 and “Saving a Custom Bin View” on page 318). If you establish your settings once, and then select the appropriate setting or bin view for your current needs, you can save time and effort that you might spend searching for information or adjusting bin headings on-the-fly. Working with Settings You can open a dialog box for most settings that lets you view the current settings and to change them if necessary. You can also duplicate, rename, copy, and move settings among files or systems. Viewing and Modifying Settings You can view most settings in a dialog box or window that also lets you change the settings. You cannot modify the following types of settings: • Settings that require the presence of standalone peripherals. • Settings that are only modifiable from within the tools in which they are used, such as Timeline views. • Film and 24p settings when you are working in nonfilm projects. To view a category of settings: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click a setting in the Settings list. A dialog box or window opens.
  • 6. 1241 24 Working with Settings To modify available settings: 1. In the dialog box or window for the setting, type new values or select new options for the setting. For information about navigating within a Settings dialog box, see “Using the Keyboard for Navigating in Dialog Boxes and Menus” on page 35. 2. Click OK, Save, Apply, or Cancel, or click the Close button. Your Avid editing application saves changes in the appropriate User, Project, or Site settings file. Filtering the Settings List You can filter the Settings list in the Project window so that it displays a more focused group of settings. To change the Settings list display in the Project window: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click the Fast Menu button, and select a settings group. The selected settings group has a check mark in the Settings menu, and the Settings list displays only the settings in that group.
  • 7. 1251 25 Working with Settings The following table describes the different Settings display groups. Option Description Active Settings Displays currently active settings. All Settings Displays all settings available. Base Settings Displays Project, User, and Site settings only. Does not display views. Bin Views Displays all Bin View settings you have created. Export Settings Displays all Export settings. Import Settings Displays all Import settings. Timeline Views Displays all Timeline View settings you have created. Title Styles Displays all templates you have created for the Title tool. Video Tools Settings Displays only the Video Input Tool and Video Output Tool settings. Workspace Linked Displays only linked workspaces. Workspaces Displays all Workspace settings you have created.
  • 8. 1261 26 Working with Settings Option Description Site Settings Displays all Site settings in the Site_Settings file. Switching to Another Set of User Settings User settings are not project or site specific, so you can display another set of User settings in the Project window. To select another user: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click the User Selection menu, and select another name. User Selection menu in the Project window Your Avid editing application saves the previous user’s settings, loads the new user’s settings, and displays them in the Project window.
  • 9. n 1271 27 Working with Settings Duplicating Settings To create a new version of a setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click the setting you want to copy. Ctrl+click (Windows) or Command+click (Macintosh) any additional settings you want to copy. 3. Select Edit > Duplicate. A copy of each selected setting appears in the Settings list. If you are duplicating settings with custom setting names, a period followed by a version number appears at the end of the custom setting name of the duplicated settings. 4. Name your settings to indicate their functions. For more information, see “Naming Settings” on page 1407. Naming Settings You can give settings custom names to differentiate among copies or to indicate a specific use. To enter a custom setting name: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click the Custom setting name column to the right of the setting name.
  • 10. 1281 28 Working with Settings Custom setting name column in the Project window 3. Type a name, and press Enter (Windows) or Return (Macintosh). The new name appears in the list and is saved in the settings file. Selecting Among Multiple Settings If you have multiple versions of a setting (for example, multiple Export settings), only one setting at a time is active. Settings that are currently active have a check mark to the left of the setting name. To change the active setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click in the space to the left of the setting that you want to select as the active setting. Deleting Settings You can delete settings from the Settings list in the Project window at any time. For example, you might choose to delete one or more versions of a particular setting, or you might want to delete all but a few settings for transfer into another Settings window.
  • 11. c 1291 29 Working with Settings You cannot undo a deletion. You can, however, restore the default settings or copy settings from other files. For more information, see “Restoring Default Settings” on page 1409 and “Copying Settings Between Settings Files” on page 1409. To delete a setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click a setting to select it. Ctrl+click (Windows) or Command+click (Macintosh) each additional setting you want to delete. 3. Do one of the following: t Press the Delete key. t Select Edit > Delete. The selected settings are removed immediately. Restoring Default Settings To restore settings to their default values: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click a setting to select it. Ctrl+click (Windows) or Command+click (Macintosh) each additional setting you want to select. 3. Right-click the selected setting (or one of the multiple selected settings), and select Restore to Default. A message box opens. 4. Click Copy & Restore to copy the current settings before restoring the default settings, or click Restore to discard the current settings. The system restores the default values for the selected settings. Copying Settings Between Settings Files You can copy selected settings: • Between existing settings files. • Into a new settings file for use in other projects. • Into the Settings folder to establish standard system settings for all new projects and
  • 12. 1301 30 Working with Settings users. For more information, see “Using Site Settings” on page 1411. • To change one type of setting to another type.
  • 13. n 1311 31 Working with Settings You can also transfer settings files to another Avid system. Starting with the release of Media Composer v6.0, Symphony v6.0 and NewsCutter v10.0, the user, project and site settings are saved in an .xml file. If you have an .avs settings file from a previous system, you can bring it forward to a current system and the .avs file will be converted to an xml file. To copy settings between setting files: 1. With the Settings list in the Project window active, open the destination settings file in one of the following ways: t Create and open a new settings file by selecting File > New Settings File. An untitled settings file window opens. t Open an existing settings file: select File > Open Settings File, locate and select a settings file (with the file name extension .xml) in the Avid Projects or Avid Users folder, and then click Open. The settings file window opens. 2. Click the setting you want to copy in the Settings list in the Project window. Ctrl+click (Windows) or Command+click (Macintosh) any additional settings that you want to copy. 3. Drag the selected setting to the destination settings window. Settings list in the Project window (left) and a destination settings window (right) The copied settings are saved when you close or save the file or project. You can also drag settings from the settings window into the Settings list in the Project window.
  • 14. Options for Moving User Settings Files 1321 32 To copy a setting from a settings file into the Settings list with the setting active: 1. Drag the setting into the Settings list. A message box opens. 2. Do one of the following t Click Add to add the new settings to the project without affecting the project’s current settings. t Click Replace to replace the current version of each setting with the new settings. Additional versions of each setting are not affected. Using Site Settings When your Avid editing application opens a new project, it first searches the Site_Settings file and loads site settings and any other settings you have placed there. Your Avid editing application then proceeds to load any Project and User settings not included in the Site_Settings file. Adding settings to the site settings files is useful if you need to establish global settings for all new users and projects, such as switcher settings, a specific start timecode for all sequences, or various customized features of the interface. To load settings into the Site_Settings file: 1. Open a project with the settings you want to establish as Site settings. If a project does not already exist with the settings you want, create a project and make adjustments to the default settings as needed. 2. Select Special > Site Settings. 3. Click a Project or User setting in the Settings list in the Project window, or Ctrl+click (Windows) or Command+click (Macintosh) multiple settings. 4. Drag the selected setting to the Site Settings window. Copies appear in the Site Settings window. 5. Close the Site Settings window. All new users and projects opened from the Select Project dialog box use these settings as the default settings. Options for Moving User Settings Files You might want to move user settings information from one location to another on your
  • 15. Options for Moving User Settings Files 1331 33 system, or from one system to another.
  • 16. Summary of Settings 1341 34 The easiest and most reliable way to do this is to take advantage of user profiles. When you import a user profile, your Avid editing application finds all the necessary files and copies them to the correct location. For more information about using and creating User Profiles, see “Understanding User Profiles” on page 77. Experienced Avid users, however, are accustomed to moving user settings around manually on their systems. If you choose to take this approach, make sure you copy the entire user or user profile folder, not just the individual settings files, and place the copied folder in your user folder. Summary of Settings The following table briefly describes each item in the Settings list and where you can find additional information on a particular item. Setting Name Description Reference Topic AMA Sets options for creating bins and mounting volumes when you are working with AMA (Avid Media Access). “Link Settings” on page 1490 Audio Sets the default audio pan and options for audio scrub. For more information, see “Using Clip Volume and Pan Mode” on page 774 and “Adjusting Digital Scrub Parameters” on page 747. “Audio Settings” on page 1416 Audio Project Defines the audio settings for the project and the audio input and output methods. “Audio Multiple Mix Settings” on page 1423 Bin Sets options for bins and for the SuperBin. “Bin Settings” on page 1423 Bin View Selects and formats the information displayed in bins. For more information, see “Understanding Bin Views” on page 317. Capture Defines how your Avid editing application captures and batch captures in specific situations. “Capture Settings” on page 1424 Cloud Download Allows Media Composer Cloud clients to specify settings for remotely downloading media. “Cloud Download Settings (Media Composer Cloud Clients Only)” on page 1430 Cloud Playback Allows Media Composer Cloud clients to specify the quality for remote media and allows you to manage the settings for the CloudCache folder. “Cloud Playback Settings (Media Composer Cloud Clients Only)” on page 1430
  • 17. Setting Name Description Reference Topic Cloud Upload Allows Media Composer Cloud clients to specify settings for uploading media. “Cloud Upload Settings (Media Composer Cloud Clients Only)” on page 1431 Color Management Allows you to specify setting for color management. “Color Management Settings” on page 1432 Communication (Serial) Ports Sets a port for Remote Play and Capture. “Communication (Serial) Ports Tool Settings” on page 1432 Composer Configures the display and behavior of buttons and information in the Playback, Source, and Record monitors. “Composer Settings” on page 1433 Controller Settings Sets the default controller, port selection, and custom controller buttons. “Controller Settings” on page 1437 Correction Sets options for the Color Correction tool. “Correction Settings” on page 1437 Deck Configuration Configures channels and decks into your system. “Deck Configuration Settings” on page 1439 Deck Sets custom naming and configuration information for decks. “Deck Settings” on page 1440 Deck Preferences Sets preferences that affect all decks configured into the system. “Deck Preferences Settings” on page 1441 Desktop Play Delay Allows you to increase or decrease the amount of frame offset. “Desktop Play Delay” on page 1443 Dynamic Relink Sets options that control how clips link to media files when you are working in a MultiRez environment. “Dynamic Relink Settings” on page 1443 Effect Editor Sets options for how controls appear and behave in the Effect Editor. “Effect Editor Settings” on page 1446 Email Sets options for receiving email notification when a render operation completes. “E-mail Settings” on page 1448 Export Sets options for file export. “Export Settings” on page 1449 Film and 24p Sets options for edit play rate, ink number format, and transfer rate. “Film and 24P Settings” on page 1474 Full-Screen Playback Sets options for viewing your video on a full-screen monitor. “Full Screen Playback Settings” on page 1475
  • 18. Setting Name Description Reference Topic General Defines default values such as the default starting timecode and temporary file location for your project. “General Settings” on page 1478 Grid Defines the grid to use when you create effects. For more information, seeFor more information, see “Setting Effect Grid Options” in the Help. “Grid Settings” on page 1479 Import Sets options for file import. “Import Settings” on page 1481 Interface Defines the appearance and function of certain interface elements. For more information, see “Customizing the Avid User Interface” on page 80. “Interface Settings” on page 1487 Interplay Folder Lets you specify a project directory on the asset manager to use for checking in media objects. “Interplay Folder Settings” on page 1489 Interplay Server Lets you specify the Avid Interplay Server location on the network. “Interplay Server Settings” on page 1489 Interplay User Lets you set the preference for accessing Avid asset manager. “Interplay User Settings” on page 1489 Keyboard Lets you map commands from the Command palette to the keyboard. “Keyboard Settings” on page 1490 Marquee Title Lets you select the Title tool for creating titles and provides options for promoting titles. “Marquee Title Settings” on page 1494 Media Creation Sets options for video resolution and selects the drives for capturing, creating titles, importing, performing audio and video mixdown, and motion effects. “Media Creation Settings” on page 1494 Production Services Configures your Avid editing application to work with the Avid Interplay Production Services Engine. “Production Services Settings (Windows Only)” on page 1500 Mouse Lets you set the speed of scrolling with the mouse wheel within your Avid editing application. For more information, see “Using the Mouse Scroll Wheel for Navigating” on page 36. “Mouse Settings” on page 1497 NRCS (NewsCutter Option) Defines the name of the Newsroom Computer System server and the default user name. Sets Message of the Day and Mail options for the NRCS tool. “NRCS Settings (Media Composer | NewsCutter Option)” on page 1497
  • 19. Passthrough Mix Tool Opens the Passthrough Mix Tool “Using the Passthrough Mix Tool” on page 188
  • 20. Setting Name Description Reference Topic PortServer Sets up the LANshare client so your Avid editing application recognizes its workspaces. “PortServer Settings” on page 1500 Remote Play and Capture Lets you use your Avid editing application like a videotape recorder. “Remote Play and Capture Settings” on page 1501 Render Sets options for managing render operations and defining the methods your Avid editing application uses when rendering. “Render Settings” on page 1502 S3D Sets stereoscopic parameters. “S3D Settings” on page 126 Safe Colors Sets the safe color parameters for the Color Correction tool. “Safe Colors Settings” on page 1505 Script Sets the default display options for scripts imported using script integration. “Script Settings” on page 1506 Sound Card Configuration (Windows only) Lets you map audio input sources directly to the output sources available with your audio hardware “Sound Card Configuration Settings (Windows Only)” on page 1507 Timecode Window Displays various timecodes in an adjustable window. Appears in the Settings list to facilitate copying settings. For more information, see “Using the Timecode Window” on page 497. Timeline Sets general Timeline preferences. “Timeline Settings” on page 1507 Trim Customizes the Trim mode environment. “Trim Settings” on page 1512 Video Display Sets options for video input, desktop video, Client monitor use, and effects preview. “Video Display Settings” on page 1513 Video Input Lets you calibrate for video input. “Video Input Tool Settings” on page 1514 Video Output Lets you calibrate for video output. “Video Output Tool Settings” on page 1515 Video Satellite Lets you synchronize video playback with a Pro Tools|HD® session. “Video Satellite Settings” on page 1520 Workspace Lets you associate settings and windows with a workspace. For more information, see “Linking User Settings and Workspaces” on page 86. “Workspace Linking Settings” on page 1521
  • 21. Audio Settings n Audio Settings Option Description Mix Tool Display Options Opens a dialog that allows you to add or remove items such as faders, legends, effect buttons, and the solo and mute buttons: Source Monitor Scrub Defines the number of outgoing and incoming frames you hear as you scrub. Record Monitor Scrub Defines the number of outgoing and incoming frames you hear as you scrub. Source Scrub Defines the number of outgoing and incoming frames you hear as you scrub the source. Timeline Scrub Defines the number of outgoing and incoming frames you hear as you scrub in the timeline. Default Pan for mono tracks Controls the way you want sound to pan between speakers: • Alternating L/R: Sends the odd tracks to the left channel and the even tracks to the right channel. • All Tracks Centered: Centers the pan of all tracks between the two speakers for monitoring and output. Play Buffer Size in Samples (Software-only Models) Defines the size of the host audio play buffer during playback and digital cut. Use this option if you experience performance problems with playback to the host audio device. Avid recommends the default value for this option. Changing this parameter might cause audio or video underruns, dropped frames, or increased noise in the audio output. For more information, see “Adjusting the Play Buffer Size for Audio (Software-only Models)” on page 764. To return this option to its default value, click the rs (recommended sample) button.
  • 22. Audio Project Settings n n Option Description Tool Buffer Size in Samples (Software-only Models) Defines the size of the host audio play buffer during audio loop play and audio tools play (such as volume automation recording). Reducing the tools play buffer size decreases the overall latency between the time you adjust an audio parameter in your Avid editing application and the time you hear those changes through the speaker. Changing this option might cause audio or video underruns, dropped frames, or increased noise in the audio output. Because performance varies from machine to machine, experiment to find a value that works best. For best results when adjusting this option, turn off or disconnect all DV devices. For more information, see “Adjusting the Play Buffer Size for Audio (Software-only Models)” on page 764. To return this option to its default value, click the rs (recommended sample) button. Monitors Volume Controls the volume of the desktop speakers. Use the Mute button to mute audio output to speakers or headphones. Audio Project Settings You can save multiple Audio Project settings and select one as the active setting. If you edit an inactive setting, your Avid editing application does not display items that are not saved. For example, Mix Mode does not display in an inactive setting because you cannot save it in the Project settings. The Direct Out mode is saved in the Audio settings, not the Audio Project settings. You set it in the Output tab of the Audio Project window but the system saves the value in the active Audio settings. Audio Projects Settings: Main Tab Option Description Sample Rate Defines the audio sample rate for the entire system for playing and recording. The broadcast standard for most high-end video postproduction houses is 48 kHz or higher.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 Audio Sample Rate for Sequences and Audio Clips” on page 812.
  • 23. n Option Description Audio File Format Defines the file format for audio: • WAVE (OMF): Compatible with Windows applications. • AIFF-C (OMF): Compatible with many third-party applications, including Pro Tools. • PCM (MXF): Enables easy exchange of material between servers, tape streamers, and digital archives. Media Composer has limited support for Sound Designer II™ audio. For more information, see “Transferring and Working with Sound Designer II Audio Files from Macintosh Systems” on page 1136. Bit Depth Defines the sample size you use when you work with audio files: • 16 Bit: For CD-quality audio. • 24 Bit: For work with higher resolution audio. DV Audio Pattern Controls whether variation in the audio sample rate is allowed. Select the option 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. Depending on your Avid input/output hardware, this option might be unavailable because the option is automatically selected depending on the deck template you choose. The option is set to Locked Audio for DVCPro device templates, and to Unlocked Audio for all other device templates. Convert Sample Rates When Playing Controls whether or not your Avid editing application performs on-the-fly sample rate conversion of segments that do not match the rate defined in Sample Rate. • Never: Your Avid editing application does not perform sample rate conversion (segments play as silence). • Always: Your Avid editing application attempts to perform a sample rate conversion. The resulting audio quality might not be useful for a finished project, but can be useful during an editing session because it prevents audio from playing back with silence. For information on changing the sample rate for individual sequences and audio clips, see “Changing the Audio Sample Rate for Sequences and Audio Clips” on page 812. Show Mismatched Sample Rates as Different Color
  • 24. Controls whether or not your Avid editing application identifies mismatched sample rates by color if you have a sequence with several different sample rates.
  • 25. n Option Description Remove Extra Filler After Punchin Controls whether your Avid editing application removes or keeps extra filler added during an audio punch-in recording. Optical Connection Depending on your Avid input/output hardware, defines whether you use ADAT or S/PDIF output for use with an optical connection. Keep Dolby E Material Safe Select this option to ensure the capture of Dolby E media. Audio Project Settings: Input Tab The options that appear in this tab depend on your audio configuration and the hardware installed on your system. Your options might differ from those listed here. Option Description Input Gain slider Depending on your Avid input/output hardware, controls your computer’s volume settings. (Windows only) Select the +20 dB check box to boost gain for low gain inputs. Input Source Controls the type of audio input. The types available depend on the audio hardware installed in or connected to your system. If you select IEEE 1394 as your input device, this option is automatically set to Host-1394. For more information, see “Connecting a DV Device” on page 166. Sample Rate Conversion Controls sample rate conversion: • When needed: Your Avid editing application automatically converts incoming audio sample rates to match the project sample rate. • Never: Your Avid editing application does not perform sample rate conversion. For more information, see “Selecting the Audio Sample Rate and Controlling Audio Sample Rate Conversion” on page 181. Output Sync During Passthrough Controls the timing reference for output: • Same as Video Out with SRC (Sample Rate Conversion): This is the default setting and is used for most applications. The timing reference is the same for the audio and video output clock. • Same as Audio In: Uses the audio capture clock as the audio output clock while you are capturing. This option does not require the use of a sample rate converter and is useful when using encoded digital audio stream. Options for HD SDI input 16ch: Lets you capture up to 16 audio channels of HD-SDI input.
  • 27. Audio Project Settings: Output Tab The options that appear in this tab depend on your audio configuration and the hardware installed on your system. Your options might differ from those listed here. Option Description Output Gain Controls the volume of global audio output. Mix Mode Selection button Controls how your system interprets audio values during playback: • Stereo: Mixes the currently monitored audio tracks into a stereo pair. Depending on your Avid input/output hardware, you can customize the mix using the Stereo Mix Tracks option. • Mono: Pans all the currently monitored tracks to center and ignores pan effects. • Direct Out (available depending on your Avid input/output hardware): Maps tracks directly to the available output channels. Ignores pan settings. You can remap a track to any channel by clicking the Channel Assignment menu and selecting another channel. Stereo Mix Tracks This option is available with some Avid input/output hardware. Customizes the mix of tracks with Stereo selected in the Mix Mode Selection Menu button. Your Avid editing application sends a stereo mix to the two channels you select. Material panned to the left is sent to the odd channel, and material panned to the right is sent to the even channel. The number of channels available depends on the audio output you select or on the options you select in the SD SDI tab. First six tracks are 5.1 surround: L, R, C, LFE, LR, RR Available when you select Direct Out with the Mix Mode Selection Menu button and when you are using or an Avid Mojo DX. Select this option when the media in the Timeline is set up as surround sound media even if your speakers are set up as stereo. You can use the Direct Out channel selections to reset which tracks go to which channels. Deselect this option if you are using stereo media in the Timeline. All or Timeline Track Maps Available when you select Direct Out with the Mix Mode Selection Menu button. Maps the track and output channels: • All: Lets you choose between all available tracks. • Timeline: Lets you assign output channels to the tracks monitored in the Timeline.
  • 28. n Option Description Which Set of Track Maps Available when you select Direct Out with the Mix Mode Selection Menu button. Defines the groups 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. Reset Available when you select Direct Out with the Mix Mode Selection Menu button. Reassigns the audio tracks of the sequence to the default channels that are currently available. Output type option tab: Analog Turns analog output on or off. Output type option tab: SD SDI This option is available depending on your Avid input/output hardware. Use the On or Off option to control whether to embed the audio with the video in SDI output. Select one of the following based on the number of channels you want and the sample rate you want on the outgoing SDI signal: • 4 channels 20-bits • 4 channels 24-bits • 8 channels 20-bits • 8 channels 24-bits With some Avid input/output hardware devices, you must use 48-kHz audio when SDI is enabled. With Avid Nitris DX or , you do not need 48- kHz audio. Output type option tab: HD SDI This option is available for HD projects depending on your Avid input/output hardware. Use the On or Off option to control whether to embed the audio with the video in HD SDI output. Select either 4 channels 24-bits or 8 channels 24-bits, based on the number of channels you want on the outgoing SDI signal. Audio Project Settings: Hardware Tab Apart from HW Calibration, the settings in the Hardware tab are for informational purposes only and list defaults set by your system, depending on your audio hardware and configuration. Option Description
  • 29. Card Indicates the type of audio card installed.
  • 30. n Option Description Peripheral Indicates the type of peripheral audio device (audio interface) attached to the system. Sync Mode Sync ensures that the audio sample clock is always in sync with the video clock for audio input and output. 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. When you change the audio input selection, your Avid editing application automatically selects the correct audio clock source for audio sync. HW Calibration Depending on your Avid input/output hardware, matches the software audio calibration to your Avid hardware. The default value for the software and hardware is -20dBFS. Other available values are -14dBFS and -18dBFS. If you don’t change your hardware settings, keep this value at -20dBFS. For information on changing the hardware setting, see “Calibrating Audio Hardware for Avid Nitris DX and Avid Mojo DX” on page 190. Open Calibration window Available when you are using Avid Nitris DX or Avid Mojo DX. Opens the Audio Hardware Calibration tool, see “Calibrating Audio Hardware for Avid Nitris DX and Avid Mojo DX” on page 190. Audio Project Settings: Effects Tab Option Description Effect Bypass panel Controls which of the volume settings established with the audio tools your Avid editing application ignores when playing back or recording a sequence: • Clip Gain: Bypasses the clip gain mode of the Audio Mixer tool. • Volume: Bypasses all Volume Automation and Pan effects set in the Volume Automation and Pan mode of the Audio Mixer tool. • RT EQ: Bypasses all unrendered EQ effects set in the Audio EQ tool. These buttons function the same as the Bypass buttons in the audio tools. Render Sample Rate Conversion Quality Controls the conversion quality of all non-real-time sample rate conversions. The following options are available: High and Slow, Balanced, Low and Fast. Real-Time Audio Dissolves When Enabled is selected, you can play audio dissolves (also called crossfades) as real-time effects. Select Disabled if you experience an audio performance delay in your
  • 32. Audio Multiple Mix Settings Option Description Dissolve Midpoint Attenuation Controls the method your Avid editing application uses 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. Audio Multiple Mix Settings You can save Audio Multiple Mix settings and select one as the active setting. See “Mixing Down Multiple Audio Tracks” on page 815. Bin Settings Option Description Auto-Save interval n minutes Defines the interval between attempts to auto-save project files. The default is 15 minutes. To avoid interrupting an edit, your Avid editing application waits until your system is inactive before auto-saving. Use the option “Force Auto-Save at” to specify an interval at which your Avid editing application interrupts an edit to make the auto-save. Inactivity period n seconds Defines how long your Avid editing application waits when your system is inactive before automatically saving the project files. The default is 15 seconds. Force Auto-Save at n minutes Defines the maximum interval between auto-saves. Once this time elapses, your Avid editing application auto-saves the project files even if it must interrupt an edit to do so. The default is 17minutes. Maximum files in a project’s attic Defines the maximum number of files stored in the Avid Attic folder for each project. When a bin or script is saved, your Avid editing application copies the current version of the bin or script to a subfolder within the special folder called the Avid Attic. Each project has its own subfolder and each bin or script saved in a project has its own subfolder within the project folder. The default is 1000 files per project. The overall file count for the entire Avid Attic will reflect the files stored for each project on the system. Max versions of a file in the attic Defines the maximum number of single-bin or script copies stored in a project's attic. This setting prevents filling the project's attic with too many versions of one bin or
  • 33. Audio Multiple Mix Settings script. The default is 50 versions.
  • 34. Capture Settings Option Description Double-click loads object in Determines what happens when you double-click an object in the bin: • New Pop-up Monitor: Creates a new Source pop-up monitor and automatically loads the clip when you double-click an object in the bin. • Source or Record Monitor: When you have the Composer monitor stretched into two monitors, loads the clip into the Source monitor or the sequence into the Record monitor. When you are using the single Composer monitor, loads the clip or sequence into the existing Source pop-up monitor. Enable edit from bin (Splice, Overwrite) Lets you edit clips directly from a bin by selecting a clip and clicking the Splice-in or the Overwrite button. Always keep at least one version in Attic. This option is on by default and when enabled will keep one version of each bin in the Attic. If you deselect this option, multiple copies of the bins you have currently been working on will be saved rather than making sure one copy of every bin will be saved. If you deselect this option, older bins may have all Attic versions removed to keep to the Max Files limit. Show local media icons Clip icons will appear blue to indicate the media is local or pink to indicate mixed resolution. Frame View Determines how border colors and icons appear in Frame View Show Border Colors: Use color based on object type displays a colored border around the following: • Blue - Precomputes and source side motion effects • Green - Master clips • Dark Green - Subclips and Group clips • Red - Sequences • Purple - Media files in the Media Tool Show Border Colors: Use clip color, assigns the same colors you assigned to clips in Text View to items in Frame View. Show icons displays the applicable bin item icon, for example sequence, clip, subclip, title. Capture Settings Capture settings include essential options for capturing, batch capturing, auto capturing, capturing to multiple media files, DV scene extraction, and setting key commands.
  • 35. Capture Settings: General Tab Option Description Stop deck after capture When this option is selected, the deck stops when the capture operation is complete. Pause deck after capture When this option is selected, the deck pauses when the capture operation is complete. Preroll Method Defines the preroll method. For more information, see “Selecting Settings for Preroll Method and for Capturing Across Timecode Breaks” on page 155. Force unique clip names When this option is selected, your Avid editing application automatically assigns a clip name based on the bin’s name and ensures this name, or another name you select, is not already used by any other object in the bin. Activate bin window after capture When this option is selected, your Avid editing application changes the focus from the Capture Tool window to a bin window after capturing or logging is complete. This lets you start working in the bin immediately. Space bar stops capture When this option is selected, you can use the space bar to create clip names during the capturing process. When you press the space bar during a capture operation, your Avid editing application stops capturing, creates a clip from the captured material, and places the clip in the active bin. Capture across timecode breaks When this option is selected, your Avid editing application captures sections of discontinuous timecode on a tape as separate clips. When this option is deselected, your Avid editing application stops capturing and reports an error when it encounters a timecode break. Stop capture if a bad frame is detected When this option is selected, your Avid editing application stops capturing if a corrupt frame is detected. This setting is enabled by default. Latency for no deck mode n frames Compensates for problems that might occur when you capture with external timecode. For more information, see “Capturing in Satellite Mode or No Device Control” on page 250. If you notice that your captured media consistently starts on the wrong frame (usually one or two frames off), use this option to ensure that capturing starts on the correct frame. The option is set to zero by default. This option is not available in software-only configurations. Ignore Detected Media Read Errors When this option is selected, capture accuracy improves, especially on tapes that appear to be experiencing a lot of dropouts. Capture a single video frame only When this option is selected, your Avid editing application captures a single frame of video from your clip. When you click the Record button, your Avid editing application
  • 37. n Option Description Ask before discarding a canceled clip When this option is selected, your Avid editing application lets you choose whether to discard the canceled clip, keep it, or try again. Ask for name when a new tape is seen When this option is selected, your Avid editing application asks you for a name when it detects a new tape. Display incoming video in the client monitor When this option is selected, your Avid editing application displays incoming video in the Client monitor as soon as you open the Capture tool. Pause deck while logging When this option is selected, the deck pauses after you set an OUT point while you log clips. This gives you time to type the name of the clip. For more information, see “Logging Directly into a Bin” on page 120. When this option is deselected, the camera or deck continues playing after you set an OUT point. Capture Settings: Batch Tab Option Description Optimize for disk space When this option is selected, your Avid editing application captures only the exact amount of material in the master clips plus any additional handles. The tape pauses and prerolls independently for each master clip that is batch captured. Optimize for batch speed When this option is selected, your Avid editing application speeds up batch capturing by allowing the deck to continue to roll forward between adjoining clips. To qualify for this operation, the two adjoining clips must meet the following criteria: • There is 5 seconds or less between the OUT point of the first clip and the IN point of the second clip. • The two clips have the same video resolution and the same audio rate. If you select this option, your Avid editing application might occasionally capture more material than you need. Switch to emptiest drive if current drive is full When this option is selected, your Avid editing application switches to the target media storage drive with the most available space when the current target drive becomes full during batch capturing. Your Avid editing application switches before starting to capture the clip, based on the number of minutes in the clip. For more information, see “Batch Capturing from Logged Clips” on page 223. When this option is deselected, your Avid editing application stops capturing when a drive becomes full. Rewind tape when finished
  • 38. When this option is selected, your Avid editing application automatically rewinds tapes after batch capturing finishes.
  • 39. Option Description Eject tape when finished When this option is selected, the tape ejects as soon as the last shot from that tape is captured. You can do other tasks while the tape is in use and be alerted as soon as the tape is no longer needed. Log errors to the console and continue capturing When this option is selected, your Avid editing application continues capturing if an error occurs during the capture process. Capture the tracks logged for each clip When this option is selected, your Avid editing application captures the tracks logged for each clip. Use the audio sample rate logged for each clip When this option is selected, your Avid editing application uses the audio sample rate logged for each clip. Use the audio bit depth logged for each clip When this option is selected, your Avid editing application uses the audio bit depth logged for each clip. Use the video compression logged for each clip When this option is selected, your Avid editing application uses the video compression logged for each clip. Capture Settings: Edit Tab Option Description Enable edit to timeline (splice, overwrite) When this option is selected, Splice-in Edit and Overwrite Edit buttons display in the Capture tool. Handles Controls the amount of footage you capture before and after the IN and OUT points of the clips (when capturing to the Timeline only). Enable voice-over When this option is selected, the Voice-Over button displays in the Capture tool. Preroll Postroll Controls the amount of preroll and postroll you want to capture before and after the voice-over. Capture Settings: OMF Media Files Tab The OMF Media Files tab is available in the Capture Settings dialog box when you select OMF in the Media Type tab of the Media Creation dialog box. Option Description Capture to a single file, 2 GB limit
  • 40. When this option is selected, capture stops when the media captured has taken up 2 gigabytes (GB) of storage space on the media drive.
  • 41. Option Description Capture to multiple files When this option is selected, your Avid editing application writes captured video or audio to multiple files across multiple drive partitions. Select this option for clips that might exceed the 2-GB file-size limit. Maximum (default) capture time n minutes Determines how much space your Avid editing application preallocates on the target drive or drives before a capture begins. The default capture time is 30 minutes. This option applies only to capture-on-the-fly and capture from an IN point without an OUT point. Capture from an IN point to an OUT point overrides this option. Change this option only if you intend to capture on-the-fly for longer than 30 minutes. Your Avid editing application captures for only the specified number of minutes, so be careful not to underestimate. Switch to emptiest drive when n minutes left When this option is selected, your Avid editing application switches to another storage drive when the specified amount of time remains. Capture Settings: MXF Media Files Tab The MXF Media Files tab is available in the Capture Settings dialog box when you select MXF in the Media Type tab of the Media Creation dialog box. Option Description Maximum (default) capture time n minutes Determines how much space your Avid editing application preallocates on the target drive or drives before a capture begins. The default capture time is 30 minutes. If Frame Chase capture is enabled (the “During capture, clip is updated in Interplay option is selected), this option defines the expected duration in minutes for a Frame Chase clip that you create during on-the-fly or open-ended capture (when no IN and OUT marks are set in the Capture tool). This option applies only to capture-on-the-fly and capture from an IN point without an OUT point. Capture from an IN point to an OUT point overrides this option. Change this option only if you intend to capture on-the-fly for longer than 30 minutes. Your Avid editing application captures for only the specified number of minutes, so be careful not to underestimate.
  • 42. Option Description During capture, clip is updated in Interplay When this option is selected, Frame Chase capture is enabled. An initial check-in takes place 10 seconds after a capture begins. Subsequent Interplay updates occur at intervals defined by the Update Interval option. Select an update interval from the menu to determine how frequently updates to Interplay occur during a Frame Chase capture. In most circumstances you should keep the update interval low (1 minute or 2 minutes). This ensures that information added during capture (for example, comments or markers) is available as quickly as possible. For more information, see “Enabling Frame Chase Capture” on page 221. Switch to emptiest drive when n minutes left When this option is selected, your Avid editing application switches to another storage drive when the specified amount of time remains. Capture Settings: DV & HDV Options Tab Option Description DV&HDV Scene Extraction When this option is selected, you can automatically generate subclips and markers based on time-of-day (TOD) information contained in the DV video format. For more information, see “DV and HDV Scene Extraction” on page 267. • Add Markers: Creates marker marks where the TOD information breaks occur while capturing. • Create Subclips: Creates subclip marks where the TOD information breaks occur while capturing. • Both: Creates markers and subclips where the TOD information breaks occur while capturing. Enable detection of small timecode breaks When this option is selected, batch capture is more accurate for footage captured over 1394 due to undetected small timecode breaks. Capture Settings: Keys Tab Option Description Function Key Commands (while capturing/logging) Changes the commands that are mapped to the function keys on your keyboard. These mappings apply to Capture mode only. Timed Subclip Defines a preset duration for subclips created while capturing.
  • 43. Cloud Download Settings (Media Composer Cloud Clients Only) Cloud Download Settings (Media Composer Cloud Clients Only) The following table describes the options available in the Cloud Playback Settings dialog box. Option Description Local Volume You can use this option to select a local drive to store the downloaded media. Priority You can use the Priority option to set the priority for your upload operation. The upload queue is sorted by priority so that high priority jobs are uploaded first. You can also change the priority of a specific clip or upload job in the Upload Queue window. Handles This option specifies the length of handles on the incoming and outgoing sides of the clip. Type the number of frames you want to use as handles for uploaded clips in the Handles: nn Frames text box. Handles refer to material outside the In and Out points that you can use for dissolves and trims with the uploaded master clips. The default is 30. Cloud Playback Settings (Media Composer Cloud Clients Only) The following table describes the options available in the Cloud Playback Settings dialog box. Option Description Disk Cache This option displays the default location of the CloudCache folder holding prefetched media files. You can change the default location by clicking Browse and navigating to a new location on your local system. Disk Cache Size This text box displays the maximum size of the CloudCache folder. You can modify the cache size by entering a new number in the text box. The default cache size is 2 GB. Quality You can set the playback quality for remote media to Low (the default) or High. Use the High setting only when you have a high-capacity connection to your Interplay system — for example, when you have an Ethernet connection to Interplay. Clear Local Caches This option allows you to manually delete the CloudCache folder and its contents.
  • 44. Cloud Upload Settings (Media Composer Cloud Clients Only) n Cloud Upload Settings (Media Composer Cloud Clients Only) The following table describes the options available in the Cloud Upload Settings dialog box. Option Description Upload Quality This option allows you to select media settings for upload. You can specify settings for uploading high resolution media using the High Quality option. Only one proxy format is currently available for remote media upload to Interplay. • Proxy (H.264 video | MP2 Audio) — Uploads media at the default proxy resolution. • High — Uploads media using the video resolution and audio format specified in the High Quality settings. • Proxy then High — Uploads media first using the default proxy resolution, and then uploads media as a background process using the High Quality settings. High Quality This option ia available if you select either the High or the Proxy then High option for your upload quality. • Video - Select Same as Source (when possible) if you want to upload video with no resolution change from the source video clip. If the source resolution is not available, the upload uses the resolution selected in the Resolution menu. - Click the Resolution menu and select a resolution to use if the source resolution is not available. • Audio - Select Same as Source (when possible) if you want to upload audio without converting the sample rate or change from the source audio clip. If the source format is not available, the upload uses the default format. - The default format used to mix down audio when the source format is not available is a PCM audio file with a 48 kHz sample rate and a 16-bit audio bit depth. Handles This option specifies the length of handles on the incoming and outgoing sides of the clip. Type the number of frames you want to use as handles for uploaded clips in the Handles: nn Frames text box. Handles refer to material outside the In and Out points that you can use for dissolves and trims with the uploaded master clips. The default is
  • 45. Cloud Upload Settings (Media Composer Cloud Clients Only) 30. Local Volume This option allows you to specify the location where the upload operation creates media files before uploading them to Interplay.
  • 46. Color Management Settings Option Description Priority You can use the Priority option to set the priority for your upload operation. The upload queue is sorted by priority so that high priority jobs are uploaded first. You can also change the priority of a specific clip or upload job in the Upload Queue window. Destination The option allows you to specify the destination used for the upload operation. • Workspace — Type the name of the destination ISIS workspace used for the upload. You do not need to be connected to ISIS for the upload to complete successfully, but you must specify a workspace where ISIS saves the uploaded media files. • Interplay Folder — The Interplay folder is set in the Interplay Folder Settings dialog box. The remote upload operation checks in the media files to this folder. See “Interplay Folder Settings” on page 1489 for more information. Color Management Settings Option Description Insert color transformations automatically in the source settings upon linking Applies any color transformations already specified in the source settings. Do not select this option if you want to work with the original media files. See “Setting the Color Properties of Acquired Media” in the Help. Use CDL values from ASC_SOP and ASC_SAT bin columns when available Primary color grading can be performed as one of the pre-post functions on dailies systems and then passed on to the offline editing system. If you are editing with MXF media, these colors are already applied. However, if you want to use the original media, you can select this option to read the CDL values associated with the media and apply them to the master clips. Install LUT Click to browse for a LUT file associated with your media. Communication (Serial) Ports Tool Settings The Communication (Serial) Ports tool lets you view the current configuration of the serial interface at any time during editing. You can also use it to reconfigure the ports without closing your Avid editing application or shutting down the computer.
  • 47. Composer Settings Option Description Remote Play and Capture Sets a port for an edit controller that uses the Sony serial control protocol. For more information, see “Remote Play, Capture, and Punch-In” on page 258. Composer Settings Composer Settings: Window Tab Option Description Data Display at Top • Off — When this option is selected, your Avid editing application turns off the information display above the monitors. • Always Display One Row of Data — When this option is selected, your Avid editing application displays one row of tracking, duration, and clip or sequence title information above the Source and Record monitors. • Always Display Two Rows of Data — When this option is selected, your Avid editing application displays a second row of information above the first row. The second row includes Fast Menu icons, duration information, and, when applicable, ganging and multicamera icons. • Flow Data Dynamically — When this option is selected, your Avid editing application adjusts the display of information above the monitors as you resize them. Button Display at Bottom • Off — When this option is selected, your Avid editing application turns off the display of buttons under the Source and Record monitors. • One Row — When this option is selected, your Avid editing application displays only the top row of Monitor command buttons. • Two Rows — When this option is selected, your Avid editing application displays a second row of buttons under the Source and Record monitors and includes mode buttons in the lower center of Source/Record mode beneath the Splice-in and Overwrite buttons. Center Duration When this option is selected, your Avid editing application displays duration data (Mark In/Out) for the material in the Source or Record monitor, depending on which monitor is active. Tick Marks in Position Bars When this option is selected, your Avid editing application switches the display of tick marks (duration indicators) that appear incrementally along the position bars located directly beneath the Source and Record monitors. When this option is deselected, the tick marks are invisible.
  • 48. Composer Settings: Edit Tab Option Description Color Framing When this option is selected, color framing indicator lights display above the Overwrite and Splice-in buttons. Deselect this option if you are not performing an online edit with material captured from 1-inch, reel-to-reel tapes. This option is deselected by default. When this option is deselected, you might have to make adjustments during online editing if your edits interrupt the color-sync, signals-per-frame fields in the sequence. The following field options are available: • 4 field: For NTSC video. • 8 field: For PAL video. The green color framing indicator lights (similar to LEDs) above the Overwrite and Splice-in buttons are off when the color-sync signal is not in phase for that frame. Steady green lights indicate a frame that is properly phased. If the green light is off, find the proper color phasing when editing by trimming the IN to OUT points by a frame or two until the light comes on and stays on. For more information on color framing, see “Tracking Color Frame Shifts” on page 703. Sync Point Editing (Overwrites) When this option is selected, your Avid editing application overwrites material onto your sequence so that a particular point in the source material is in sync with a particular point in the sequence. Single Mark Editing When this option is selected, you can mark an IN or OUT point in the Source monitor and then perform a splice, overwrite, or replace edit. Your Avid editing application uses the current location of the position indicator as the corresponding OUT or IN point. Phantom Marks When this option is selected, your Avid editing application provides visual guidance when you set fewer than four IN or OUT points while editing. Phantom marks (shaded IN or OUT mark icons) indicate the remaining edit points calculated by your Avid editing application to complete the edit. For more information, see “Working with Phantom Marks” on page 601. Auto-create New Tracks When this option is selected, whenever you edit material into the Timeline, your Avid editing application automatically creates any new tracks in the sequence that match existing tracks in the source material. This option is selected by default. Note, if you do not have any tracks in your Timeline and you have this option
  • 49. deselected, new tracks will be created. However if you have at least one track, for example, v2, but your source material is patched on an empty v1, a new track will not be created. This also applies to audio tracks.
  • 50. Option Description Auto-enable Source Tracks When this option is selected, whenever you load new source material into the Source monitor, your Avid editing application automatically enables all existing source tracks. This option is selected by default. Copy Source Markers When this option is selected, if you have markers in a clip in the Source monitor, your Avid editing application copies the markers when you edit the clip into the Record monitor. This option is selected by default. Undo Only Record Events When this option is selected, you can limit the Undo command to undo only record actions. For more information, see “Undoing or Redoing Edits” on page 564. Activate Record Monitor After Edit When this option is selected, the Record monitor will be active after you perform an edit. If the option is not enabled, whichever monitor was selected before you made an edit will be the active monitor after the edit. This option is not enabled by default. Show Composer Markers With this option, you can choose whether or not markers appear in the Composer window. Show Spanned Markers With this option, you can choose whether or not spanned markers appear in the Composer window. You can also select which colored markers appear in the Composer window. Composer Settings: FF/REW Tab The options in the FF/REW tab control how the position indicator moves when you use the Fast Forward and Rewind buttons in your Avid editing application monitors. These buttons behave differently from the equivalent buttons on a tape deck. When a sequence is loaded in a monitor, the Fast Forward or Rewind button causes a jump (forward or backward) to the next edit that is common to all selected tracks in the Timeline. When a clip is loaded in a monitor, the Fast Forward or Rewind button causes a jump to the beginning or end of the clip. Option Description Stop at Head Frames When this option is selected, the position indicator stops at the first frame (head frame) of the clip on the selected track. This option is the default setting. Each time you use either the Fast Forward and Rewind button, the position indicator moves to the next consecutive head frame. Stop at Tail Frames When this option is selected, the position indicator stops at the last frame (tail frame) of the clip on the selected track.
  • 51. n Option Description Stop at Markers When this option is selected, the position indicator moves to the next consecutive frame containing a marker. For more information on using markers, see “Using Markers” on page 524. Ignore Track Selectors When this option is selected, your Avid editing application ignores the selected tracks and cues directly to the start (head) frame of the next edit, regardless of the track on which it occurs. The position indicator’s final location depends on whether the Stop at Head Frames and Stop at Tail Frames options are selected. Composer Settings: MultiCam Tab Option Description Split Mode Play Controls split mode play: • Quad or Nine Split: Allows playback in the Source monitor of all camera angles in either quad split view or nine split view. • Fullscreen: Allows playback in the Source monitor of real-time effects for the active camera angle, which displays in full-monitor size. MultiCam Mode Client Monitor Controls client monitor display with MultiCam: • Off: Disables the client monitor during playback of group clips and multigroup clips. • Quad or Nine Split: Allows the client monitor to display group clips and multigroup clips during playback. • Linecut: Allows a linecut (a playback of the edited multicamera sequence) to display in the client monitor. The client monitor displays only SD multicamera linecuts. You can view playback of HD multicamera sequences in the Source monitor only.
  • 52. Controller Settings Controller Settings Option Description Controller Defines the controller to use. Select one of the following: • No Controller • JL Cooper MCS3 Controller • 002 Controller • Command|8 Port Defines the port you use to connect your controller. Edit Settings If you have selected a port and controller, select this option to map the controller functions. Gain Controller Port Defines a port for a fader or a mixer to record audio gain information. The options on this menu differ depending on the ports you have configured on your Avid editing application. Correction Settings For more information, see “Customizing Color Correction Mode Settings” in the Help.
  • 53. Correction Settings Correction Settings: Features Tab Option Description Saved Color Labels Controls how custom colors are named in bins: • None: When this option is selected, your Avid editing application does not supply a name. • RGB: When this option is selected, your Avid editing application uses the 8-bit values for the red, green, and blue components as the name. • Name: When this option is selected, your Avid editing application uses the name from the standard HTML color scheme that most closely matches the color you are saving. • Name and RGB: When this option is selected, your Avid editing application uses both the Name and the RGB information as the name. This is the default option. For information on saving custom colors, see “Assigning Colors to Objects in a Bin” on page 330. Eyedropper 3 x 3 Averaging When this option is selected, your Avid editing application calculates the color value to pick by averaging the values of a 3 x 3 sample of pixels centered on the eyedropper’s position. This is often useful for picking up a color accurately by sight because it compensates for shifts in color value from one pixel to another. When this option is deselected, your Avid editing application selects the color value of the exact pixel at the eyedropper’s position. Show Eyedropper Info When this option is selected, the numerical RGB values appear on the color swatches in the Color Match controls. Eyedropper Picks from Anywhere in Application When this option is selected, you can pick colors from anywhere in your Avid editing application, not only from video images in the Source/Record monitor, using the Color Match eyedroppers.
  • 54. Deck Configuration Settings Correction Settings: AutoCorrect Tab Option Description When applying Color correction from the Effect Palette, perform the following operations: Defines the first, second, and third automatic color correction that your Avid editing application makes when you apply the Color Correction effect from the Effect Palette: • Nothing: Makes no adjustment. For example, if you only want to make two automatic corrections when you drag the Color Correction effect from the Effect Palette, set the Third Correction menu in the AutoCorrect tab to Nothing. • HSL Auto Balance: Makes adjustments to the three ChromaWheels to balance the colors in the image. This is the equivalent of clicking the Auto Balance button in the Hue Offsets subdividing tab of the HSL tab. • HSL Auto Black: Adjusts the Setup slider in the Hue Offsets subdividing tab of the HSL tab to make the darkest areas of the image as dark as possible. This is the equivalent of clicking the Auto Black button in the Hue Offsets subdividing tab of the HSL tab. • HSL Auto Contrast: Adjusts the Gain and Setup sliders in the Hue Offsets subdividing tab of the HSL tab to maximize the tonal range in the image. This is the equivalent of clicking the Auto Contrast button in the Hue Offsets subdividing tab of the HSL tab. • HSL Auto White: Adjusts the Gain slider in the Hue Offsets subdividing tab of the HSL tab to make the brightest areas of the image as bright as possible. This is the equivalent of clicking the Auto White button in the Hue Offsets subdividing tab of the HSL tab. • Curves Auto Balance: Makes adjustments to the Red, Green, and Blue curves to balance the colors in the image. This is the equivalent of clicking the Auto Balance button in the Curves tab. • Curves Auto Contrast: Makes an adjustment to the Master curve to maximize the tonal range in the image. This is the equivalent of clicking the Auto Contrast button in the Curves tab. Deck Configuration Settings Option Description Configuration name Type a name for the configuration.
  • 55. Deck Configuration Settings Add channel Click to add a new channel box. Opens the Channel dialog box.
  • 56. Deck Settings n Option Description Add deck Click to add a deck or DV device. Opens the Deck Settings dialog box. For information on the Deck Settings options, see “Deck Settings” on page 1440. Delete Click to delete a deck or DV device. Auto-configure When this option is selected, and with a deck or DV device already connected to your Avid editing application, your Avid editing application bypasses the Deck Settings dialog box and automatically configures a deck or DV device with the default settings. Because some DV devices do not respond to the Auto-configure command, Auto-configure selects only the generic device settings for a DV device. Verify configuration against actual decks When this option is selected, your Avid editing application checks the deck configuration against the devices physically connected to the system. Deck Settings You can access the Deck Settings dialog box in any of the following ways: • Click the Add Deck button in the Deck Configuration dialog box. • In the deck controller section of the Capture tool, click the Deck Selection menu, and select Adjust Deck. • Double-click the deck name in the Deck Settings dialog box. Option Description Name Defines a custom name for the tape deck. The default name matches the deck type. Description Defines notes about the deck. Notes Displays configuration information, supplied by Avid, about the deck or DV device you have selected. Not all decks or devices include this information. You can supply your own information in the Description field, and then save the configuration. Device Defines the device manufacturer and model. If your device does not appear in the list, click the Manufacturer menu and select Generic, and then click the Model menu and select the type of device. If you continually see a message box that reads “Fail to find preroll” while you are
  • 57. Deck Settings capturing, click the Model menu, and select GenericDVBasicDevice-NTSC or GenericDVBasicDevice-PAL Address For VLXi use only. See your VLXi documentation. If you are using direct serial port deck control, this option is unavailable.
  • 58. Deck Preferences Settings Option Description Show Filters the devices that display in the Device menu: • All Devices: Displays all devices by manufacturer and model. • Decks: Displays only decks by manufacturer and model. • Transcoders: Displays only transcoders by manufacturer and model. Preroll Defines how many seconds the tape rolls before capture or digital cut starts. The default is based on the type of videotape recorder (VTR). Fast Cue Speeds up long searches if your decks can read timecode in fast forward or rewind mode. Select one of the following options: • Switch to ff/rew (seconds): n: When this option is selected, your Avid editing application switches to fast forward or rewind if the target timecode is beyond the specified number of seconds from your current location on the tape. By default, the deck switches to fast forward or rewind to reach a target timecode that is more than 60 seconds away. If your deck shuttles very quickly, you can increase this number so that your Avid editing application uses fast cue only for long searches. • Switch to Search (seconds): n: When this option is selected, your Avid editing application switches out of fast forward or rewind when it is within the specified number of seconds of the target timecode. By default, your Avid editing application switches to search mode when it is 60 seconds from the target timecode. Deck Preferences Settings Option Description When the deck contains no tape or drop frame cannot be detected set timecode to Sets the timecode format (Drop Frame or Non-drop Frame) for logging clips when no tape is in the deck or when your Avid editing application cannot detect drop frame or non-drop frame. When a tape is in the deck, your Avid editing application automatically uses the existing timecode format on the tape. For more information, see “Understanding Timecode” on page 165.
  • 59. Option Description Allow assemble edit & crash record for digital cut When this option is selected, you can use the assemble-edit and crash- record features in the Digital Cut tool, along with the assemble-editing and manual recording capabilities of your record deck. Select this option to record frame-accurate digital cuts quickly and without striping entire tapes in advance while using the assemble edit feature. Select this option also if you want to operate the deck manually. For more information about digital cuts and assemble editing, see “Generating Output” on page 1032. For information about crash recording, see “Crash Recording Through Remote Deck Control” on page 1063. Stop key pauses deck Defines the function of the Stop key (space bar) on the keyboard. Select this option to map the space bar to the Pause button on the deck. Deselect this option to map the space bar to the Stop button. If the videotape heads are down in “Stop key pauses deck” mode, pressing the space bar brings up the heads and pauses the deck. The Stop button in the Capture tool always stops the decks. Shuttle holds speed When this option is selected, the Shuttle button continues shuttling at a constant speed instead of stopping when you release it. Stop any paused decks when quitting When this option is selected, any paused decks stop when you quit your Avid editing application. Selecting this option saves wear on the deck heads. Poll deck during digital cut When this option is selected, your Avid editing application checks the deck for the current timecode and displays it in the timecode window of the deck controller. If you see degraded image quality on your digital cut (particularly visible as noise during black), deselect this option and record the digital cut again. When this option is deselected, the Record button does not flash and the timecode display in the deck controller does not update for the duration of the digital cut. Host-1394 DV Capture Offset & Digital Cut Offset (when Host 1394 capture is available) Digital Cut Offset (when Host 1394 capture is not available) This group of options varies depending on your DV input/output configuration. • Capture Offset (frames): Defines the number of frames by which you want to offset while you capture. For more information, see “Understanding DV Capture Offset” on page 216. This option only appears when Host 1394 capture is available. • Override Recommended Digital Cut Offset: Defines a digital cut delay. For more information, see “Understanding DV Digital Cut Delay” on page 1076. Relax coincidence point detection This option is off by default. Depending on the deck, device control hardware or system you are using, marking an In point in the Capture Tool and performing a capture can result in a “coincidence point detection error.” If you select this option, the editing application is less strict on finding the coincidence point. Note,
  • 60. relaxing the detection can allow captures to succeed but has a greater possibility of capturing from the wrong in-point.
  • 61. Desktop Play Delay Desktop Play Delay Option Description Frames Click the Desktop Play Delay Frames slider to increase or decrease the amount of frame offset. You might need to readjust the frames a few times to find the correct offset.For more information, see “Adjusting the Play Delay Offset” on page 502. Dynamic Relink Settings Dynamic Relink is available only on Avid editing systems that have the Avid Interplay Media Indexer installed. Dialog Box Area Option Description Top area Enable Dynamic Relink Turns the dynamic relink feature on or off. When this option is selected, your Avid editing application performs a dynamic relink whenever you load clips into the source monitor or the Timeline. When this option is deselected, no settings are available. When you select this option again, your Avid editing application restores the previous settings. Allow Mixed Frame Rate Media Lets you use dynamic relink with mixed rate clips. When this option is selected, your Avid editing application tries to link your clips to media with the appropriate frame rate. If it cannot find any media with a compatible frame rate, your Avid editing application uses the lowest and nearest resolution to your project frame rate. For more information, see “Using Dynamic Relink with Mixed Rate Clips” on page 1336. Override Working Settings with Target Settings Lets you perform a dynamic relink to the target settings. When this option is selected, the working settings are not available but the target settings remain active and modifiable. In the Timeline and monitors, you see media that matches the target settings. For more information, see “Dynamically Relinking to the Target Settings” on page 1335.
  • 62. Dynamic Relink Settings Dialog Box Area Option Description (Continued) Working settings tab and Target settings tab If no match is found Defines the action to take if no media is available that matches the working or target settings. You can select one option as a working setting and a different option as a target setting. Select one of the following: • Keep Existing Media: Your Avid editing application displays the media to which the clips are currently linked. • Relink to Offline: Your Avid editing application displays a “Media Offline” slide in the monitors. Relinking to offline does not delete existing media. • Use Closest Media: Your Avid editing application displays the media that most closely matches the working or target settings. For example, this might be useful when you are editing progressive media into a sequence that contains both progressive and interlaced media. For information about enabling a visual display of which media is available, see “Displaying Whether Media Is Available for Dynamic Relinking” on page 1338. Video Parameters Target format (Target settings only) Defines the project format for your target settings, which determines the resolutions that are available in the Dynamic Relink target settings. You can set this format independently of the format set in the Format tab of the Project window. Relink Method Defines how your Avid editing application dynamically relinks to video material. Select one of the following: Most Recent (the latest media files created), Highest Quality, Most Compressed, or Specific Resolution.
  • 63. n Dialog Box Area Option Description (Continued) Relink if quality Available when Specific Resolution is the Relink method. Defines a relational operator and a resolution to compare against. Select one of the following relational operators: • Greater than or equal to: If the selected resolution is not available, your Avid editing application uses the nearest resolution that is better (more pixels, less compression) than the requested one and that has the closest video format (image size, field topness). If none of the available resolutions satisfy these criteria, the clip displays as specified in the “If no match is found” list: Keep Existing Media, Relink to Offline, or Use Closest Media. • Equal to: If the selected resolution is not available, the clip displays as specified in the “If no match is found” list. • Less than or equal to: If the selected resolution is not available, your Avid editing application uses the nearest resolution that is less (fewer pixels, more compression) than the requested one and that has the closest video format (image size, field topness). If none of the available resolutions satisfy these criteria, the clip displays as specified in the “If no match is found” list. Preferred media format Defines your preferred media type as either linked or native media. When “Use Closest Media” is selected and Prefer linked media is selected, the system will try to relink to linked media first. If linked media is not found, it will try and relink to the native media. If Prefer native media is selected, the system will try and relink to native media first. Audio Parameters Relink method Defines the relink option for relinking to audio material. Select one of the following: Most Recent (the latest media files created), Highest Sample Rate, Highest Bit Depth, Compressed, or Specific Quality. Compressed audio through the Avid Encoder IPV is always 48 kHz and 16 bit. No other selections are available.
  • 64. Effect Editor Settings n Dialog Box Area Option Description (Continued) Relink if sample rate and bit depth The relational operators on the left for sample rate and bit depth are similar to the relational operators for the Video parameter “Relink if quality” menu. However, the two menus have an additional entry, “Any,” which lets you use one criteria and ignore the other. For example, you could select sample rate equal to 44.1 kHz and bit depth to “Any”. The corresponding menus on the right contain values appropriate to the corresponding quality parameter. The sample rate and bit depth relational operators work as a Boolean AND operation (that is, the intersection of all constraints). These are not available if you select “Any.” Compression Lets you choose “uncompressed only” or “any,” which lets you use one criteria and ignore the other. Your Avid editing application chooses the best media available. You can only play compressed audio at this time. You cannot consolidate or transcode compressed audio. Choose uncompressed audio for your final output. n You cannot mix down compressed audio. Preferred media type Defines your first choice of media format: PCM (MXF) or Any (OMF or MXF). Effect Editor Settings The Effect Editor settings and the commands in the Effect Editor shortcut menu are similar but not identical. Option Description Indent Rows When this option is selected, parameter rows are indented from the parameter group row, and any parameter subgroups are indented again. When this option is deselected, the left edges of parameter rows line up with the parameter group row. Large Text When this option is selected, text in the Effect Editor appears in 12-point size. When this option is deselected, text in the Effect Editor appears in the default size, 10 points (Windows) or 9 points (Macintosh). Thumbwheels When this option is deselected, variable controls in the Effect Editor appear as the default sliders. When this option is selected, variable controls appear as
  • 65. Effect Editor Settings thumbwheels. For information on using thumbwheels, see “Changing a Parameter with a Slider in the Effect Editor” in the Help.
  • 66. n Option Description Real Time Update When this option is selected, your Avid editing application updates the rendered effect image in real time. Because the update can be slow for complex effects, you have the option to deselect real-time updating. Set Position To Keyframe When this option is selected, your Avid editing application moves the position indicator to the keyframe when you click a keyframe indicator. When this option is deselected, the position indicator does not move when you click a keyframe indicator. Deselecting this option lets you align a keyframe to the position indicator. For more information, see “Aligning Advanced Keyframes” in the Help. Update Position While Playing When this option is selected, the position indicator in the Effect Editor moves while you play the effect. Because this option can cause video underrun problems in complex real-time effects, it is deselected by default. Show Add Keyframe Mode Menu When this option is selected, the Add Keyframe Mode menu (or the Delete Keyframe Mode menu) appears when you use the Add Keyframe button to add (or delete) keyframes. For more information, see “Keyframe Mode Menu Commands” in the Help. When this option is deselected, the Add Keyframe button performs the default command from the following list (Add Keyframe button commands), without displaying the Add Keyframe Mode menu or the Delete Keyframe Mode menu. Add Keyframe button commands • Add Keyframe To Active Parameter • Add Keyframes To Active Group • Add Keyframes To Open Groups • Add Keyframes To Enabled Groups • Add Keyframes To Open Graphs • Add Keyframes To All Parameters Defines the default command for the Add Keyframe button. • When Show Add Keyframe Mode Menu is deselected, clicking the Add Keyframe button once performs the default command. • When Show Add Keyframe Mode Menu is selected, clicking the Add Keyframe button twice performs the default command. (The first click displays the Add Keyframe Mode menu, at which point you can select another command.) The Add Keyframe Mode menu and the Delete Keyframe Mode menu mirror one another. When you change one, you change both. For a description of each command, see “Keyframe Mode Menu Commands” in the Help.
  • 67. E-mail Settings n E-mail Settings The Email Settings dialog box lets you configure your Avid editing application so that it can notify you by e-mail when any of the following operations completes: • Render • Export • Consolidate or Transcode Some mobile telephone services can deliver e-mail as a text message or notify you by text message when an e-mail has been received. If your service includes this feature, consider using it as a convenient way to receive your notifications. Option Description Server Settings Use the options in this area to define the server settings that your Avid editing application uses to communicate with your e-mail account and send e-mail notifications. Check the documentation for your e-mail application, or talk to your internet service provider or information technology department, to obtain the information you need to define these settings correctly. Your e-mail account must use the SMTP protocol for outgoing mail. SMTP Server Defines the SMTP (outgoing mail) server address for your e-mail account. Typically, this address has one of the following formats: smtp.service_name.com or smtp.mail.service_name.com. Port Defines the port that the SMTP server uses. The default value, 25, is used by several common e-mail services, but your server might require a different port number. Authenticate with username/passwor d When this option is selected, your Avid editing application includes username and password information to authenticate any e-mail it sends. Type the username and password for your e-mail account in the Username and Password text boxes. Some e-mail services require authentication as a security measure. Store password after closing project When this option is selected, your Avid editing application saves the password in the Password text box when the current project closes. This eliminates the need to re- enter the password each time you open a project. Use SSL When this option is selected, your Avid editing application uses the Secure Sockets Layer (SSL) security protocol when sending e-mail notifications. Some e-mail services require this as a security measure. Email Settings
  • 68. Export Settings Option Description From Name Defines the name that appears in the From header field of an e-mail your Avid editing application sends. From Address Defines the e-mail address for the account that your Avid editing application uses to send the e-mail. To Address Defines the e-mail address to which your Avid editing application sends the e-mail. Send Email Events When you select one or more options, your Avid editing application sends an e-mail notification when the following operation completes: • Render Complete • Export Complete • Consolidate or Transcode Complete You must have the Server Settings and Email Settings options configured correctly, and the Enable Sending of Email option selected. Master Email Control Enable Sending of Email When this option is selected, your Avid editing application is able to send email notifications. Send Test Email Click this button to send a test email using the current Server Settings and Email Settings options. Export Settings Common Export Settings Standard Formats for Export The following table describes the standard Export file formats available in the Export As menu of the Export Settings dialog box. You can also Export to P2 cards or XDCAM disks. For more information, see “Export Settings: P2” on page 1473 and “Export Settings: XDCAM” on page 1473.
  • 69. n Option Description OMFI 1.0 OMFI 2.0 When this option is selected, your Avid editing application exports a standard OMFI composition for transfer to a third-party workstation that supports OMFI. You can choose to export composition only, or embed the video and audio, or both. For more information, see “Guidelines for Exporting OMFI and AAF Files” on page 1010. AAF When this option is selected, your application creates an Advanced Authoring Format (AAF) file. You can choose to export composition only, or embed the video and audio, or both. For more information, see “Guidelines for Exporting OMFI and AAF Files” on page 1010. AFE (Windows only) When this option is selected, your Avid editing application exports as AFE. This format is compatible with systems such as Avid DS. For more information, see “Exporting Projects and Bins Using AFE Files (Windows Only)” on page 1013. QuickTime Reference When this option is selected, your Avid editing application creates a QuickTime reference movie. A QuickTime reference movie contains pointers (links) to movie files. This is similar to exporting as composition only. You can also export LongGOP QuickTime Reference movies with this option. For more information, see “Exporting QuickTime Movies” on page 1015. HDV When this option is selected, your Avid editing application creates a transport stream. For more information, see “Exporting an HDV Transport Stream” on page 1602. XDCAM MXF OP1a Video Format: Lists all XDCAM codecs supported by your project type. Audio Bit Depth: Defines bit depth, based on the sample rates supported by your project type. You can use this option if your sequence has a mix of sample rates and you need to create a single sample rate. (You set the project rate in the Audio Project Settings dialog box. Aspect Ratio: Defines an image size for the video you want to export. The available aspect ratios depend on what your project type and device support. This lets you control the display format without modifying the source file. DV Stream When this option is selected, your Avid editing application creates a standard DV stream. The DV Stream format is often used for distribution on a CD-ROM or over the Web. Use this option when exporting video that will be combined or processed with other DV-formatted media. This option requires a video track. The DV Stream format appears after you install QuickTime. If you want to use QuickTime for exporting sequences, download the latest version of QuickTime from the Apple® Web site at: www.apple.com/.
  • 70. n n Option Description QuickTime Movie When this option is selected, your Avid editing application creates a self-contained QuickTime movie. For more information, see “Exporting QuickTime Movies” on page 1015. If you install additional QuickTime Export formats, they appear in the menu with tildes (~) before their names. This indicates they are not qualified or supported by Avid. AVI When this option is selected, your application exports an AVI file through QuickTime or other compression tools. For more information, see “Export Settings: AVI Through QuickTime” on page 1463. Windows Media (Windows only) When this option is selected, your Avid editing application exports your sequence as native Windows Media. You can export your media using one of the Avid- supplied templates or using a custom audio and video template. For more information, see “Exporting as Windows Media (Windows Only)” on page 1020. Audio When this option is selected, your Avid editing application exports audio tracks in the WAVE format, SD II (Macintosh only), or AIFF-C audio format. For more information, see “Export Settings: Audio” on page 1468. Graphic When this option is selected, your Avid editing application exports a single frame, a series of frames, or a file type that supports multiple frames as a graphic file. Select a file type from the menu. For information about supported file types, see “File Format Specifications” on page 1522. Avid Log Exchange When this option is selected, your Avid editing application exports the selected bin as a shot log file that complies with Avid Log Exchange (ALE) specifications. ALE and tab-delimited files include information for master clips and subclips only. Information for other objects, such as group clips, sequences, and precomputes, is not included. Tab Delimited When this option is selected, your Avid editing application exports the selected bin as a shot log file in the form of a tab-delimited ASCII text file. Use Marks and Use Selected Tracks Options The following table describes options that determine which material in the selected clip or sequence your Avid editing application exports.
  • 71. n n Option Description Use Marks When this option is selected, your Avid editing application uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option or mark the entire clip or sequence. Use Selected Tracks When this option is selected, your Avid editing application exports the tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. This option is selected by default. Include Inactive Audio Tracks When this option is selected, your Avid editing application exports inactive audio tracks. Export Settings: OMFI, AAF, and AFE Option Description Export As: Defines the export format: • AAF: Select this option if the application to which you are exporting supports AAF • OMF 1.0: Select this option if the application to which you are exporting does not support OMFI Version 2.0 • OMF 2.0: Select this option if the application to which you are exporting supports OMFI Version 2.0. If you are not sure, select OMF 1.0. • AFE (Windows only): Select this option if the application to which you are exporting supports AFE There are no options available to you when you select AFE. Your Avid editing application uses the default settings. Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. AAF Edit Protocol When you select this option, exported AAF files are AAF Edit Protocol compliant. The AAF Edit Protocol specification supports interchange of metadata that describes edit decisions, audio and visual effects, and embedded non-AAF files. This option only appears when Export As is set to AAF. AAF Edit Protocol exported files can exceed the 2GB size limit. AAF Edit Protocol compliant files are not compatible with Pro Tools v7.1 and earlier. Include All Video/Data Tracks in Sequence When you select this option, the Video Details tab appears, and your Avid editing application includes all video and data tracks from the sequence in the AAF or OMFI file.
  • 72. Option Description Include All Audio Tracks in Sequence When you select this option, the Audio Details tab appears, and your Avid editing application includes all audio tracks from the sequence in the AAF or the OMFI file. The following options appear in the Video Details tab, the Audio Details tab, or both, depending on the export method: Export Method: Defines an export method. Other options change depending on which method you choose. This option appears in both the Video Details tab and the Audio Details tab. • Link to (Don’t Export) Media: Select this option when you want to export an AAF or an OMFI composition with links to the media in its current location. Your Avid editing application does not embed media in the file or export media. • Copy All Media: Select this option when you want to copy media to another drive or folder and export an AAF or an OMFI composition • Consolidate Media: Select this option when you want to export an AAF or an OMFI composition with links to media that you have consolidated. For more information, see “Consolidating Media” on page 451. Use the Handle Length: nn Frames text box to enter the number of frames you want to use as handles for consolidated clips. Handles refer to material outside the IN and OUT points that is used for dissolves and trims with the new, shorter master clips. The default is 60. Export Method: Video Mixdown Creates a new video mixdown track for the sequence. For more information, see “Performing a Video Mixdown” in the Help. • Mixdown with Video Edits: Creates a mixdown compatible with Avid Pro Tools v7.2 or later • Mixdown without Video Edits: Creates a mixdown compatible with all Avid Pro Tools versions Render Video Effects When you select this option, your Avid editing application renders video effects during export. Transcode Video to: Defines the resolution to which you want to transcode the video to during export. Include Rendered Audio Effects When you select this option, your Avid editing application includes rendered audio effects during export. Render All Audio Effects When you select this option, your Avid editing application renders all audio effects during export. Remove Track Effects Selecting this option removes all audio track effects — for example, Audio Track effects — during export. This option is selected by default.
  • 73. Option Description Split Tracks to Mono Selecting this option splits all multichannel audio tracks to separate mono tracks. For more information, see “Splitting Multichannel Tracks to Mono Tracks” on page 817. This option is selected by default. Add Audio Mixdown Track(s) When you select this option, your Avid editing application adds an audio mixdown track. Select the type of track you want, either Mono or Stereo. For more information about audio mixing, see “Using Live Mix Mode” on page 803. Convert Audio Sample Rate to: Defines the audio sample rate for the export. Select this option if your sequence has a mix of sample rates and you need to create a single sample rate. (You set the project rate in the Audio Project Settings window. For more information, see “Audio Multiple Mix Settings” on page 1423.) You can also use this option to change the sample rate if the application to which you are exporting does not support the current sample rate. Depending on your system, the following suboptions are available: Project rate, 32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz. Convert Audio Bit Depth to: Defines the audio bit rate for the export. Select this option if your sequence has a mix of bit depths and you need to create a single bit depth. (You set the project bit depth in the Audio Project Settings window. For more information see “Audio Multiple Mix Settings” on page 1423.) You can also use this option to change the bit depth if the application to which you are exporting does not support the current bit depth. The following suboptions are available: Project rate, 16 bit, and 24 bit. Convert Audio File Format to: Defines the audio format for the export. If your sequence has a mix of audio file formats, and you want to embed media, you must choose a single audio file format. (You set the project format in the Audio Project Settings window. For more information, see “Audio Multiple Mix Settings” on page 1423.) This choice is optional if you want to consolidate and link media. The following suboptions are available: • Project rate: Select this option to use the rate that matches the project format • WAVE: Select this option to link to or embed audio tracks in the WAVE format (.WAV file name extension). Most Windows applications that support sound use WAVE files. QuickTime also supports the WAVE format. • AIFF-C: Select AIFF-C to link to or embed audio tracks in the industry-standard AIFF-C format. Note that your Avid editing application does not compress audio media. • PCM: This is the only audio file format available for AAF export
  • 74. Option Description The following options appear in the Media Destinations area for Video and Audio, depending on the export methods: Media Drive Defines a destination media drive for newly created or copied media. When Use Media Creation Settings is selected, your Avid editing application uses the drive you selected in the Media Creation dialog box. If you deselect Use Media Creation Settings, you can select a different destination drive. Folder Defines the destination folder for newly created or copied media. If you deselect Use Same Folder as AAF File, a path name appears. Click Select Folder to navigate to a different folder. Embedded in AAF/OMF When this option is selected, your Avid editing application embeds media files in the exported AAF or OMFI file specified in the Export dialog box. Export Settings: QuickTime Reference Options Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. Fast Draft Defaults When this option is selected, export is faster. This option automatically selects Flatten Video Tracks and Fill Spaces with Black, and automatically deselects Render All Video Effects and Premix Audio Tracks. Digital Mastering Defaults When this option is selected, your Avid editing application renders all video effects and premixes audio tracks before exporting the file. This option automatically selects Flatten Video Tracks, Fill Spaces with Black, Render All Video Effects, and Premix Audio Tracks. Flatten Video Tracks When this option is selected, your Avid editing application exports the composition as one video track. When this option is deselected, your Avid editing application generates one QuickTime video track for each video track in the composition, and you cannot select Fill Spaces with Black. Because most third-party applications do not understand multiple QuickTime video tracks, it is a good idea to select this option. This option is automatically selected if you select Fast Draft Defaults and Digital Mastering Defaults. Fill Spaces with Black When this option is selected, your Avid editing application fills blank spaces in video tracks with black in the QuickTime reference movie. Because QuickTime reference movies do not recognize blank spaces, it is a good idea to select this option. When this option is deselected, a QuickTime reference movie might interpret spaces in the video track as gray or as the background of the player. This option is automatically selected if you select Fast Draft Defaults and Digital Mastering Defaults.
  • 75. Option Description Render All Video Effects When this option is selected, your Avid editing application renders all unrendered video effects, including matte keys and titles, before export. When this option is deselected, your Avid editing application ignores any unrendered effects. This option is automatically selected if you select Digital Mastering Defaults. Display Aspect Ratio Defines an image size for the video you want to export: Native, 4:3, or 16:9. This lets you control the display format without modifying the source file. This option creates metadata that is stored with the QuickTime movie. Some applications, such as the QuickTime Player, can interpret this metadata and scale the image at display time. This option is useful for QuickTime reference movies because you do not modify the source files of referenced movies. For example, you can create two different QuickTime reference movies with different display aspect ratios that use the same referenced source files. The menu selections depend on how you open the Export Settings dialog box and whether you have done a prior export. Mixdown Audio Tracks When this option is selected, your Avid editing application mixes the audio tracks in the composition to stereo files that it creates at the same location as the movie. When this option is deselected, the Quick Time Reference movie references the original audio media. This option is selected automatically if you select Digital Mastering Defaults. If you select this option, you can also select an audio format, a sample rate, and a bit depth. Audio Format Defines the audio format. Select the format that is supported by the application into which you will be importing the QuickTime reference movie. • WAVE: Compatible with Windows applications. • AIFF-C: Compatible with many third-party applications, including Pro Tools. Select AIFF-C for all audio media files you plan to transfer directly to a Pro Tools or an AudioVision® system for sweetening. Sample Rate Defines the audio sample rate for the export, either Project Rate, 32 kHz, 44.1 kHz, or 48 kHz. You can use this option if your sequence has a mix of sample rates and you need to create a single sample rate. (You set the project rate in the Audio Project Settings dialog box. For more information, see “Audio Project Settings for Capture” on page 180.) You can also use this option to change the sample rate if the application to which you are exporting does not support the current sample rate. Bit Depth Defines the audio bit depth for the export, either 16 bit or 24 bit.
  • 76. n Option Description Use Network Media References When this option is selected, the exported movie uses the machine and drive share name of the media drive in the QuickTime reference movie instead of a drive letter. Select this option when the media files referenced by the movie are accessed remotely over the network. If the media files are stored on the same drive as the QuickTime reference movie, you do not need to select this option. When this option is deselected, you cannot select Add Shares for Media Drives. Add Shares for Media Drives When this option is selected, your Avid editing application creates a new drive share for referenced media files stored on unshared network drives. The drive share is hidden, so other users do not see the shared drive when browsing your computer. You do not need to select this option when media is stored on the same drive as the QuickTime reference movie. Use Avid DV Codec Deselect this option when you are working in a cooperative environment where one or more non-Avid systems also have access to the media. This option is selected by default. Select this option if the non-Avid systems have the Avid DV Codec. Color Scaling Keep as Legal Range. Scale from Legal Range to Full Range. Export Settings: QuickTime Movie Export Options Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. Same as Source When you select this option, your Avid editing application copies the media files directly with no resolution change. This method is fast and creates output that uses the same quality as your source files. This is the best method to use if you plan to process the video on another system, using a third-party application like After Effects® or media cleaner® . Deselect the Use Avid DV Codec suboption when you are working in a cooperative environment where one or more non-Avid systems also have access to the media. This option is selected by default. If you export DV media from a 24p or 23.976 project using Same as Source, you must use the Avid DV Codec to ensure the QuickTime movies retain all of the progressive information. If you do not use the Avid DV Codec, your Avid editing application treats movies as interlaced sources when you re-import them. Custom When you select this option, your Avid editing application decompresses the files, processes them, and compresses the files at the requested resolution and audio format.
  • 77. This method is slower and often loses quality. Use this option only if you have to directly export a clip or sequence in a particular file format.
  • 78. Option Description Format Options This option appears when you select Custom. It opens the Movie Settings dialog box to let you set further QuickTime options, including options for changing the codec (compressor/decompressor) used for compression. For more information, see “Export Settings: QuickTime Movie Settings” on page 1459. Video and Audio, Video Only, Audio Only Defines whether your Avid editing application exports video only, audio only, or both. Use Video Only, for example, if you want to add effects in a third-party application or to use only the video in a multimedia project. Use Audio Only, for example, if you want to use or enhance audio in a third-party application or you want to use the audio in a multimedia project. Video Format The following options might be available, depending on your other settings: • Width x Height: Defines the size of the clip. You can type in values or select from the predefined values in the Fast menu. The values in the Fast menu suggest a typical use for each size, for example, 320 x 240 (Internet video, large). The Size to Fit suboption sizes to fit the specified width and height. The Crop/Pad suboption instructs your Avid editing application not to scale or resize the frames. If necessary, it adds black lines to the top and bottom of the frame to achieve the correct size. • Color Levels: Sets the color levels to either RGB (Full Range) or 601/709 (Legal Range). • File Field Order: Defines which field is the upper field during export. For 23.976p, 24p, or 25p projects, these options do not appear, and all fields are automatically exported as progressive (still) frames. Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1 becomes the upper field (its lines become the odd-numbered lines) in the frame. Field 2's lines become the even-numbered lines. Use the Even (Lower Field First) suboption if you are in an NTSC project. Field 1 becomes the lower field (its lines become the even-numbered lines) in the frame. Field 2's lines become the odd-numbered lines. Use the Single Field suboption if you want the output file to consist of only Field 1. In this case, your Avid editing application resizes the single field of 243 lines for NTSC (288 lines for PAL) to fit the frame as specified in the width and height selection.
  • 79. n Option Description Audio Format The following QT Audio Options are available for exporting audio: • Mono • Stereo • 5.1 • 7.1 • Direct Out If you select Direct Out as your audio format, you should select Same as Source for your export option for media that includes surround sound audio. This allows you to export the track assignments in your source sequence accurately. Create Preview When this options is selected, your Avid editing application creates a preview of the QuickTime movie. Display Aspect Ratio Defines an image size for the video you want to export: Native, 4:3, or 16:9. This lets you control the display format without modifying the source file. This option creates metadata data that is stored with the QuickTime movie. Some applications, such as the QuickTime Player, can interpret this metadata and scale the image at display time. This option is useful for the Same as Source option because that option also preserves the original format. When you select Same as Source, the selections in the Display Aspect Ratio area are based on the resolution of the media you are exporting and the project type (NTSC or PAL). When you select Custom, your Avid editing application calculates the Display Aspect Ratio selections from the values you enter for Width x Height in the Video Format tab. Export Settings: QuickTime Movie Settings Option Description Video Settings Opens the Standard Video Compression Settings dialog box. For more information, see “Export Settings: QuickTime Compression Settings” on page 1460. Filter Opens the Choose Video Filter dialog box, which lets you apply a single effect filter during an export. Size Opens the Export Size Settings dialog box. QuickTime lets you set a size, but Avid recommends you set the size in the Width and Height text boxes of the Export Settings dialog box. Both settings have the same effect, and the QuickTime size setting overrides the Avid size setting.
  • 80. Option Description Sound Settings Opens the Sound Settings dialog box, which lets you select a sound compression setting for your export, along with other options. Prepare for Internet Streaming • Fast Start: The movie can begin playing over the Internet without having to download completely first. This method of playing movies over the Internet is referred to as progressive download or HTTP streaming. It does not require a streaming video server. • Fast Start - Compressed Header: This option is a better choice for progressive downloading. It works the same as Fast Start, but compresses the header information. The header is the portion of the file that allows the movie to start playing before the entire movie is downloaded. Compressing the header allows it to download faster. This is important for large movies (movies that are longer than several minutes). • Hinted Streaming: Select this option if you are putting the exported file on a streaming video server. The file does not stream without a hint track for each track in the movie. Hint tracks allow the streaming video server to split the file into packets for the streaming. A file with hinted streaming also plays as a progressive download. However, it will probably play more slowly than a Fast Start movie because it contains additional information and is therefore larger. For additional options, click Track Hinter Settings to open the RTP (Real Time Protocol) Track Settings dialog box. For more information, see your QuickTime documentation. Export Settings: QuickTime Compression Settings The Standard Video Compression Settings dialog box provides access to a wide range of QuickTime video codecs. The codecs available from the Compression Type list might vary depending on your computer’s configuration and your operating system. Other options in the dialog box vary depending on the codec you select from the Compression Type list. If you have an Internet connection, you can get help on using the options in this dialog box from the QuickTime web site by pressing the ? button in the bottom left corner of the dialog box. The list of codecs includes Avid codecs, which create encapsulated media files for export of high-resolution files that are readable within QuickTime applications. You must install the Avid codec you use to export the file on the system running the QuickTime application for the application to read the exported file. For more information, see “Installing or Copying the Avid Codecs for QuickTime on Other Systems” on page 1018. When you select an Avid codec and then click the Options button, the Codec Configuration dialog box lets you configure further options. For Color Levels or Color Input, select the color levels of the source media. If you are exporting from an Avid editing system, use ITU-R 601
  • 81. (SD) or 709 (HD).
  • 82. The following table describes the Avid codecs available in the Standard Video Compression Settings dialog. Codec Description Avid 1:1x For high quality, 8-bit, lossless resolution (in which no picture information is lost). Available for use with MXF media files. Meridien-based systems cannot use this format. Current Avid editing systems, including Avid DS, can use this format. It uses 4:2:2 sampling. Avid DNxHD™ Codec For DNxHD encoding with 8-bit and 10-bit resolutions. Available for use with MXF media files. Current Avid editing systems, including Avid DS, can use this format. Avid DNxHR Codec For DNxHR encoding. This Avid codec is for resolutions considered above greater than HD media, including 2K and 4K. Avid DV For compression compatible with Avid Xpress DV and Avid NewsCutter products or with Avid Meridien products with the DV/MPEG option. Avid DV100 Codec For DVCPRO HD encoding. Meridien-based systems cannot use this format. Current Avid editing systems, including Avid DS, can use this format. It uses 4:2:2 sampling. Avid Meridien Compressed For compression compatible with Avid Meridien-based products. Avid Meridien Uncompressed For 1:1 resolution used in Avid Meridien-based products. Avid MPEG2 50 mbit For MPEG-2 IMX 50,40,30 encoding, an interframe compression used in Sony IMX VTRs and cameras. It uses 4:2:2 sampling. Avid Packed Codec For high quality, 10-bit, lossless resolution (in which no picture information is lost). Available for use with MXF media files. Meridien-based systems cannot use this format. Current Avid editing systems, including Avid DS, can use this format. It uses 4:2:2 sampling. Avid RGB Packed Codec For high quality, 10-bit, lossless resolution (in which no picture information is lost). Available for use with MXF media files. Meridien-based systems cannot use this format. Current Avid editing systems, including Avid DS, can use this format. It uses 4:4:4 sampling. Export Settings: HDV Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451.
  • 83. Option Description Video Quality Defines the video quality, either Draft, Better, or Best. The higher the quality, the longer the time required to complete the export. Draft is fastest, while Best takes the longest time to complete but has the best quality. If you have a slower system, you might want to see if the Better or Draft options provide acceptable quality. Stream Type Defines the transport stream type: • Transport Stream: Use this option for both video and audio, for example, when exporting to other devices. • Elementary Streams: Use this option for either video only or audio only. Export Settings: DV Stream Option Description Use Marks, Use SelectedTracks See “Use Marks and Use Selected Tracks Options” on page 1451. Format Options Opens the DV Export Settings dialog box, which lets you select the DV format, video format, and audio format options you want. If you select DV as the DV format, you can choose to provide locked or unlocked audio. For compatibility with DV cameras that require unlocked audio, deselect Locked. If you select DVCPRO as the DV format, audio is always locked and the Locked option is grayed out. Also, the audio rate is always 48 kHz and the Audio Rate menu is grayed out. Video and Audio, Video Only, Audio Only Defines whether your Avid editing application exports video only, audio only, or both. Use Video Only, for example, if you want to add effects in a third-party application or to use only the video in a multimedia project. Use Audio Only, for example, if you want to use or enhance audio in a third-party application or you want to use the audio in a multimedia project.
  • 84. Option Description Video Format • Color Levels: Sets the color to either RGB or 601/709. • File Field Order: Defines which field is the upper field during export. For 23.976p, 24p, or 25p projects, these options do not appear, and all fields are automatically exported as progressive (still) frames. Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1 becomes the upper field (its lines become the odd-numbered lines) in the frame. Field 2's lines become the even-numbered lines. Use the Even (Lower Field First) suboption if you are in an NTSC project. Field 1 becomes the lower field (its lines become the even-numbered lines) in the frame. Field 2's lines become the odd-numbered lines. Use the Single Field suboption if you want the output file to consist of only Field 1. In this case, your Avid editing application resizes the single field of 243 lines for NTSC (288 lines for PAL) to fit the frame as specified in the width and height selection. Export Settings: AVI Through QuickTime Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. Video and Audio, Video Only, Audio Only Defines whether your Avid editing application exports video only, audio only, or both. Use Video Only, for example, if you want to add effects in a third-party application or to use only the video in a multimedia project. Use Audio Only, for example, if you want to use or enhance audio in a third-party application or you want to use the audio in a multimedia project. Video Format • Color Levels: Sets the color to either RGB or 601/709. • File Field Order: Defines which field is the upper field during export. For 23.976p, 24p, or 25p projects, these options do not appear, and all fields are automatically exported as progressive (still) frames. Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1 becomes the upper field (its lines become the odd-numbered lines) in the frame. Field 2's lines become the even-numbered lines. Use the Even (Lower Field First) suboption if you are in an NTSC project. Field 1 becomes the lower field (its lines become the even-numbered lines) in the frame. Field 2's lines become the odd-numbered lines. Use the Single Field suboption if you want the output file to consist of only Field 1. In this
  • 85. case, your Avid editing application resizes the single field of 243 lines for NTSC (288 lines for PAL) to fit the frame as specified in the width and height selection.
  • 86. Export Settings: AVI Video Compression Option Description Compressor • Cinepak Codec by Radius: For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screen-size playback from CD-ROM or hard drive. This codec uses a compression algorithm optimized for CD-ROM playback. Click Configure to open the Cinepak for Windows 32 configuration dialog box. You can then choose to compress to color or to black and white. • Apple’s QuickTime Codecs include: DV - PAL, DV/DVCPRO - NTSC and DVCPRO - PAL Compression Quality slider Adjusts compression quality for certain codecs. Key Frame Every n frames When this option is selected, your Avid editing application uses keyframes as a reference for subsequent frames. Enter a numeric value to specify the frequency of the keyframes. Limit Data Rate n KB/sec Defines a limit to the data rate for the compressed file, in kilobytes per second. Export Settings: Windows Media (Windows Only) Windows Media Legacy Template The following table describes options available when you select Windows Media Legacy Template from the Windows Media menu in the Export Settings dialog box. Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. Version Lets you select one of the available (v8, v7, or v4) Windows Media versions. Templates Lets you choose one of the Avid supplied Windows Media templates. For more information, see “Exporting as Windows Media (Windows Only)” on page 1020. Existing Windows Media Custom Profile The following table describes options available when you select Windows Media Custom Profile from the Windows Media menu in the Export Settings dialog box.
  • 87. Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. Set Lets you browse to find an existing .prx file on your system. For more information, see “Exporting as Windows Media (Windows Only)” on page 1020. Windows Media Video Settings The following table describes options available when you select Windows Media from the Windows Media menu in the Export Settings dialog box and then select a video track. Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. Width, Height, FPS Set the width, height, and frame-per-second (fps) rate of the clips for export. Video Type Defines the video type, either Progressive or Interlaced. Pixel Aspect Ratio When this option is selected, your Avid editing application scales the video. This lets you control the display format without modifying the source file. Uncompressed When this option is selected, your Avid editing application creates a high-quality export in which no picture information is lost. This option does not compress the file and can result in very large files.
  • 88. Option Description Codec (not available when you select Uncompressed.) Choose one of the following codecs: • Windows Media MPEG-4 Video V3: This codec creates high-quality video for streaming, download, and play. Enables playback of interlaced content on televisions. • ISO MPEG-4 Video V1: This codec delivers DVD (MPEG-2) quality video at lower data rates and smaller file sizes. • Windows Media Video V7: This codec enables Windows Media Player 7 to view encoded video content without first having to download the latest codecs. This is the best choice when the encoding computer cannot support the performance requirements of the newer Windows Media Video codecs. • Windows Media Screen V7: This codec is specially optimized for use for screen captures and some animations. • Windows Media Video 9 Screen: This codec is optimized for screen captures. This codec is ideal for delivering demos or demonstrating computer use for training. Windows Media Video 9 Screen delivers better handling of bitmap images and screen motion, even on relatively slow CPUs. • Windows Media Video 9: This codec offers improved quality over Windows Media Video 8, with the highest gains seen at the higher bit rates, and provides improved interlaced support. • Windows Media Video V8: This codec supports a wide variety of network bandwidths, and deinterlaces interlaced content before encoding. • Windows Media Video 9 Advanced Profile: Use this profile to deliver either progressive or interlaced content at data rates as low as one-third that of the MPEG-2 codec but with the same quality as MPEG-2. Passes (not available when you select Uncompressed) Defines the number of encoding passes, either 1 or 2. With 1 Pass encoding, the content passes through the encoder once, and compression is applied as the content is encountered. With 2 Pass encoding, the content is analyzed during the first pass, and then encoded in the second pass based on the data gathered in the first pass. 2 Pass encoding might result in better quality but takes longer. VBR (not available when you select Uncompressed) Variable Bit Rate. This option defines the quality of the video profile setting. Quality Choose Constrained or Unconstrained. Choose Constrained when playing either locally or on a device that has a constrained reading speed, such as a CD or DVD player. Bit Rate Defines the size of the data stream in megabits per second.
  • 89. Option Description Buffer Size Defines the number of seconds that you want content to be stored before encoding begins. A larger buffer results in better quality content, but requires more memory. When you encode content, the encoding process is delayed by the amount of time specified in the buffer. The content is also delayed by the same amount of time when streaming to a player. Quality Values for this option range from 0 to 100, with 100 being the highest quality. Keyframe Defines the number of keyframes used as part of the encoding sequence. The value is the number of keyframes used for every second of video. A lower number results in higher quality, but larger files. Language Select from the list of available languages. Windows Media Audio Settings The following table describes options available when you select Windows Media from the Windows Media menu in the Export Settings dialog box and then select an audio track. Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. Uncompressed When this option is selected, your Avid editing application creates a high-quality export in which no picture information is lost. This option does not compress the file and can result in very large files. Codec (not available when you select Uncompressed.) Select one of the following codecs: • Windows Media Audio 9.1: This codec provides improvement in compression over the Windows Media 8 Audio codec and supports VBR audio encoding. • ACELP.net: In some instances, the Sipro Labs ACELP codec appears in the list of codecs, for example, if you import a profile that was created by using Windows Media Encoder version 7.1. If this occurs, Avid recommends that you use the Windows Media Audio 9 Voice codec instead. • Windows Media Audio 9 Voice: This codec provides superior quality for audio content with a voice emphasis and provides for mixed-mode encoding of voice and music. It is intended for playback at bit rates at 20 Kbps or lower. • Windows Media Audio 9.1 Professional: This codec supports a full surround-sound experience and dynamic range control. It is intended for data rates of 128 to 768 Kbps. • Windows Media Audio 9.1 Lossless: This codec provides lossless encoding of audio
  • 91. Option Description Passes (not available when you select Uncompressed) Defines the number of encoding passes, either 1 or 2. With 1 Pass encoding, the content passes through the encoder once, and compression is applied as the content is encountered. With 2 Pass encoding, the content is analyzed during the first pass, and then encoded in the second pass based on the data gathered in the first pass. 2 Pass encoding might result in better quality but takes longer. VBR (not available when you select Uncompressed) Variable Bit Rate. When you select this option, the formats available are VBR formats. If you deselect this option, the formats available are CBR formats. Format (These options change when you select VBR.) You can encode audio and video content at either a constant bit rate (CBR) or a variable bit rate (VBR). Use CBR if you plan to stream the content. Use VBR when you plan to distribute the content for downloading and playing either locally or on a device that has a constrained reading speed such as a CD or DVD player. Choose from one of the format options. Buffer Size Defines the number of seconds that you want content to be stored before encoding begins. A larger buffer results in better quality content, but requires more memory. When you encode content, the encoding process is delayed by the amount of time specified in the buffer. The content is also delayed by the same amount of time when streaming to a player. Language Select from the list of available languages. Export Settings: Audio Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. Mono Stereo Use this option to export audio tracks in either mono or stereo. Sample Rate Defines an audio sample rate, either Project rate, 32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz, or 96 kHz. You can use this option if your sequence has a mix of sample rates and you need to create a single sample rate. (You set the project rate in the Audio Project Settings dialog box. For more information, see “Audio Project Settings for Capture” on page 180.) You can also use this option to change the sample rate if the application to which you are exporting does not support the current sample rate. Bit Depth Defines the bit depth, either Project bit depth, 16 bit, or 24 bit.
  • 92. n Option Description Audio Format Defines the audio format: • Project: When this option is selected, your Avid editing application exports the audio format that you selected as the project default in the Audio Project Settings: Main tab. • WAVE: Select this option to export audio tracks in the WAVE format (.wav file name extension). Nearly all Windows applications that support sound use WAVE files. QuickTime also supports the WAVE format. • AIFF-C: Select this option to export audio tracks in the industry-standard AIFF-C format, which is compatible with many third-party sound editing and multimedia applications. • SDII (Macintosh only): Select this option to export audio tracks in the Sound Designer II format, which is compatible with Pro Tools and other third-party applications. If you export with the Project option selected and PCM (MXF) selected in the Audio Project Settings: Main tab, a WAVE file is exported. Export Settings: Graphic The following table describes options available in Export Settings: Graphic. Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. Graphic Format Defines a graphic format for export. The Format Options button lets you set export parameters. For more information on available graphic formats, see “Export Settings: Graphic Format” on page 1470. Width x Height Defines the size of the clip. Click the Fast Menu button, and select from a list of standard dimensions. The Size to Fit suboption sizes to fit the specified width and height. The Crop/Pad suboption instructs your Avid editing application not to scale or resize the frames. If necessary, it adds black lines to the top and bottom of the frame to achieve the correct size. Color Levels Set the color levels to either RGB (Full Range) or 601/709 (Legal Range).
  • 93. Option Description Sequential Files When this option is selected, your Avid editing application produces a series of still images, numbered sequentially. The fps rate of the source file determines the number of still image files that are produced. Select Markers only to produce images only for those frames that contain markers. • Topmost Image: When this option is selected, if you have multiple tracks, and a marker is on a lower track but is obscured by a higher track clip, the highest available track will be used in the sequential list over the lower track. • Use Comments: When this option is selected, the marker comment will be used as the name for the saved graphic. File Field Order Defines which field is the upper field during export. For 23.976p, 24p, or 25p projects, these options do not appear, and all fields are automatically exported as progressive (still) frames. • Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1 becomes the upper field (its lines become the odd-numbered lines) in the frame. Field 2's lines become the even-numbered lines. • Use the Even (Lower Field First) suboption if you are in an NTSC project. Field 1 becomes the lower field (its lines become the even-numbered lines) in the frame. Field 2's lines become the odd-numbered lines. • Use the Single Field suboption if you want the output file to consist of only Field 1. In this case, your Avid editing application resizes the single field of 243 lines for NTSC (288 lines for PAL) to fit the frame as specified in the width and height selection. Export Settings: Graphic Format Format Options and Other Notes (if applicable) Alias™ BMP Windows: Creates files that are compatible with systems running the Windows operating system. OS/2: Creates files that are compatible with systems running the IBM® OS/2® operating system. Chyron®
  • 94. Format Options and Other Notes (if applicable) Cineon™ Blackpoint (Windows) or Black Point (Macintosh): Lets you adjust a film exposure value that corresponds to filming a 2% black card. Values can be between 0 and 1022. The default value of 0 is adequate for most uses. Whitepoint (Windows) or White Point (Macintosh): Lets you adjust a film exposure value that corresponds to filming a 90% white card. Values can be between 1 and 1023. If the files came from and will be transferred back to a Cineon™ system, use a white point of 1023. The default value of 685 is appropriate if the final destination is not a Cineon system — for example, a video display. Gamma: Defines an adjustment to correct for any gamma inconsistencies in the output display. Values can range from 0.01 to 100.0. The default value is 1.0. Use a value of 1.0 for images to display on a PC monitor, 0.59 for a Silicon Graphics® or a Macintosh monitor, and 0.45 for ITU-R 601 (CCIR 601) video. ERIMovie Pack 24 bits: Controls whether the image data is packed into 24-bit color depth (compressed) or is saved as 32-bit (raw) color depth. Framestore Your Avid editing application supports both compressed and uncompressed Framestore formats. IFF JPEG Quality: Controls the output file size and quality. Higher values produce better images but larger file sizes, while lower values reduce the image quality but result in smaller file sizes. Baseline: Selected by default. To see if this option is required, see the documentation for your JPEG-supported applications. Progressive: Lets you save progressive JPEG files, which divide the file into a series of scans of the image that increase in quality. Each scan progressively improves the recognizability of the image. Progressive JPEG files are only recognized by applications with progressive JPEG support, such as some Web browsers. OMF NTSC/PAL: Appears when you select a compression ratio that lets you select either NTSC or PAL. When you select an option, the system displays the required image size and the default frame rate. Compression: Controls the compression ratio and, therefore, the size of the file. You can choose from all the compression ratio options used by your Avid editing application when recapturing. For more information on Avid compression ratios, see “Resolutions and Storage Requirements” on page 1539. PCX™ Photoshop Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The Automatic suboption saves the image in the same depth as the original loaded image. Compression: Controls the size of the file on disk. Disabling this option creates larger files on disk. PICS This option is available on Macintosh only. It creates a Macintosh QuickDraw picture
  • 96. Format Options and Other Notes (if applicable) PICT Create MacBinary header: This option, available on Windows only, creates a file with a MacBinary header. MacBinary is a file format for representing all the information in a Macintosh file in one binary file. It is a compact file format, useful for storing a Macintosh file on a non-Macintosh system for later retrieval. Use a file expander utility to decode a MacBinary file once it is back on a Macintosh system. Pixar® PNG Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The Automatic suboption saves the image in the same depth as the original loaded image. Interlaced: lets you save the file for progressive display, similar to progressive JPEG files. As the file is transmitted, the recognizability of the image improves. Interlaced PNG files are only recognized by applications with interlaced PNG support, such as some Web browsers. QRT Rendition SGI® The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image. Softimage SunRaster™ TARGA® Color Depth: The 5-bit option saves data in Targa 16 format. The 8-bit option saves data in Targa 24/32 format. Compression: Controls the size of the file on disk. Disabling compression creates larger files on disk. TIFF Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The Automatic suboption saves the image in the same depth as the original loaded image. Compression: Controls the size of the file on disk. With None, i RLE (run length encoded) produces relatively small and fairly portable files. JPEG • None: Image data is not compressed and can produce large file sizes. • RLE (run length encoded): Produces relatively small and portable files. • JPEG: Produces files that can vary in size, depending on the quality you set using the JPEG Quality slider. The higher the quality setting, the larger the file size. JPEG Quality: Adjusts the image quality of the JPEG file on a sliding scale from 0 to 100. The higher the value, the higher the image quality of the JPEG file.
  • 97. Format Options and Other Notes (if applicable) Wavefront® Format Type: Defines one of two output file formats supported by Wavefront (either RLA or RLB). Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The Automatic suboption saves the image in the same depth as the original loaded image. Gamma: Defines an adjustment to correct for gamma differences between Macintosh and Windows output display. This option is intended for cross-platform applications that require adjustment. To see if you need to adjust this value, check the documentation for your Wavefront application. Usually, you can use the default setting. XWindows YUV Format: Controls the video format of saved images. If set to NTSC, NTSC video format (720 x 486) is used. If set to PAL, PAL video format (720 x 576) is used. Images are either padded with black or cropped. Smooth YUV: Enhances the fidelity of images saved in YUV color space (if originating in RGB color space). Export Settings: P2 To open the P2 Export Setting dialog box, select Output > Export to Device > P2. For more information, see “Exporting Your Clip or Sequence to a P2 Card” on page 1030. Option Description Use Marks, Use Selected Tracks See “Use Marks and Use Selected Tracks Options” on page 1451. P2 Device Defines the connected P2 device to which you want to export. Video Format Defines a video format. You can upconvert or downconvert. Bit Depth Defines the audio bit depth, either 16 bit or 24 bit. Panasonic supports 16-bit audio at this time. Export Settings: XDCAM To open the XDCAM Export Setting dialog box, select Output > Export to Device > XDCAM. For more information, see “Exporting Media to XDCAM Devices” on page 1022. Option Description Use Marks, Use Selected Tracks
  • 98. See “Use Marks and Use Selected Tracks Options” on page 1451.
  • 99. Film and 24P Settings Option Description Target XDCAM Disk Defines the connected XDCAM disk to which you want to export. Video Format Defines a video format. You can upconvert or downconvert. Bit Depth Defines the audio bit depth, either 16 bit or 24 bit. Film and 24P Settings Option Description Edit Play Rate Defines the edit play rate for your project. Options differ for PAL and NTSC projects. Master Default Film Type Defines the film type. Select an option to meet your production lab standards and the film type for your master. Master Default Edge Type Defines the edge type for the master display in bins and cut lists. Ink Number Default Film Type Defines the ink number film type. Select an option to meet your production lab standards and film type. Ink Number Default Edge Type Defines the edge type for the ink number display in bins and cut lists. Auxiliary Ink Default Film Type Defines the film type for a second ink number (this is useful for tracking additional information for different film gauges). The choices are the same as for Ink Number Default Film Type. Auxiliary Ink Default Edge Type Defines the format for the auxiliary ink number edge type. The choices are the same as for Ink Number Default Edge Type. Video Pulldown Cadence (NTSC only) Defines how your Avid editing application handles pulldown: • Video Rate, no pulldown: For 24-fps footage transferred MOS (without sound) to 30 fps by speeding up the film and using audio brought into your Avid system separately at 100% of the actual speed. • Standard 2:3:2:3 pulldown: For 24-fps footage transferred to 30 fps using Standard Pulldown with the audio synchronized to the picture. • Advanced 2:3:3:2 pulldown: For 24-fps footage recorded to 60 fields (NTSC) using
  • 100. Film and 24P Settings Advanced Pulldown with the audio synchronized to the picture.
  • 101. Full Screen Playback Settings Option Description Audio Transfer Rate (PAL only) Audio Source Tape TC Rate (NTSC only) Defines the transfer rate for audio in 24p PAL film projects. The choices are: • Film Rate (100%): For 24-fps film footage transferred MOS to 25 fps by speeding up film with the audio coming in separately at 100% of the actual speed. • Video Rate (100%+): For 24-fps film footage transferred to 25 fps by speeding up the film with the audio synchronized to the video picture. n It is important to keep the audio transfer rate constant for the project. Defines the source audio rate, either 30fps or 29.97 fps. Set Pulldown Phase of Timecode (NTSC only) Defines a default pulldown phase for a 23.976p or 24p NTSC project. Full Screen Playback Settings For information on using Full Screen Play, see “Playing Video to a Full-Screen Monitor” on page 501. Option Description Scaling Determines how images are scaled for full-screen playback: • Project: Uses the actual project type and aspect ratio to determine the scaling. • 4x3 (Standard): If you are editing an HD project that contains a lot of SD material that is stretched to fit the 16x9 aspect ratio, you might want to select this scaling option, letting you restore its original aspect ratio. • 16x9 (Widescreen): If you are in a 4x3 SD project, working with actual wide-screen material (such as 16x9 material captured by a DV Camcorder), you can select this option to display the material as 16x9 wide-screen. • Raw Pixel: This option lets you see the frame in the full screen window, pixel for pixel, with no scaling. If the image is larger, it is scaled to fit the screen. This is only useful when viewing SD in which pixels are non-square. Raw Pixel Aspect ratio is slightly wider than 4x3.
  • 102. Option Description S3D View Mix: Displays a 50/50 blend of both the left and right eye images. Difference: Displays a blend of both left and right eyes, and highlights the difference between the two. Embossed areas show the differences, while gray pixels represent no differences. Frame Compatible: Displays both the left and right eye images as dictated by the project settings (side/side or over/under). Mono: Displays only one of the stereoscopic images. • Left: Displays only the left eye image. • Right: Displays only the right eye image. • Leading eye: Displays only the image set as the leading eye on the stereoscopic clip. Anaglyph: Displays a blended image with pixels for each eye corresponding to one of the following color options: • Red-Cyan: Uses red for the left eye and cyan for the right. • Green-Magenta: Uses green for the left eye and magenta for the right. • Amber-Blue: Uses amber for the left eye and blue for the right. B/W-Anaglyph: Displays a monochrome image with color highlights only where there are differences in the left and right eye. The pixels in each eye image can be mapped to the following color options: • B/W Red-Cyan: Shows differences in red and cyan for the left and right eyes respectively. • B/W Green-Magenta: Shows differences in green and magenta for the left and right eyes respectively. Checkerboard: When this option is selected, your Avid editing application displays the left and the right images simultaneously for stereoscopic viewing. The term “checkerboard” refers to the way in which blocks of the left and right images are displayed for stereoscopic viewing. Blocks are approximately n x n pixels in size. Compare: Compares the left and right eye images using a diagonal split screen. You can set the comparison mode to 25, 50, or 75%.
  • 103. n Option Description S3D Overlay Displays the disparity guides on the viewer so that you can see the depth budget limits when adjusting the separation between your stereo 3D images. The guides for Parallax are based on the project’s S3D settings (set from the Project window, Settings tab). Parallax Near: Displays green guides that show the limits for objects that will appear in front of the screen plane. Parallax Far: Displays blue guides that show the limits for objects that will appear in front of the screen plane. Parallax Near/Far: Displays both guides (green and blue) that show the limits for objects that will appear in front and behind the screen plane. Target Mask Allows you to display the mask area in the viewers: • No Mask: Does not display masked region. • Mix to White: Displays masked region with a translucent white so that you can view the output frame in context of the full image. • Mix to Black: Displays masked region with a translucent black so that you can view the output frame in context of the full image. • Black Mask: Blacks out the masked region to display the image as it would appear when output. The mask margins are defined in the Format dialog box. See Viewing Sequences with Masked Regions in the Help. Full Screen This option is selected by default. When this option is deselected, the video displays with as little scaling as possible. Your Avid editing application tries to display the image at its native height, and then matches the width to the height using the Aspect Ratio selection from above. Deselecting Full Screen and working in Draft quality (green/yellow) mode or Best Performance (yellow/yellow) mode can also improve performance with some older video cards that have limited pixel shader processing power. Display Both Fields Select this option when your Avid editing application is connected to an interlaced display. If a progressive display (for example, an LCD monitor) is connected to the graphic card's video output and you select this option, toothcombing appears in interlaced images. Flip on Vertical Sync If your graphics board can render the frame of video before the vertical retrace, enabling this option removes the tearing seen on the Full Screen Play monitor. (Vertical retrace is the action within the monitor that turns the monitor beam off when moving it from the lower right corner of the monitor to the upper left.) If the board is unable to render the frame, you might see a stutter. The size of the video frame, the throughput of the board, and the speed of the bus that the graphics board runs affect
  • 104. the ability of the board to complete the render in time. This option is deselected by default.
  • 105. General Settings Option Description Expand Luminance For Computer Displays When this option is selected, the video image is represented more accurately when using Full Screen Play on a standard computer monitor. If you are driving a studio quality monitor through either component, DVI or HDMI inputs you might want to run with this option deselected. This option is deselected by default. Current Monitor Position Defines which monitor displays the full screen playback. Drag the entire Full Screen Playback Settings dialog box to the desired monitor, and then click Select Monitor. (Macintosh only) If two or more graphics cards are installed, choose a monitor that is connected to the primary graphics adapter. General Settings Option Description Project Format Displays the format currently selected for the project. Temporary File Directory When you use drag and drop Export or an export that creates an intermediate movie file, your Avid editing application must store the intermediate file, which can be as large as the final export. By default, the Temporary File Directory is located in the same directory as your Avid editing application. To improve efficiency or to avoid DISK_FULL errors when exporting, you can specify a different directory for these temporary files. The ideal setting for this field is to type in a directory on the drive to which you are exporting, or simply one with plenty of free space. Default Starting TC Defines the timecode value you want your Avid editing application to use as the default starting timecode for each new sequence. For more information, see “Understanding Timecode” on page 165. Default Starting EC Defines the edgecode value you want your Avid editing application to use as the default starting edgecode for each new sequence. Effect Apertures Controls the number of horizontal lines of an image that your Avid editing application uses to create an effect. • DV25: Select this option when you are using DV media exclusively. For more information, see “Setting Effect Aperture Options” in the Help. • ITU 601 (default): Select this option when you are using uncompressed media or mixed resolutions.
  • 106. Grid Settings Option Description NTSC Has Setup This option allows systems using NTSC-EIAJ to use the correct color mapping. NTSC-EIAJ users should not select this option. All other users should select this option. Use Windows compatible file names (Macintosh only) Prevents you from using the characters /:*?”<>| and adding leading spaces, trailing spaces, or a trailing period in bin, project, or user names. These characters are not allowed in Windows file names. This option is useful for moving bins and projects from Macintosh to Windows platforms. Generate LTC On Playback Depending on your Avid input/output hardware, this option lets you output LTC timecode. For more information, see “Using LTC Timecode for Output” on page 1035. Grid Settings Grid Settings: Coordinates Tab Option Description Scale Mode Lets you work with a grid that indicates boundaries for a format other than the one in which you are working. This is useful when you are creating graphics (like titles) that must remain safe in other formats. Select one of the following options depending on the current and target formats you need. When you do not specifically need a grid that represents another format, use the Normal option, which is the default. • Normal • 4:3 Inside 16:9 Monitor • 4:3 Outside 16:9 Monitor • 1.66 Inside 4:3 • 1.77 Inside 4:3 • 1.85 Inside 4:3 Increments Lets you control grid increments. • Fields: Sets the number of tick marks along the grid axes as well as the number of visible grid points. The default value is 12. • Sub Fields: Sets the number of divisions between visible grid points for the snap-to-grid feature. Setting Sub Fields to 1 snaps objects to visible points only. A value of 2 provides 1/2-field jumps. A value of 4 (the default value) provides 1/4-field jumps, and so on. Setting Sub Fields to 0 turns off the snap-to-grid feature. Source Scan Size
  • 107. Grid Settings For film projects, where an optical house scans film for the addition of visual effects. The default values are 720 x 486 pixels.
  • 108. Option Description Source Grid Adjustments Lets you shrink or offset the grid. • Hor. Offset and Vert. Offset: These options move the grid on the image either horizontally or vertically, and are intended mainly for film projects. • Inset: This option shrinks the grid proportionally. Grid Settings: Display Tab Option Description Type Selects a different grid for each standard film type. For video projects, use the Square grid type. The grid for the Academy option includes a safety margin on the left that is used for adding the optical sound track. The following options are available: Square, Standard Film, Academy, Super 35, Anamorphic. Color Defines a color for the grid axes and the grid points. Show Safe Title Displays the safe title area. Create video titles within this area to ensure that they are viewable on a regular television screen. Show Safe Action Displays the safe action area for video display. This box is self-adjusting for different project formats. Show 14x9 Zone Show 1.66 Aspect Show 1.85 Aspect Show 1.77 Aspect Select one or more of these options to display the grid you want. Show Axes Displays the grid axes. Show Tick Marks Shows tick marks along the axes. Use the Fields option to set the number of tick marks. Show Thirds Divides the screen into three sections. This is especially useful if you are creating titles for the lower third of the screen. Show Points Shows the grid points. Use the Fields option to set the number of grid points. Show Position Info Displays the position coordinates of any point in the Effect Preview or Record monitor. Your Avid editing application uses compass coordinates and X, Y coordinates. For compass coordinates, (0, 0) is the center of the axes. For X, Y coordinates, (0, 0) is the top left corner of the monitor. X values increase to the right, and Y values increase as you move down. For more information, see “Displaying Position Coordinates” in the Help.
  • 109. Import Settings Import Settings Import Settings: Image Tab Option Description Image Size Adjustment Controls the dimensions of imported images. Image sized for current format Select this option if the image is properly sized and formatted for the current project format, or to maintain field data when you import two-field media that follows exact NTSC or PAL dimensions. Your Avid editing application converts the existing pixel dimensions, if necessary, so that the image fills the screen. HD projects use the ITU-R 709 color space instead of ITU-R 601. This is the default option. If the aspect ratio of the original frames does not match the aspect ratio your Avid editing application is using, the imported frames might appear distorted. For best full-screen resolution in SD projects of files created in a square-pixel environment, use 648 x 486 (NTSC), 648 x 480 (NTSC DV) or 768 x 576 (PAL). To create a single resolution for both NTSC and PAL, use 720 x 540. Crop/Pad for DV scan line difference Select this option to compensate for the six missing scan lines in NTSC DV. If you select a 486-line resolution and are importing a 720x480 graphic or animation, your Avid editing application pads the frame out by six lines. If, on the other hand, you select the DV25 resolution and are importing a full- frame 720x486 graphic or movie, your Avid editing application crops the top four and bottom two scan lines out of the image. Do not resize smaller images Select this option to import graphic files that have a smaller size than the full-raster SD or HD frame. You typically use this option for either temporary web graphics (in either SD or HD) or to bring SD-formatted graphics into an HD project without blowing them up and losing quality. Resize image to fit format raster Select this option to resize both smaller and larger images to fit the full-raster SD or HD frame. Your Avid editing application maintains the file’s aspect ratio.
  • 110. Import Settings Color Scaling Decide how you want the color levels to be handled. Do not modify, treat as Legal Range Your media’s color levels are already within the legal range. Select this option to keep them as is.
  • 111. Option Description Scale from Full Range to Legal Range Scale the color levels from full range to legal (video levels). Select this option if the file you are importing uses full range RGB graphics levels (0 - 255). The RGB color values are remapped to legal color values appropriate for your Avid editing application. Dither image colors Select this option if the file you are importing uses complex color effects, such as a gradation, and you are importing at a high resolution (2:1). Do not use this option to re-import an image that you have already imported with dithering. Field Ordering in File Controls the field ordering (sometimes referred to as field dominance) of the media you are importing. For 23.976p, 24p, or 25p projects, these options do not appear, and all fields are automatically imported as progressive (still) frames. When the field ordering (or spatial field position) of the imported media matches the field ordering of the project format, no special processing is required. For more information, see “Field Ordering in Graphic Imports and Exports” on page 1536. This option does not apply to OMFI imports when the import resolution matches the OMFI file. The following options are available: • Ordered for current format: Select this option when the file you are importing is correctly field ordered for the video format being used (for example, Even or lower ordered for NTSC, Odd or upper ordered for 1080i HD). This is the default option. • Odd (Upper Field First) ordered: Select this option if the file is odd ordered and you are importing it into an even ordered format, for example, when you are importing PAL DV into PAL. • Even (Lower Field First) ordered: Select this option if the file is even ordered and you are importing it into an odd ordered format., for example, when you are importing NTSC into 1080i HD.
  • 112. n Option Description Alpha Channel Controls how your Avid editing application handles the alpha channel in imported images. The following options are available: • Invert on import (white = opaque): Select this option to reverse the black and white elements of the alpha channel if they differ from the matte key requirements of your Avid editing application. Avid applications use a white background, a black foreground, and a gray transparency blend between the two. • Do not invert (black = opaque): Select this option to import the image, using the existing alpha channel information. • Ignore: Select this option to import an image that contains alpha channel transparency information as one opaque graphic. The imported graphic appears as a single master clip in the bin. If an image contains an embedded alpha channel but your Avid editing application does not support alpha channel import for the file type, select this option to import the image successfully. For information on alpha channel support, see “Import Specifications for Supported Graphics File Formats” on page 1522. Dilate Fill This option bleeds the fill just a bit along the edges where transparent alpha meets non-transparent alpha. It is useful when importing graphics files containing alpha that have abrupt transitions between transparent and opaque. It can help prevent black/gray pixels from seeping into the fill. Frame Import Duration Duration n seconds Defines the duration of the single frame your Avid editing application creates from the import. The default is 10 seconds. This option does not apply to importing sequential image files because each file represents one frame of the clip, so the total number of files determines the total duration. Importing an image with alpha channel creates a matte key effect as a single frame, with no associated media file. Importing as a single frame takes less time and requires less storage than importing as a media file. However, a single frame has limited real-time playback capabilities, particularly at high resolutions, because your Avid editing application loads the frame into memory and handles it in real time, rather than playing it back from a disk.
  • 113. Option Description Autodetect Sequentially Numbered Files When this option is selected, your Avid editing application recognizes that a sequence of connected files is present and automatically imports the whole sequence. When this option is deselected, your Avid editing application does not automatically import a whole sequence of files that have sequential extensions. You can then select any single file for import. You can import sequential files for any of the supported still-image formats. For information on preparing a sequence of image files, see “Specifications for Animation Files” on page 1527. Import Settings: OMFI/AAF Tab Option Description Resolution Use the source file’s resolution. When this option is selected, your Avid editing application maintains the source file’s resolution. Your Avid editing application disregards the resolution setting in the Select Files to Import dialog box as well as the resolution set in the Import tab of the Media Creation dialog box. Use the current import resolution. When this option is selected, your Avid editing application disregards the source file resolution and uses the current import resolution setting. Ask me to set the resolution for each file that is different from the current import resolution setting. When this option is selected, your Avid editing application displays a query about resolution selection for each imported file when the resolution of the source file is different from the current import resolution setting. Import Settings: Shot Log Tab Option Description Maintain events as logged. When this option is selected, your Avid editing application maintains all events as originally logged. Combine events based on scene and automatically create subclips. When this option is selected, your Avid editing application combines all the events for a scene into a single master clip and then links the master clip to subclips that represent the original events for that scene. To use this option, you must have scene numbers logged in a scene column in the bin.
  • 114. Option Description Combine events based on camera roll and automatically create subclips. When this option is selected, your Avid editing application combines all the events from a camera roll into a single master clip and then links the master clip to subclips that represent the original events for that camera roll. To use this option, you must have camera roll numbers logged in a camera roll column in the bin for a film project. Merge events with known sources and automatically create subclips. Merge events with known master clips. When this option is selected, your Avid editing application creates subclips for events that are merged or relinked to their source clips upon import. Use this option if you have already entered master clips in a bin for each camera roll or master scene, and have subsequently logged all the events related to those clips for import. n You must select the clips that you want to merge before selecting this option. When this option is selected, your Avid editing application merges information in the shot log onto selected master clips based on the matching tape name. Use this option if you have already logged (or captured) master clips in a bin for each take. n You must select the clips that you want to merge before selecting this option. Import Settings: Audio Tab Option Description Multichannel Audio Allows you to map source audio channels to multichannel or mono tracks in your imported clips. Click Edit to open the Set Multichannel Audio dialog box and specify mono or audio tracks for a maximum of 16 audio channels. For more information, see “Importing with Multichannel Audio” on page 278. Sample rate convert source sample rate to project sample rate Controls sample rate conversion during audio import. When this option is selected, your Avid editing application converts incoming media to the sample rate of the current project. This option is selected by default. When this option is deselected, your Avid editing application imports audio media at the source sample rate. If your Avid editing application does not support the source sample rate, it autoconverts the audio media to the current project sample rate. If you select this option, the “Do not convert sources with pullup or pulldown rates” option is available. Select this option to skip the conversion of incoming media marked with pullup or pulldown sample rates to the sample rate of the current project. The length and pitch of the imported files are changed by plus or minus .1%.
  • 115. Deselect this option to convert audio media with pullup or pulldown source sample rates to the project sample rate. Length and duration do not change for the imported audio files. This option is selected by default. For more information, see “Sample Rate Conversion and Audio Import” on page 282.
  • 116. Option Description Convert source bit depth to project bit depth Controls bit depth conversion during audio import. When this option is selected, your Avid editing application converts the incoming media to the bit depth of the current project (deselected by default). When this option is deselected, your Avid editing application imports audio media at the source bit depth. If your Avid editing application does not support the source bit depth, it autoconverts the audio media to the current project bit depth. Apply attenuation/gain effect on import When this option is selected, your Avid editing application applies attenuation/ gain effects made to clips prior to import. If you apply gain from the Clip menu after you have adjusted the gain before import, the pre-import gain is ignored. For example, if you apply -6 dB before import, and then apply another -6 dB to the clip, the clip remains at -6 db and not -12 db. Select the CD only option if you only want to apply attenuation/gain to all of the music files on a CD. Automatically center pan monophonic clips When this option is selected, your Avid editing application adds a center pan effect to all monophonic clips on import. Autodetect Broadcast Wave Monophonic Groups When this option is selected, your Avid editing application imports multichannel, monophonic BWF files as a single master clip. This lets you import an eight-track recording, for example, as an eight-track master clip with sequential file names based on the track order (filename_1.wav is associated with track A1, filename_2.wav is associated with track A2). Subframe Alignment to Broadcast WAV Start Time Media Composer has frame-accurate time stamping and Pro Tools has sample- accurate time stamping. This can result in misalignment when importing from Media Composer into Pro Tools. When this option is selected, imported broadcast WAV files have either silence added to the beginning, or up to half a frame of audio deleted from the beginning, in order to be in alignment with the audio start time specified in the original Broadcast Wave media file. This results in an AAF export whose audio will be in alignment with the same audio imported into Pro Tools. Import Settings: XDCAM Tab Option Description Force import of both Proxy & High-resolution When this option is selected, your Avid editing application imports both proxy and high-resolution versions of the selected file or files. When this option is deselected, your Avid editing application imports only the selected files (proxy or high-resolution). Your Avid editing application imports proxy files first.
  • 117. Only import clips with Good Shot Flag When this option is selected, your Avid editing application restricts XDCAM imports to only those clips described with the OK or KP (keep) flag. You can flag clips with these and other descriptive values in the Sony proxy browser software.
  • 118. Interface Settings Option Description Batch import High-resolution Video When this option is selected, your Avid editing application uses the Batch Import function to import high-resolution media from the XDCAM device and automatically conform it with the low-resolution proxy media. Type the number of frames you want to use as handles for batch imported clips in the Handle Length: nn Frames text box. Handles refer to material outside the IN and OUT points that you can use for dissolves and trims with the new, shorter master clips. The default is 30. Automatically import Proxies when disk is inserted When this option is selected, your Avid editing application imports all proxy media stored on the XDCAM disc when you insert the disc in the XDCAM device. Deselect this option if you want to import only selected media files. Import Essence Marks as Markers When this option is selected, your Avid editing application imports XDCAM Essence Marks as markers that you can display in the Source/Record monitor or in the Markers Window. Convert Proxy Audio to Project Rate during Import When this option is selected, your Avid editing application converts the sample rate for proxy media (8 kHz) to the project rate when you import the media. This option is selected by default. Import Audio Channels Defines the maximum number of audio channels to import: 2, 4, 6, or 8. For example, if a file has 8 channels of audio, you can select 8 to import all 8 channels or you can select 2 to import only the first 2 channels of audio. Interface Settings Option Description Interface Brightness Controls the brightness of the user interface. Preview Displays a preview of the foreground color as you move the Interface Brightness slider. Highlight Color Lets you select the color of button highlighting from available presets. Default Timeline V Tracks Selecting this option sets the color of all Timeline video tracks to the default. If you change the track color for a video track, this option changes to deselected. Default Timeline A Tracks Selecting this option sets the color of all Timeline audio tracks to the default. If you change the track color for an audio track, this option changes to
  • 120. Option Description Default Timeline TC Tracks Selecting this option sets the color of the Timeline timecode track to the default. If you change the track color for the timecode track, this option changes to deselected. Allow Custom Bin Backgrounds When you select this option, you can set custom background colors for bins. Show Labels in Tool Palette When this option is selected, your Avid editing application displays text labels with the icons on the Tool palette. This option is selected by default. Show ToolTips When this option is selected, your application displays labels for buttons and icons when you position the mouse pointer over them. This option is selected by default. You can also turn ToolTips on and off from the Help menu. Delay n seconds before showing Controls the length of the delay before tooltip labels display. This lets you move the mouse pointer across the interface without displaying the labels on items between the starting point and the destination of the mouse pointer. Windows Standard Alt Key Behavior (Windows only) Switches between standard Windows and Avid application Alt key behavior. When this option is selected, pressing and holding the Alt key together with another key works as a keyboard shortcut for certain Windows actions (for example, opening menus). When this option is deselected, pressing and releasing the Alt key and then pressing another key works as the Windows keyboard shortcut. Pressing and holding the Alt key together with another key works as a keyboard shortcut for certain Avid functions. This is the default option. For more information on Windows shortcuts, see the Windows documentation. For more information on Avid shortcuts, select Help > Shortcuts. Automatic Num Lock Activation (Windows only) When this option is selected, your application automatically sets the numeric keypad in numeric mode the next time you start the application. When this option is deselected, the Num Lock key on the keyboard controls the mode of the numeric keypad. With either selection, you can use the Num Lock key to change the mode of the numeric keypad. Automatically Launch Last Project at Startup When this option is selected, your application opens your last project when it starts. Use Classic Character Mapping When this option is selected, your application uses default text character mapping tables from older versions of Avid editing applications. These default
  • 121. mappings differ from current character mappings. Using the classic mappings might correct some text display problems in the Title Tool — for example, the display of Greek text or of special characters. For more information, see “Controlling Character Mapping for Title Text” in the Help.
  • 122. Interplay Folder, Interplay Server, and Interplay User Settings Interplay Folder, Interplay Server, and Interplay User Settings You need to configure your Avid editing application before you can interact with the asset manager. For more information, see the Avid Interplay Installation Guide. Interplay Folder Settings Option Description Interplay Root Folder for this Project Defines the default directory for your workgroup project (where the asset manager checks in media assets). Set Lets you navigate to a directory on the Interplay Server and set a new default Interplay Root Folder. Append project to directory path Automatically adds the name of your project to the directory path specified in the Interplay Root Folder text box. Verify directory path On login: A message box asks you to confirm the directory path after you log in to Interplay. Select “for new projects only” if you want this message box displayed only after you create a new project. If you select the option “force selection of directory path.” you will be prompted to select the directory path for the new project. You must click Set to select the directory path. On first checkin: The first time you check in from a bin, displays a message box that asks you to verify the folder into which the assets will be checked in. This message box is displayed once each time you work in a project. Interplay Server Settings Option Description Interplay Server Name Lets you enter the computer name of your Interplay Server. Interplay User Settings Option Description User Name Lets you enter a user name. This name must be a known workgroup user. Automatic Login at Project Selection
  • 123. Interplay Folder, Interplay Server, and Interplay User Settings Logs you in to the asset manager automatically every time you open a project.
  • 124. Keyboard Settings Option Description Login/Logout Connects to or disconnects from the asset manager. Keyboard Settings The following illustration displays the default keyboard settings. To view the name of a button in the Keyboard settings window, move the mouse pointer over the button. To get help for the button, right-click and select What’s This? For information on mapping buttons, see “Mapping User-Selectable Buttons” on page 104. When you open the Keyboard palette from the Settings list and select Map Foreign Keyboard, you can map user-selectable buttons to the keyboard. If the Windows operating system is set to French or German regional settings, and you click the center of the Enter key in the Keyboard palette, foreign keyboard mapping mode turns off. To return to foreign keyboard mapping mode, Select Standard, and then select Map Foreign Keyboard again. Link Settings Link Settings: Bins Tab Option Description Use active bin When this option is selected, your Avid editing application uses the currently active bin to store clips linked using AMA.
  • 125. Link Settings Option Description Create a new bin When this option is selected, your Avid editing application creates a new bin to store linked clips and controls the bin name. This is the default option. • Default bin naming convention: uses the project name for the bin (bin name followed by a consecutive number). • Volume name: the name or label of the volume (for example D:). • Specify bin name: lets you enter a new bin name. Display imported headframe When this option is selected, your Avid editing application displays the device-defined headframe. Display editor headframe When this option is selected, your Avid editing application displays your Avid editing application’s headframe or frame icon in Frame view. Link Settings: Quality Tab Option Description Link Preference: Video This option allows you to select a quality resolution: Highest Quality or Most Compressed before linking your video media. Link Preference: Audio This option allows you to select a quality resolution: Highest Quality or Most Compressed before linking your audio media. Consolidate/Transcode Preference: Video This option allows you to consolidate/transcode your video media to the Highest Quality or Most Compressed resolution. Consolidate/Transcode Preference: Audio This option allows you to consolidate/transcode your audio media to the Highest Quality or Most Compressed resolution. Link Settings: Volume Mounting Tab Option Description Enable Legacy P2 import (disables linked P2) Enables the non-linked P2 workflow for importing media. Enable Legacy XDCAM import (disables linked XDCAM) Enables the non-linked XDCAM workflow for importing media. Automatically link to volumes With this option enabled volumes/disks are automatically mounted. With this option disabled, you can load media without the clips appearing in a bin.
  • 126. Option Description When mounting previously mounted volumes, do not check for modifications to the volume. If you select this option, your Avid editing application automatically scans and links all clips from the third-party device and drive every time a device or drive is attached to your system. If you do not select this option, the system checks the modification date of the device or drive against the last time the clips were linked. If the date is the same, the clips come back online. If the date is different, the system links the clips again, and links any new clips added to the volume. The option is off by default. Link Settings: Link Options Tab Option Description Multichannel Audio Select this option if you want to assign audio tracks to specific channels in your linked media, up to a maximum of 16 audio channels for the clips in your bins. This allows you to specify which source channels are treated as mono or multichannel audio tracks in your project, rather than having to modify the clips in your bin after you link to the media. Click Edit to open the Multiple Mixes dialog box, which allows you to map audio tracks to channels. For more information, see “Linking with Multichannel Audio” on page 395. Audio Start-Time Option (for Broadcast Wav Sets the interpretation of audio start time for Broadcast Wave and iXML files. For details on using this option, see “iXML Metadata in Broadcast Wave and AIFF Files” on page 1534. Alpha Channel Controls how your Avid editing application handles the alpha channel in linked images. The following options are available • Invert on import (white = opaque): Select this option to reverse the black and white elements of the alpha channel if they differ from the matte key requirements of your Avid editing application. Avid applications use a white background, a black foreground, and a gray transparency blend between the two. • Do not invert (black = opaque): Select this option to import the image, using the existing alpha channel information. • Ignore: Select this option to import an image that contains alpha channel transparency information as one opaque graphic. The imported graphic appears as a single master clip in the bin. QuickTime Live Link Select this option if your editing workflow includes QuickTime movies where the number of tracks, the duration, or the edit rate, but not the file name have been changed in After Effects or Final Cut Pro. See “Using the QuickTime AMA Plug-In” on
  • 128. Option Description Reformattting option Set the default for all new clips that are created. For a description of the different options, see “Reformatting Options Reference” on page 580. Always use 16:9 aspect ratio for SD clips Forces all SD media to be set to a 16:9 aspect ratio. Link Settings: AIS MetadataTab Description Reel name for Labroll column based on: Select from where to read the Reel name. This information will appear in the Labroll bin column. If data exists in the Input Device field of the DPX file, this information will appear in the Camroll bin column after linking to the file. If no data exists in the Input Device field, the Camroll bin column will be empty. • Source file name - Enabling this setting gets the Reel Name from the source file name. If the source file name is only numeric characters, no data will appear in the Labroll bin column. • Source folder name - Enabling this setting gets the Reel Name from the folder name specified. When Source folder name is enabled, a pulldown menu becomes active. The pulldown menu is used to select a particular folder in the DPX folder directory structure. The directory range is one folder (that contains the DPX files) up to eight folders higher. Frame Count for DPX column: Select how you want Frame count to appear in the DPX bin column and Tracking Information. The frame count will appear as a 7 digit number in the DPX bin column. The DPX pre-fix is derived from the Labroll bin column. If no data exists in the Labroll column, then the DPX prefix will be empty. • Start frame count at 0 - Enabling this setting starts the frame count in the DPX column at 0000000 • Start frame count at 1 - Enabling this setting starts the frame count in the DPX column at 0000001 • Convert timecode to frames - Enabling this setting extracts timecode from the header and converts it to frames based on the current timebase • From the File name - Enabling this setting gets frame information from the file name
  • 129. Marquee Title Settings Description Timecode for Start column: Select where to read the Timecode. This information will appear in the Start bin column. If no timecode can be extracted from either location, the column will populate with the default timecode. • Embedded in source file - Enabling this setting extracts the timecode from the Header file • From file name - Enabling this setting gets the timecode from the file name Marquee Title Settings Option Description Create New Title using Controls which Title tool your Avid editing application uses when you select Clip > New Title or Tools > Title Tool: • Marquee: Your Avid editing application always opens Marquee. • Title Tool: Your Avid editing application always opens the classic Title Tool. • Ask me: Your Avid editing application displays the New Title dialog box. You can then select either Marquee or the Title Tool. This is the default setting. Promote Title Tool titles to Marquee Controls whether your Avid editing application promotes classic Title Tool titles to Marquee when you open the title for editing from a bin or from within a sequence: • Yes: Your Avid editing application always promotes a Title Tool title to a Marquee title. For more information, see “Promoting Title Tool Titles to Marquee” in the Marquee Help. • No: Your Avid editing application never promotes a Title Tool title to a Marquee title. • Ask me: Your Avid editing application displays the Edit Title dialog box. You can then choose whether to promote the title to Marquee. This is the default setting. Backup Title on Promote When this option is selected, your Avid editing application creates a backup Title Tool version of any title that it promotes to Marquee. The backup copy is a fast-saved (unrendered) title with [TT] added to the name of the backup copy to differentiate it from the newly created Marquee version. Media Creation Settings
  • 130. Marquee Title Settings For more information about options in the Media Creation Settings dialog box, see “Selecting Video Resolutions and Media Drives” on page 149.
  • 131. Media Creation Settings n Media Creation Settings: Drive Filtering & Indexing Tab Option Description Filter Network Drives Based on Resolution Removes as a storage choice network drives that cannot support the selected resolution or cannot play back the selected resolution. Filter Out System Drive Removes as a storage choice the drive on which the operating system resides. Filter Out Launch Drive Removes as a storage choice the drive on which your Avid editing application resides. Auto-index local drives as they come online (using filtering rules) Enables automatic indexing of local drives by the Media Indexer, a background service that keeps track of the media files in storage locations that you identify. Auto-indexing uses filtering selections on the left side of the tab, so that if you select “Filter Out System Drive,” any media on that drive is not indexed. For more information about configuring the Media Indexer, see the Avid Interplay Software Installation Guide. Manual Storage Scan Enables immediate indexing of local drives by the Media Indexer. If the Auto-index option is deselected, you can click this button to index local drives and folders. You can then use the Interplay Service Configuration tool to remove specific drives or folders. On indexing failure Determines how your Avid editing application reports indexing failure messages. For information on using the Console, see “Using The Console Window” on page 107. Media Creation Settings: Common Options in Capture, Titles, Import, Mixdown & Transcode, Motion Effects, and Render Tabs Option Description Video Resolution Select a resolution. Apply to All Applies your chosen resolution to all the Media Creation dialog box tabs, and to any other place in your Avid editing application where you select a resolution. n The resolution options are not available in the Motion Effects tab. Your Avid editing application always renders an effect at the highest resolution used in the effect source clips. Video/Audio Drive Defines the drives your Avid editing application uses to store video and audio media. In the Titles tab, only a Video Drive option is available. Apply to All Applies your chosen video and audio drives to all the Media Creation dialog box tabs, and to any other place in your Avid editing application where you select drives.
  • 132. Media Creation Settings: Additional Options for Capture Tab Option Description Slot Displays slot number 1-4. Data Type Defines the type of ancillary data you want to assign to a particular slot. DID and SSID Displays the DID and SDID number values for the ancillary data packets that your Avid editing application captures and preserves by default. n The DID and SDID information captured with the data clip displays in the bin. Enable Lets the system capture the ancillary data selected to the slot on the system. Ancillary Data Mode Setting (Avid Nitris DX or Avid Mojo DX) This option varies depending on your Avid input/output hardware: (Avid Nitris DX or Avid Mojo DX only) Choose between SMPTE 436M or Legacy. To capture to a data track, select SMPTE 436M or to capture ancillary data to a DNxHD video file, select Legacy Media Creation Settings: Additional Options for Render Tab Option Description Same as Source When this option is selected, your Avid editing application renders the effect using the resolution of the clip or clips used to create the effect. If an effect is created from clips that use different resolutions, your Avid editing application uses the highest quality resolution. Effects Processing Controls the resolution (bit depth) used for effects processing. The following options are available: • 8-bit: Select this option when rendering time is more important than image quality. Also use this option if you are mainly working with effects that don’t support 16- bit precision. • 16-bit: Select this option for the best overall image quality. Use this option if you use 10-bit resolutions, use many levels of nested effects, or want the best color fidelity for rendered effects. • Automatic: Select this option if you want the media source to determine the effects resolution. This is the default. Save after Render When this option is selected, your Avid editing application saves open bins after you perform a render operation.
  • 133. Mouse Settings n Option Description Linked Source Scaling/Quality Sets the playback quality for AMA plug-ins that support adjustable playback quality (e.g. RED, Sony HDCAM-SR, Sony RAW, AVCHD, and ARRI RAW). You can choose Full, Half (Best Quality), Half (Good Quality), Quarter, Eighth, Sixteenth. The default setting is Full. Media Creation Settings: Media Type Tab Option Description Video File Format Defines the video file format, either Open Media Format (OMF) or Material Exchange Format (MXF). This option applies to video format menus in the Capture tool, the Consolidate/Transcode dialog box, and other places in your Avid editing application. For more information, see “File Format Specifications” on page 1522. If your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected by default. Mouse Settings Option Description Scroll Wheel Behavior — Vertical Scroll Speed Controls the speed of scrolling with the mouse wheel within your Avid editing application — Normal, Moderate, or Fast. For more information, see “Using the Mouse Scroll Wheel for Navigating” on page 36. Mouse Button Assignments Assigns functions to three additional mouse buttons. Drag buttons from the Command Palette. For more information, see “Customizing Mouse Functions” on page 36. NRCS Settings (Media Composer | NewsCutter Option) For more information about options in the NRCS Settings dialog box, see “Configuring the NRCS Tool” on page 1141.
  • 134. NRCS Settings (Media Composer | NewsCutter Option) NRCS Settings: NRCS Tab Option Description Server Defines the name of the server. Server menu Defines the type of NRCS server (iNEWS or ENPS) you want to connect to. The second tab in the NRCS Settings dialog box changes to match the selection. Default User Name (iNEWS only) Defines a default iNEWS user name. Logout when NRCS Tool is closed When this option is selected, your Avid editing application terminates the connection to the server every time you close the NRCS tool. Automatic update from server (iNEWS only) When this option is selected, iNEWS updates the information in the NRCS tool periodically. Enter a time interval in the Update interval text box to set the time interval between updates. The default interval is 1 minute. NRCS Settings: iNEWS Tab (iNEWS Only) The following table describes the options in the iNEWS tab. Option Description Show Message-of-the-Day When this option is selected, a Message-of-the-Day (MOTD) displays. Select either Every Connection (to see the message on every connection) or First Connection (to see the message only on the first connection of the day). Message-of-the-Day Directory Defines the name of the MOTD directory if it is not the default directory on the server (SYSTEM.MESSAGE). Mail Directory Defines the name of the folder where you want your mail saved. “Create Sequence” Data When you use the Build Sequence button a to create a sequence from a story, the new sequence uses the specified Duration (tape-time), Name (title), and TapeID (video-id) from the iNEWS story fields setting. If you want to use another iNEWS field for the metadata, type the name of the story field in the appropriate text box. Type the default time you want for new sequences in the Default Value text box. If the heading in the Story Form is empty or is zero, you can set a default value for the duration of the new sequence.
  • 135. n Option Description Browser Fields When this option is selected, the Labels text boxes list the column headings available for display in the Directory panel of the NRCS tool. If you want to change the default label, type a new name in the appropriate text box. The Page (page-number) and Name (title) fields are always available and do not need to be set in this dialog box. The Field text boxes display the default fields from the iNEWS server. If you want to change these fields, type the name of an iNEWS story field in the appropriate text box. For more information, see “Starting the NRCS Tool” on page 1146. NRCS Settings: ENPS Tab (ENPS Only) Option Description MOS Identification Defines how your Media Object Server (MOS) identification is determined. • Use Computer Name: Select this option if you want your Avid editing system to be identified in the ENPS by the computer name. The computer name appears in the MOS ID text box • Other: Select this option and type a specific MOS ID in the MOS ID text box if you want your Avid editing system to be identified in the ENPS by a specific name. Type the Network Computer System identification (NCS ID) of the server you are using in the NCS ID text box. List Format The following options are available: • Show running order start date/time: Select this option if you want running order names to be listed, including the Editorial Start date and time. • Show story page number: Select this option if you want story names to be listed, including the page number. Sequence Creation Defines the default duration for sequences created with the Build Sequence button. Type a value in the Default Duration text box. MOS Objects When Show MOS ID is selected, the MOS identification displays below MOS object cues in the Production panel. NRCS Settings: Post to Web Tab Option Description Include Closed Caption (green) text Converts all text marked as Closed Caption to plain text.
  • 136. Passthrough Mix Tool n Option Description Add paragraph tags (<p>) at the start of new lines Converts line breaks into paragraph breaks, so each line is displayed as a separate paragraph on the Web page. Web formatting ignores line breaks that are the result of the text wrapping within the Story text box. It converts only those line breaks created when the user enters a new line. Convert story to lowercase The following options are available: • Always: Converts all stories to lowercase characters, even if the source script contains both uppercase and lowercase text. • Only if story is all UPPERCASE: Converts only those stories with no lowercase characters. Passthrough Mix Tool Option Description Passthrough Mix Tool See “Using the Passthrough Mix Tool” on page 188. PortServer Settings Option Description Auto-connect to LANshare at Launch Your Avid editing application recognizes LANshare workspaces when it starts. Connect/Disconnect Starts or terminates the connection. Production Services Settings (Windows Only) The Production Services Settings dialog box lets you connect to a Interplay Production Services Engine. You use the services provided by the Production Services Engine in an Interplay Production environment. For more information, see the Avid Interplay Production Services Setup and User’s Guide.
  • 137. Remote Play and Capture Settings n Option Description Production Services are available Ensures that you are connected to the Production Services Engine (Broker). Deselect this option to disconnect without losing your setting information. Hostname Defines the Engine name as it appears in the Production Services Engine application window. This should be the computer name, for example: prod-svcs-eng Consult your Interplay Production administrator for this information. Username Defines your Production Services username. Password Defines your Production Services account password. Shared Storage Defines the directory where you intend to save QuickTime reference movies that the service creates. You can click the Browse button to locate the directory. Notify me of job completion by email When this option is selected, you are notified by email when jobs are completed. Email address If you select “Notify me of job completion by email,” type your e-mail address. You can also check the Production Services and Transfer Status tool Jobs page to see the status of your job. Remote Play and Capture Settings Remote Play and Capture lets you use your Avid editing application like a videotape recorder (VTR) or edit controller, giving you access to some of the features of an external editing suite through your Avid editing application interface. Option Description Mode When Remote Capture is selected, your Avid editing application captures the media being sent to it immediately without setting up parameters like IN and OUT points. Select this option when you want to perform a quick capture. This mode is also known as crash record. Remote Capture supports record and stop with the controller. When Remote Play is selected, you can control sequences via an edit controller. Remote Play supports play, cue, and stop. When Remote Punch-In is selected, you can perform a quick audio punch-in. Remote Punch-In allows your Avid editing application to record the audio being sent to it immediately without setting up all parameters, such as OUT points. Remote Punch-In supports play, cue, record, and stop with an external controller.
  • 138. Render Settings Option Description Device Code Defines the device code that identifies the VTR to emulate. The edit controller adjusts to this choice. The default value is a Sony PVW-2800, which performs all the common play and capture functions. You do not need to change this option unless your edit controller does not recognize the VTR or you want to emulate a specific VTR. Runup (frames) This option is only available with Remote Play. Defines the time (measured in frames) it takes the deck to start playing from a cued position. The default value is 1 frame. When the runup times of two video devices are similar, it is easier for the edit controller to synchronize the devices during preroll. If your Avid VTR does not sync up as often as you want, try adjusting this value so the two devices attain full speed at nearly the same time. Inhibit preloading when cueing by single frame. This option is only available with Remote Play and Remote Punch-In. Avid recommends that you do not inhibit preloading under normal circumstances. Preloading occurs by default in your Avid editing application. It improves playback performance by preparing the digital media for playback each time you cue a new frame. When this option is selected, your Avid editing application matches the behavior of a tape deck when you step through footage frame by frame. Avid recommends this option only for projects that require quick cueing of one frame after another, for example, when you are using your Avid editing application to present a sequence of still images as in a slide presentation. Render Settings Option Description Image Interpolation This option allows you to choose filtering quality vs. speed. • Advanced (Polyphase) is the highest quality option, but is the most demanding. Images will appear sharpest with this option. • Standard (Bilinear) trades some quality for better performance. • Draft (Nearest Neighbor) is a low quality option that requires very little processing and is fastest.
  • 139. Option Description Timewarps Render Using Determines the processing method when your Avid editing application render or rerenders Timewarp effects. The Original Preference, Duplicated Field, Both Fields, Interpolated Field, and VTR-Style options are the same as those for Motion Effects Render Using (see the preceding descriptions). The Blended Interpolated and Blended VTR options are also available. These options add pixel blending to the Interpolated Field or VTR-Style techniques. Your Avid editing application blends, or averages, pixels from the original frames or fields to create intermediate frames or fields. For example, at 25% speed, your Avid editing application creates three blended images between outgoing Image A and incoming Image B. The first blended image weights the pixels from Image A at 75% and Image B at 25%, the second weights the pixels from Image A at 50% and Image B at 50%, and the third weights the pixels from Image A at 25% and Image B at 75%. Objects in motion from Image A to Image B appear to fade out of Image A and fade in to Image B. Timewarp effects that render using Blended Interpolated or Blended VTR render less quickly than Interpolated Field or VTR-Style. Motion Effects Render Using Determines the processing method when your Avid editing application renders existing motion effects. The following options are available: • Original Preference: Effects render as whatever type they were when originally created. • Duplicated Field: Displays a single field in the effect. For two-field media, this drops one field of the image, resulting in a lower quality image. For single-field media, this is usually the best choice because of its speed (the other options do not improve effect quality for single-field media). With JFIF resolutions, this option causes the effect to render in the shortest amount of time. With DV and MPEG resolutions, the effect renders approximately as quickly as it would if you select Both Fields as the rendering option. You can use this option to remove unwanted field motion in interlaced material brought into a progressive project. • Both Fields: Displays both fields in the effect. For example, the first two frames of a half-speed (50%) slow-motion effect repeat the original Frame 1 (both fields) twice. This option is good for shots without inter-field motion, NTSC or PAL film-to-tape transfers, and still shots. With footage that includes inter-field motion, this option might result in minor shifting or bumping of the image because it disturbs the original order of fields: a Field 1 appears both before and after the corresponding Field 2. The effect renders relatively quickly. For best results with this option, use evenly divisible frame rates.
  • 140. n Option Description • Interpolated Field: Creates a second field for the effect by combining scan line pairs from the first field in the original media. This option calculates the motion effect at the field level rather than the frame level. Because your Avid editing application considers all fields and does not disturb the original order of fields, the smoothest effect results. Effects that render using this option take the longest amount of time to render. • VTR-Style: Creates a second field for the effect by shifting selected video fields of the original media by a full scan line. High-quality professional video decks use a similar technique when playing footage at less than normal speed. This option also creates the motion effect at the field level rather than the frame level. However, because pixels are not filtered, the final image is sharper than that created by the Interpolated Field option. The image might jitter slightly at certain speeds. Effects that render using this option take longer to render than effects created using either Duplicated Field or Both Fields, and a similar time to those created using Interpolated Field. Render Completion Sound Defines a sound that your Avid editing application plays once the rendering process is complete. This is useful when you are rendering multiple effects. The following options are available: • None: Disables the rendering completion sound. This is the default. • System Beep: Sets the rendering completion sound to match the sound set for your operating system. • Render Sound: Sets the rendering completion sound to a customized sound. On Macintosh systems, several customized sound choices are available. Use frame blending in Motion Adapters. When clips of a different frame rate than the sequence are dropped on the timeline, a motion adapter is automatically applied. Motion Adapter effects allow mixed rate clips to play at the project’s frame rate and to have the correct field motion. The frame blending setting will give you some flexibility with mixed-rate media by offering a choice between temporal smoothness and spatial smoothness. It controls whether or not any new motion adapters use the Blended Interpolated render option. When this option is selected, the Blended Interpolated mode is used. The behavior is the same as previous versions of Media Composer, and uses Blended Interpolated for most motion adapters. When it is not selected, the Interpolated Field mode is used for interlaced clips, and Both Fields mode is used for progressive clips. Changing this setting does not have any effect on existing motion adapters. If you want to apply this to an existing motion adapter, you will need to reload the cross-rate source clips into the source viewer after changing the setting.
  • 141. S3D Settings S3D Settings Option Description Unit System Choose between Imperial or Metric units of measure. Viewing Distance Enter the average distance between the audience and the screen. Screen Width Enter the width of the screen for which the final output will be delivered. Raster Resolution Enter the resolution at which the final output will be projected. Eye Separation Set the average intra-ocular distance between human eyes (the default is 6.35 cm). Depth Limit Near Enter the depth budget available in front of the screen. This is always a negative value. Depth Limit Far Enter the depth budget available behind the screen. This is always a positive value. Parallax Near This distance is automatically calculated. If you set the drop-down button to manual, you may override the calculated setting. Parallax Far This distance is automatically calculated. If you set the drop-down button to manual, you may override the calculated setting. Safe Colors Settings Option Description Composite Defines safe color values for the composite video signal. Luminance Defines safe color values based on brightness. RGB Gamut Defines safe color values based on color range.
  • 142. Script Settings n Option Description Units buttons Define the units of measurement for the three types of safe color values. The following options are available for the Luminance and RGB Gamut menus: • 8 Bit: Measures the adjustment on a scale from 0 to 255. The RGB value for a color in the Color Correction tool is not identical to the RGB value for the same color in a graphics application such as Adobe Photoshop. For example, the 8-bit RGB values for reference black and reference white are 16 and 235 respectively. • %: Measures the adjustment on a percentage scale from 0 to 100. • IRE: Measures the adjustment in IRE units. • mVolts: Measures the adjustment in millivolts. For the Composite Units menu, only the IRE and the mVolts (millivolts) options are available. Actions buttons Define how your Avid editing application implements the safe color settings. The top menu controls both the Composite and the Luminance limit types. The bottom menu controls the RGB Gamut limit type. The following options are available: • Ignore: Your Avid editing application does not limit based on these settings. This is the default setting. • Warn: Your Avid editing application provides warnings when an image exceeds these limits. For more information on safe color warnings, see “Understanding Safe Color Warnings” in the Help. Script Settings Option Description Font Defines the font for imported scripts. Size Defines the font size. The default is 12 points. Left Margin (pixels) Defines the left margin size. The default is 40 pixels. Take Coloring Defines the color that your Avid editing application applies to takes. Show Frames When this option is selected, your Avid editing application shows frames in take slates. Show All Takes When this option is selected, your Avid editing application shows all takes in each slate. When this option is deselected, your Avid editing application displays only one take per slate.
  • 143. Sound Card Configuration Settings (Windows Only) Option Description Interpolate Position When this option is selected, you can click in a take line within a script, and the image in the Source monitor updates to the approximate position in the take where you have clicked. If you deselect this option, the Source monitor does not respond when you click in a take line. Hold Slates Onscreen When this option is selected, slates stay on the screen when you scroll through a script in the Script window. Each slate remains on the screen as long as the take lines to which it is linked remain on the screen. Sound Card Configuration Settings (Windows Only) Sound Card Configuration Settings are only available in software-only configurations. Options Description Record/Input list Lists the input sources available with the audio hardware installed on your system. Playback/Output list Maps input sources to the output sources available with the audio hardware installed on your system. The options available on your system determine which sources are listed as sub-options. Select <No Match> if you do not want an input source mapped to an output source. Override Source menu Lets you override settings made by your Avid editing application and accept the default settings of the Windows Master Volume control. The options available on your system determine which sources are listed as sub-options. Use Windows Mixer When this option is selected, all options in the dialog box are deselected, and your Avid editing application allows the Windows mixer to map input sources to output sources. Audio device name Lists the sound card installed on your system. Timeline Settings Timeline Settings: Display Tab Option Description
  • 144. Sound Card Configuration Settings (Windows Only) Show Toolbar When this option is selected, the Timeline top toolbar displays.
  • 145. Timeline Settings Option Description Show Marked Region When this option is selected, the region from the IN point to the OUT point is highlighted in the Timeline. This option modifies the behavior of the Replace Edit function. When this option is selected, Replace Edit obeys IN and OUT marks in the Timeline. When this option is deselected, Replace Edit ignores IN and OUT marks in the Timeline. For more information, see “Performing a Replace Edit” on page 567. Show Marked Waveforms When this option is selected, your Avid editing application draws waveforms between an IN point and an OUT point instead of over the entire composition. Highlight Suggested Render Areas After Playback When this option is selected, thin colored indicator lines display in the Timecode track of the Timeline. These lines provide information about the real-time effects in your sequence. For more information, see “Real-Time Playback of Video Effects” in the Help. Show Position Bar When this option is selected, the Timeline shows the blue position bar. Show Effect Contents When this option is selected, your Avid editing application displays effect information in the Timeline. Double-Click to Show Nesting When this option is selected, your Avid editing application lets you double-click segments in the Timeline to display the nested effects. Show Four-Frame Display When this option is selected, your Avid editing application shows the head and tail of incoming or outgoing frames of video when you drag a segment. Use Fast Scrub When this option is selected, your Avid editing application responds faster and more smoothly when you drag the position indicator through the Timeline (scrub). However, markers such as the start-of-clip and end-of-clip marks, sawtooth marks for IN and OUT points, and markers do not display, and some effects do not display completely in HD projects. When this option is deselected, all markers and HD effects display. This is the default option. Movement During Play Select one option to control the movement of the Timeline while you play a sequence: • Page — moves the Timeline section by section as the position indicator reaches the end of the visible Timeline. • Scroll — moves the Timeline while keeping the position indicator stationary. • None — keeps the Timeline stationary as the position indicator moves, even after the indicator goes beyond the end of the visible Timeline.
  • 146. Timeline Settings: Edit Tab Option Description Start Filler Duration Defines a default duration for the filler added at the start of a sequence. For more information, see “Adding Filler” on page 561. Find Flash Frames Shorter Than n frames Defines the maximum number of flash frames you want your Avid editing application to detect. The default is 10, which tells your Avid editing application to detect clips with 9 frames or fewer. For more information, see “Finding Black Holes and Flash Frames” on page 704. Auto-Patching When this option is selected, your Avid editing application automatically patches the enabled source tracks to the tracks enabled in the Timeline sequence. Auto-Monitoring When this option is selected, your Avid editing application monitors the track you patch. This option is selected by default. Segment Drag Sync Locks When this option is selected and you click the Sync Lock buttons in the Track Selector panel, your Avid editing application maintains audio and video synchronization when you drag clips in Segment mode. Your Avid editing application adds filler where necessary. For more information, see “Maintaining Sync with Segment Edits” on page 671. Default Snap-To Edit When this option is selected, clips snap to an existing transition endpoint when you drag them from a bin to the Timeline. When this option is deselected, clips move freely to any position on the track. Default Sync Locks On Enables sync locks on all video and audio tracks as the default Timeline setting. Select Filler with Segment Tools This option allows you to choose whether or not you want filler to be selected when using the Segment Tools. Clicking the TC Track or ruler Disables Smart Tools Allows you to disable all edit tools in the Smart tool on the Timeline palette by clicking either the Timeline ruler or the Timecode track. Only One Segment Tool Can Be Enabled At A Time Prevents both segment tools from being enabled at once. Default Segment Tool Specifies which segment tool — Segment Insert or Segment Overwrite — is enabled by default when you select segments for segment editing with no segment tools active on the Timeline palette. New Sequences Defines the number of video and audio tracks that display in the Timeline for new sequences. You can select a maximum of 24 video tracks and 24 audio tracks.
  • 147. Transfer Settings Option Description Lassoing transitions enters: Trim Mode: Select this option if you want the editing application to enter Trim Mode when lassoing transitions. Segment Mode: Select this option if you want the editing application to enter Segment Mode when lassoing transitions. This works only when the Keyframe Selection Tool is deselected. Transfer Settings The Transfer Settings dialog box appears only if your system is part of an Avid Interplay environment and you have configured Avid Interplay Transfer. For more information, see the Avid Interplay Transfer Setup and User’s Guide. Settings Tab Option Description Standalone/Incoming Requests • Refuse all Requests — Select this option if you do not want to receive files from another workgroup. • User Dialog To Accept/Refuse — Select this option if you want accept files from another workgroup, and then select one of the following dialog box options: Accept/Refuse Dialog Behavior: • Wait for User Action (No Timeout) — You receive a message request for a transfer. You must click OK for the transfer to occur. • Accept after Timeout — The system automatically accepts the file after the timeout. • Refuse after Timeout — The system does not accept the file after the timeout. You can specify the timeout period by typing the number of seconds in the Timeout (seconds) text box. Status Window Update Frequency (seconds): [n] — Type the number of seconds that you want the status window to update after in the text box. Bring up window if error occurs — Select this option if you want errors to display.
  • 148. n Option Description Send to Playback • Highlight mixed-resolution items — This option allows you to identify any mixed-resolution sequences before you try to send them to playback. Output Audio Mix • Direct channel output — Select this option if you do not want to perform a mixdown on audio tracks before sending them to playback. • Stereo Output — Select this option to mix all the tracks to a stereo pair, using pan controls to split the tracks. • Multiple Mixes — Select this option if you want to assign audio tracks to specific output channels for the send to playback operation. Click Edit to open the Multiple Mixes dialog box, which allows you to map audio tracks to output channels. For more information, see “Mapping Audio Tracks to Output Channels” on page 1298. Transcode • Transcode before sending to playback — This option allows for the transcoding of clips before performing a send to playback operation. • Minimum resolution warning threshold — allows you to specify the lowest resolution allowed to transcode before a warning message is displayed. The warning is on by default. If you do not want the warning to appear, deselect this option. Tape ID character limit Allows you to specify a Tape ID character limit during Send to Playback. Certain playback systems truncate Tape ID names that are too long. This option allows you to set the Tape ID name length. TMClient.ini Tab Option Description My Workgroup • Server — In a workgroup environment, type the Interplay Transfer server computer name. (This can be any name you give your workgroup.) In a standalone environment, type the computer name of the local system (this computer). • Workgroup — In a workgroup environment, type the name of your workgroup. In a standalone environment, type the name you want to see in the Transfer menu. If you want to edit the names of any of the Interplay Transfer servers or workstations listed in the Other Workgroups area, select the
  • 149. name, click Edit, and make the changes.
  • 150. Trim Settings Option Description Other Workgroups Click Add to open the Add Workgroup to List dialog box. • In a workgroup environment, type the name of the other Interplay Transfer server in the Server text box, and type the name of the your workgroup in the Workgroup text box. • In a standalone environment, in the Server text box, type the computer name of other workstation, and in the Workgroup text box, type the name you want to see in the Transfer menu. Trim Settings Trim Settings: Play Loop Tab Option Description Preroll Defines a preroll value for a playback loop. Postroll Defines a postroll value for a playback loop. Intermission Defines a transition effect duration for a playback loop. Trim Settings: Features Tab Option Description Never use Small Trim mode When this option is selected, your Avid editing application enters Big Trim mode when you perform any operation that activates Trim mode. Big Trim mode replaces the Source and Record monitors with displays of outgoing and incoming frames. “Go to Transition” uses Small Trim mode When this option is selected, your Avid editing application enters Small Trim mode only when you click the Go to Previous or Go to Next button. Always use Small Trim mode When this option is selected, your Avid editing application enters Small Trim mode when you perform any operation that activates Trim mode. Small Trim mode leaves the Source monitor display, Information Row displays, user tool palettes, and some Monitor menu functions intact. This option lets you continue to perform basic editing functions. Auto focus when entering Trim mode When this option is selected, your Avid editing application enlarges the Timeline at the transition selected for trimming if you enter trim mode with no trim editing tools selected on the Timeline palette.
  • 151. Video Display Settings Option Description Render On-the-Fly When this option is selected, your Avid editing application displays the results of effects as soon as you create them. This might slow down the editing of the sequence. Dual Image Play When this option is selected, your Avid editing application enables dual-image play (dual-roller trim) while trimming. Outgoing and incoming frames display in real time while you trim your edit (adding or removing the same number of frames on both sides of a transition). J-K-L Trim When the J-K-L Trim option is selected, you can use the J-K-L keys in Trim mode. For more information, see “Trimming with the J-K-L Keys” on page 723. Video Display Settings Option Description DV Output Setting The following options are available: • Output to DV Device: Select this option if you have connected a DV device to a software-only system. • Format: This option is available only if you have Output to DV Device selected and a device connected. Select the compressed format to send to the DV device. • Realtime Encoding: This option is available only if you are in an SD project with Output to DV Device selected and a device connected. Lets you enable or disable real-time effects for better performance. For more information, see “Playing Back to a DV Device” on page 515. Desktop Play Delay Defines a frame offset in the Composer monitor so that the media on the desktop and the media in the DV device play simultaneously. For more information, see “Adjusting the Play Delay Offset” on page 502. Open GL® Hardware Preview DVE effects with: Defines the Open GL processing method. Select either the Open GL board for your video display, or Software OpenGL if you do not have an OpenGL video board. For more information, see “Options for Controlling Real-Time Effects Playback” in the Help. Enable Confidence View (also called passthrough) When this option is selected, you can view incoming media in the Record monitor while you are capturing. Deselect this option for better performance.
  • 152. Video Input Tool Settings Option Description High-Quality Scaling for Real-Time Decode When this option is selected, image quality is improved during playback of mixed-format sequences where material requires resizing. This option is selected by default, and only affects playback with the Full Quality or the Full Quality 10-bit video quality setting. For more information, see “Setting the Video Quality for Playback” on page 518. This option improves image quality for SD sequences that contain HD material, or for sequences that mix HD sizes (for example, 720p with 1080p). Because this option affects playback performance, you might want to deselect it if you are working with complex sequences. In particular, you might notice that a sequence with many video streams that played back successfully in previous releases of Avid editing applications does not play back smoothly. (This option functions differently in earlier releases that include it.) You have two alternatives: • If you do not need to view your sequence at full resolution, you can select either Draft Quality or Best Performance in the Video Quality menu. These quality settings do not use the High-Quality Scaling for Real-Time Decode option. • If you need to view your sequence at full resolution, you can deselect this option. Maximum Real Time Streams Defines the number of video streams your Avid editing application uses during playback. For more information, see “Options for Controlling Real-Time Effects Playback” in the Help. Video Input Tool Settings For information on how to use the Video Input Tool settings, see “Preparing to Capture Video” on page 194. Option Description Input menu Defines the video input for SD projects: Composite, Component, S-Video, or SDI. For HD projects, the menu displays HD-SDI. For SD or HD projects, if you are capturing DV media through a 1394 port on your system, the menu displays Host-1394. For more information, see “Capturing Directly from a DV Device” on page 216. Waveform Monitor and Vectorscope Monitor buttons
  • 153. Video Input Tool Settings n Opens or hides the Waveform monitor and the Vectorscope monitor. Your Avid editing application supports the SMPTE/EBU component standard for 625 timing and Betacam component levels for 525 timing. Your Avid editing application does not support the MII component video standard. Sliders Let you change the value for each setting.
  • 154. Video Output Tool Settings Option Description Preset buttons These buttons are highlighted when the factory preset levels are displayed. SignalLock Lets you switch between the following: • Professional: preset sync using a wider bandwidth for non-TBC sources. • Consumer: automatic sync using time-base correctors (TBC) internal to the video source Settings menu Lets you save the settings for an individual tape each time you calibrate bars. 100% Bars button Select this option when the source tape has color bars with 100% (versus 75%) chrominance levels. Video Output Tool Settings Specific options apply to different projects, resolutions, and Avid input/output hardware. You might not see all of the following options in your Avid editing application. The Video Output tool is not available in software-only versions of Avid editing applications. Video Output Tool Settings: Options Tab Option Description Sync Lock Locks your output connection to the reference or an internal signal on the Avid input/output hardware. Your Avid editing application detects the type of Avid input/output hardware you have and displays the appropriate options from the following: • Internal • Reference • REF 1 • REF 2 • TriLevel (on some models, your Avid editing application detects TriLevel Sync automatically so it does not appear as an option) • Loop through HDMI Color Space Defines the color standard (either YCbCr or RGB) to use for your HDMI (High-Definition Multimedia Interface) output. You must have HDMI-compatible Avid input/output hardware attached to your system. If you are working in the YUV color space, the RGB option appears as Convert to RGB. If you are working in the RGB color space, crossconvert is not
  • 155. Video Output Tool Settings supported
  • 156. c Video Output Tool Settings Option (Continued) Description HDMI Format • SDInterlaced • SDProgressive • HD Crossconvert Defines a format to output an HD format from an HD sequence with a compatible frame rate. The options are specific formats (choices depend on the format of the sequence) or OFF. Downconvert Defines how downconverted SD video is resized. The options are Anamorphic, Letterbox, Center Cut, or OFF. Component Format VBI (DV resolutions unsupported) Controls whether your Avid editing application preserves or blanks 5 lines above each field in NTSC and 8 lines above each field for PAL when you display a sequence or perform a digital cut. These lines store encoded information such as closed captioning, edgecodes or key numbers for film projects, or various interactive or enhanced TV codes. • Blank: Your Avid editing application blanks the VBI (vertical blanking interval) information and lets you turn off its display. Your Avid editing application fills the vertical blanking interval with video black (RGB: 16, 16, 16). This is the default option. • Preserve: Your Avid editing application preserves the VBI information for a digital cut (does not change the output signal). If your facility uses VBI information, you add the VBI information to the video before you capture the footage. Your Avid editing application automatically captures VBI information when you capture footage. You cannot preserve VBI information for DV or HD resolutions. You can only preserve VBI information for JFIF, uncompressed, and MPEG IMX resolutions. You should only preserve vertical blanking information if you have a specific need for it. For more information see “Vertical Blanking Information” on page 1097. Your Avid editing application saves the VBI value from session to session. You can change the value at any time before you perform a digital cut. Test Patterns Lets you choose a test pattern for calibrating during output. S3D View Set the display or output mode for your stereoscopic 3D sequence. Follow Project Outputs at the project format settings.
  • 157. Video Output Tool Settings Mix Outputs a 50/50 blend of both the left and right eye images.
  • 158. Option (Continued) Description Difference Outputs a blend of both left and right eyes, and highlights the difference between the two. Embossed areas show the differences, while gray pixels represent no differences. Frame Compatible Outputs both the left and right eye images as dictated by the project settings (side/side or over/under). Full Frame Outputs both the left and right eye at full resolution. Mono Outputs only one of the stereoscopic images. Left Outputs only the left eye image. Right Outputs only the right eye image. Leading eye Outputs only the image set as the leading eye on the stereoscopic clip. Mono-Anaglyph Outputs the image in grayscale with color highlights only where there are differences in the left and right eye. The pixels in each eye image can be mapped to the following color options: Mono Red-Cyan Uses red for the left eye and cyan for the right. Mono Green-Magenta Uses green for the left eye and magenta for the right. Anaglyph Outputs the image with the selected color highlights only where there are differences in the left and right eye. The pixels in each eye image can be mapped to any of the following color options: Red-Cyan Uses red for the left eye and cyan for the right. Green-Magenta Uses green for the left eye and magenta for the right. Amber-Blue Uses amber for the left eye and blue for the right. Checkerboard When this option is selected, your Avid editing application outputs the left and the right images simultaneously for stereoscopic viewing. The term “checkerboard” refers to the way in which blocks of the left and right images are displayed for stereoscopic viewing. You can set the block size accordingly. Compare Outputs a comparison between the left and right eye images using a diagonal split screen. You can set the comparison mode to 25, 50, or 75%. Follow S/R Outputs at the settings in the source/record monitors.
  • 159. S3D Overlay Outputs with disparity guides over the image. Off Does not display any disparity guides.
  • 160. Option (Continued) Description The following options display disparity guides on the viewer so that you can see the depth budget limits when adjusting the separation between your stereo 3D images. The guides for Parallax are based on the project’s S3D settings (set from the Project window, Settings tab). Parallax Near Displays green guides that show the limits for objects that will appear in front of the screen plane. Parallax Far Displays blue guides that show the limits for objects that will appear behind the screen plane. Parallax Near/Far Displays both guides (green and blue) that show the limits for objects that will appear in front and behind the screen plane. Settings menu Lets you save the settings for an individual tape each time you calibrate bars. Video Output Tool Settings: SD Cal Tab Option Description Output menu Lets you select either Component, Composite, S Video. On some systems, all outputs on the input/output hardware are active. Select an analog signal from the Output menu to calibrate for output. For more information, see “Calibrating for Video Output” on page 1037. H Phase Lets you adjust the horizontal blanking interval used to synchronize the timing of two or more video signals. Available on some systems for the S Video, Component, or Composite output. Hue Lets you adjust an attribution of color perception based on varying proportions of red, green, and blue in the video signal (also known as color phase). Available for S Video or Composite output. Sat Lets you adjust saturation, a measurement of chrominance or the intensity of color in the video signal. Available for S Video or Composite output. SC Phase Lets you adjust the subcarrier phase (the color-burst portion of a signal used to synchronize the timing of two or more video signals). Available for S Video or Composite output. Setup Lets you set the relative lightness and darkness of images. Available for S Video, Component, or Composite output. Gain Lets you adjust the variation of the lightest or brightest in comparison to
  • 161. the darkest portions of the image. Available for S Video or Composite output.
  • 162. Option (Continued) Description Y Gain, RY Gain, BY Gain, Pr Gain, Pb Gain Available for Component output only in some Avid input/output hardware configurations. • Y Gain: Lets you adjust Y Gain, a measurement of luma (Y) in the video signal that is the whitest point in the visible picture. Use color bars to set the white level. • RY Gain: Lets you adjust the red (R) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard. The signal consists of the following base equation for red (R), green (G), and blue (B) components: R–Y = –0.587G – 0.114B + 0.701R. • BY Gain: Lets you adjust the blue (B) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard. The signal consists of the following base equation for red (R), green (G), and blue (B) components: B–Y= (– 0.587G + 0.886B – 0.299R) * gain value. • Pr Gain: Lets you adjust the gain of the Pr color-difference signal (a scaled version of the RY signal) of an analog component system. • Pb Gain: Lets you adjust the gain of the Pb color-difference signal (a scaled version of the BY signal) of an analog component system. System Phase In some Avid input/output hardware configurations, lets you modulate the timing of the output signal and a reference signal. Available for S Video, Component, or Composite output. SubPixel HPhase Provides a fine adjustment of Horizontal phase. Available for S Video, Component, or Composite output. Settings menu Lets you save the settings for an individual tape each time you calibrate bars. Available for S Video, Component, or Composite output. Video Output Tool Settings: HD Cal Tab Option Description Output menu Lets you select an HD component output, either Convert to HD Component RGB or HD Component YPbPr. Gain Lets you adjust a measurement of luma (Y) in the video signal that is the whitest point in the visible picture. Use color bars to set the white level. Available on some systems for HD Component RGB or HD Component YPbPr output.
  • 163. Video Satellite Settings Option (Continued) Description B Gain In some Avid input/output hardware configurations, lets you adjust the blue (B) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard. Available for HD Component RGB (on some systems) or HD Component YPbPr output. Pb Gain In some Avid input/output hardware configurations, lets you adjust the gain of the Pb color difference output, scaled from BY using the BT. 709 color space in HD component systems. Available for HD Component YPbPr output. R Gain In some Avid input/output hardware configurations, lets you adjust the red (R) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard. The signal consists of the following base equation for red (R), green (G), and blue (B) components: R–Y = –0.587G – 0.114B + 0.701R. Available for HD Component RGB or HD Component YPbPr output. Pr Gain In some Avid input/output hardware configurations, lets you adjust the gain of the Pr color-difference signal (a scaled version of the RY signal) of an analog component system. Available for component output only. H Phase Lets you adjust the horizontal blanking interval used to synchronize the timing of two or more video signals. Available on some systems for S Video, Component, or Composite output. System Phase Lets you modulate the timing of the output signal and a reference signal. Available for HD Component RGB or HD Component YPbPr output. Settings menu Lets you save the settings for an individual tape each time you calibrate bars. Video Satellite Settings For information on the use of these settings, see the Video Satellite Guide provided by Avid.
  • 164. Workspace Linking Settings Workspace Linking Settings Option Description Link Timeline Mode Buttons to a Workspace: • Source/Record mode • Effect mode • Color Correction mode Lets you link the mode buttons in the Timeline palette to a workspace. Clicking a linked mode button (Source/Record mode, Effects mode, Color Correction mode) opens the linked workspace.