Pyro Industries API-1394PCI Bedienungsanleitung

AcknowledgmentsI’m pretty sure that when Eva Cassidy wrote that God blesses the child who “got his own,”she was not referring to authors. Writing the

79 TUTORIAL: CAPTURING TO YOUR AVIDIf everything happened the way it is supposed to, you did it! Congratulations.Here are some things that can go wro

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81 BASIC EDITINGChapter ContentsHow to Make Editing FunThe Avid Graphic User InterfaceThe ToolsetsA Tour of the InterfaceTutorial:Making the First Ed

82CHAPTER 3: BASIC EDITING How to Make Editing FunEverywhere you go, from post house to corporations, homes, and small businesses, youwill see people

83 THE AVID GRAPHICAL USER INTERFACEFigure 3.1 A happy, educated editorThe Avid Graphical User InterfaceFirst, we’ll go over the Avid graphical user

84CHAPTER 3: BASIC EDITING Figure 3.2 The Avid graphic user interface:top,in Free DV; bottom,in Xpress ProBin tabsBin displaySource monitorRecord mon

85 A QUICK WALK AROUND THE GUIThe Avid GUI is remarkable. Like any good GUI, it displays the most commonlyused functions on the screen at all times.

86CHAPTER 3: BASIC EDITING Source Clip and Timecode Display Now here are some handy tools. The Source ClipName menu reveals the name of the clip curr

87 THE TOOLSETSRecord Track Panel The Record Track panel is where you show all the tracks that arerecorded in the sequence. It can also display addit

88CHAPTER 3: BASIC EDITING Xpress Pro has the same five toolsets available plus one more: Color Correction.Let’s take a look at these toolsets and ex

Jaime Fowler spends his time teaching, editing, and writing about video and film editing.He was formerly the lead editor at Sony Pictures Television a

89 THE TOOLSETSColor Correction Toolset (Xpress Pro Only)The Color Correction toolset (shown in Figure 3.5) is intended for use when workingwith the

90CHAPTER 3: BASIC EDITING Effects Editing ToolsetThe Effects Editing toolset is (of course!) the toolset used when editing effects (see Figure 3.7).

91 THE TOOLSETSThe Project window will switch tabs to reveal the Effect palette using thistoolset. (You can alternately reveal a floating Effect pale

92CHAPTER 3: BASIC EDITING Figure 3.9 Capture toolsetSaving ToolsetsIf the current toolset doesn’t quite meet your needs, you can open other windows,

93 A TOUR OF THE INTERFACEinterface is limited only to Xpress Pro. With Free DV, you can customize the interfacewindow displays, but not the individu

94CHAPTER 3: BASIC EDITING I’m somewhere in-between those two extremes. Although I like the advantagesof using multiple bins, I am hesitant to create

95 A TOUR OF THE INTERFACESettings Tab in Free DV and Xpress ProThe Settings tab is a list of all the settings available on Avid. Settings can be sav

96CHAPTER 3: BASIC EDITING The settings for Free DV (shown in Figure 3.12) are limited when comparedwith the settings that can be manipulated in Xpre

97 A TOUR OF THE INTERFACECapture The Capture settings (see Figure 3.16) include some capture methods, a mas-ter preroll method, some deck controls u

98CHAPTER 3: BASIC EDITING Deck Configuration Discussed fully in Chapter 2, Deck Configuration settings (seeFigure 3.17) allow you to select a suppor

Introduction xvChapter 1 Introduction to Avid and Editing 1Into Nonlinear Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

99 A TOUR OF THE INTERFACEExport Export settings (see Figure 3.20) determine the default settings for exportingeither graphic files or QuickTime movi

100CHAPTER 3: BASIC EDITING General General settings (see Figure 3.21) include the default start times for digital cut,the naming conventions for fil

101 A TOUR OF THE INTERFACEFigure 3.23 Keyboard Settings windowMedia Creation The settings for Media Creation (see Figure 3.24) allow you to prede-te

102CHAPTER 3: BASIC EDITING Timeline Settings for the Timeline (see Figure 3.26) include different controls for theTimeline display as well as settin

103 A TOUR OF THE INTERFACEFigure 3.28 Video Display Settings windowAdditional Settings in Xpress ProThe Settings tab in Xpress Pro (see Figure 3.29)

104CHAPTER 3: BASIC EDITING Controller These settings are for a DigiDesign Control 8 (see Figure 3.30), used forcontrolling audio playback and missin

105 A TOUR OF THE INTERFACEFigure 3.32 Interface Settings windowFigure 3.33 Keyboard Settings windowSafe Colors Xpress Pro will warn you if your outp

106CHAPTER 3: BASIC EDITING Script The Script settings (see Figure 3.35) determine how a script will look (font, colors,and so on) when using the Scr

107 A TOUR OF THE INTERFACEInfo TabThe Info tab (shown in Figure 3.38) displays system, hardware, and memory availabil-ity. There is nothing to set h

108CHAPTER 3: BASIC EDITING Clip MenuThe Clip menu is a versatile tool (see Figure 3.39). Although it doesn’t exactly look likea menu, it is. First,

xCONTENTS Naming and Commenting Clips 50Setting Up Your Target Bin 52DV Capture Offset 54The Capture Tool: Deck, Camera, and Timecode Controls . .

109 A TOUR OF THE INTERFACEMini-TimelineJust below the Source and Record monitors is a mini-timeline (see Figure 3.40). Thistimeline allows you to sk

110CHAPTER 3: BASIC EDITING Let’s take a look at this row of button icons and describe the function of eachbutton. As we go from left to right, remem

111 A TOUR OF THE INTERFACEMark In This button marks an in point on the Source side. When playing back media,you can update Mark In by clicking the b

112CHAPTER 3: BASIC EDITING Figure 3.43 Locator in the Source windowFigure 3.44 Locator window4440c03.qxd 11/6/05 9:36 AM Page 112

113 A TOUR OF THE INTERFACEFast Menu The Fast menu contains additional functions, as we described before. TheFast menu below the monitors offers the

114CHAPTER 3: BASIC EDITING  Table 3.2 Fast Menu Button Icons (Continued)Icon ActionTitle Tool activates the Title tool (discussed in Chapter 7).Eff

115 A TOUR OF THE INTERFACEOverwrite The Overwrite button creates a destructive edit. When using Overwrite, theedit will destroy anything after it on

116CHAPTER 3: BASIC EDITING Bin ViewsThe bins are, of course, the places in which you store clips, sequences, effects, and soforth. But different edi

117 A TOUR OF THE INTERFACEFigure 3.48 Adding a heading in Text viewYou can also customize your bins in Free DV or Xpress Pro by adding newheadings.

118CHAPTER 3: BASIC EDITING Figure 3.49 Frame viewHowever, that frame may not be the one that you need. You can change thedefault frame by doing the

xi CONTENTSChapter 4 The Timeline 135Working with Tracks: Track Panel Selectors . . . . . . . . . . . . . . . . . . 136Adding Video Tracks 144Addin

119 A TOUR OF THE INTERFACEFigure 3.50 Script viewThe TimelineIf you’ve looked ahead in this book, you probably already know that the next chapteris

120CHAPTER 3: BASIC EDITING On Free DV, you can have two video tracks and two audio tracks. It might notseem like much, but you can do a lot with it.

121 A TOUR OF THE INTERFACEEffects Mode The Effects Mode button changes the interface so that you are in Effectsmode. This might seem similar to the

122CHAPTER 3: BASIC EDITING The Quick Transition button also allows you to adjust the duration of the transition,select a drive for rendering the eff

123 A TOUR OF THE INTERFACESo just what is rendering? Rendering is the creation of an effect or effects so that theycan play back on your system with

124CHAPTER 3: BASIC EDITING Here’s an example. Let’s say that you have a picture of a woman walking down thestreet. Not a particularly interesting sh

125 A TOUR OF THE INTERFACEToggle Digital Video Out (Non-Mojo Systems)Toggling the Digital Video Out button allows you to switch between enabling rea

126CHAPTER 3: BASIC EDITING Tutorial: Making the First EditWell, you’ve learned a lot about the interface. Time to put it to use. Before we beginthe

127 TUTORIAL: MAKING THE FIRST EDITLoading ClipsLet’s take a look at the first and only clip in the bin: Tin Drawers. Double-click theclip; it should

128CHAPTER 3: BASIC EDITING Now you might be wondering, “How well did I mark it?” Let’s find out. Go toyour Settings tab in the Project window and do

xiiCONTENTS Tutorial: Trimming Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188Analyzing Trim Sides 188Sync Breaks 189Trimmin

129 TUTORIAL: MAKING THE FIRST EDITNow you need to find an out point. The best out point that I found is when hesays, “and she suddenly called for th

130CHAPTER 3: BASIC EDITING The J key does the exact same thing, only backward. Press it once for –30 fps,again for –60 fps, –90 fps, –150 fps, and –

131 TUTORIAL: MAKING THE FIRST EDITrecorded. Splicing expands the sequence to include newly recorded material as well asany material that was recorde

132CHAPTER 3: BASIC EDITING Changing Your Edits: Lift and ExtractOnce again, I remind you that anything in your Timeline is not set in stone. You can

133 TUTORIAL: MAKING THE FIRST EDITened the sequence. So we can say that extracting will remove unwanted material andpull up the material after it.Yo

134CHAPTER 3: BASIC EDITING Finishing the Editing TutorialContinue the editing on your own, using all the tools learned thus far. I wrote the storyli

135 THE TIMELINEChapter ContentsWorking with Tracks:Track Panel SelectorsAudio ToolAudio SettingsTutorial:Building a TimelineThe TimelineThe Timeline

136CHAPTER 4: THE TIMELINE Working with Tracks: Track Panel SelectorsAs mentioned in the last chapter during the walkaround of the GUI, the track pan

137 WORKING WITH TRACKS: TRACK PANEL SELECTORSRecord Track PanelThe Record track panel selectors work a little differently from the Source track pane

138CHAPTER 4: THE TIMELINE I Want My Filmstrip!If you want the filmstrip track to appear in a Timeline using Xpress Pro,click the Timeline Fastmenu a

xiii CONTENTSChapter 7 Effects and Transitions 245Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246M

139 WORKING WITH TRACKS: TRACK PANEL SELECTORSTo activate all tracks at once, select your Source composer monitor for Sourcetracks or the Record comp

140CHAPTER 4: THE TIMELINE SOLOINGThere may be times when you need to see or hear a track independently and alone. Okay,I’m talking like a lawyer now

141 WORKING WITH TRACKS: TRACK PANEL SELECTORSPatching TracksSometimes, you will want to patch tracks. For example, if you have music on Sourcetrack

142CHAPTER 4: THE TIMELINE The Rules of Patching TracksThere are certain rules that apply when using the track selector panels. Each rule issimple an

143 WORKING WITH TRACKS: TRACK PANEL SELECTORSLocking TracksYou can also use that same left minipanel as an indicator that tracks are locked.Locking

144CHAPTER 4: THE TIMELINE Unlocking works much the same way:1. Click the track to be unlocked.2. Select Clip > Unlock Track.3. The track is unloc

145 WORKING WITH TRACKS: TRACK PANEL SELECTORSAdding Audio TracksWith Free DV, the maximum number of audio tracks is two; Xpress Pro allows the creat

146CHAPTER 4: THE TIMELINE Video and audio tracks can also be added by way of the contextual menu: Parkyour cursor over the Timeline and (Windows) ri

147 THE AUDIO TOOLRenaming Sequence TracksYou can rename your sequence tracks on both Xpress Pro and Free DV by Shift-Ctrl-clicking (Mac)or right-cli

148CHAPTER 4: THE TIMELINE You can also use Infinite Peak when you do an output of your cut, just in caseyou are not monitoring it carefully. (I am n

xivCONTENTS Appendix A What’s New in Xpress Pro HD 285Real-Time DV-25 Bitstream Output . . . . . . . . . . . . . . . . . . . . . . . 286With a Mojo

149 THE AUDIO TOOLSo when setting reference level for output to an analog deck, set it at –14 dB.For a digital source (such as DV cam, DVC Pro, DV de

150CHAPTER 4: THE TIMELINE Figure 4.18 Selecting Create Tone Media Figure 4.19 The Create Tone Media windowNumber of Tracks I recommend making it for

151 THE AUDIO TOOL4. Select all tracks and mark in on the first frame after tone on the sequence side.Make sure that you have no out point marked on

152CHAPTER 4: THE TIMELINE Audio SettingsThe Audio Settings selection in the Project window allows you to adjust your scrubbingas well as the panning

153 THE AUDIO TOOLFigure 4.22 Adjusting output in the Audio Project Settings menuSampling RatesThe sampling rate of audio on your system is very impo

154CHAPTER 4: THE TIMELINE After the sample rate is established, you might encounter a tape that has a lowersample of audio recorded. In these cases,

155 THE AUDIO TOOLExtract/Splice ModeThe Extract/Splice button (see Figure 4.25) is located to the left of the Lift/Overwritebutton and is colored ye

156CHAPTER 4: THE TIMELINE You can also move multiple tracks such as video and two audio tracks by Shift-clicking the desired tracks or clips or by l

157 THE AUDIO TOOLHey! My Contiguous Clips Won’t Move!One of my first bad experiences with Timeline editing was when I was editing a commercial for a

158CHAPTER 4: THE TIMELINE Full Resolution You can monitor video in full resolution by either attaching a Mojo orby turning the digital toggle button

xv INTRODUCTIONBack in the late 1980s and early 1990s, nonlinear editing was moreof a thought than a reality. Most video editors were using CMX, Gras

159 THE AUDIO TOOLon the selected track(s). This is useful if you want to mark an edit that includes the lastframe of a segment but doesn’t include t

160CHAPTER 4: THE TIMELINE Other OptionsWhile selecting the Fast menu at the bottom left of the Timeline window, you mighthave noticed quite a few ot

161 THE AUDIO TOOLFinding Flash FramesIn some cases, you might have inadvertently placed some stray frames in your sequence.For purposes of definitio

162CHAPTER 4: THE TIMELINE 5. The blue position indicator moves to the first flash frames detected.6. To continue searching for more flash frames, re

163 TUTORIAL: BUILDING A TIMELINEFigure 4.34 Adjusting audio levels through keyframingSource and Record Timeline Toggling (Xpress Pro Only)The Source

164CHAPTER 4: THE TIMELINE 5. Choose Clip > Create New Sequence in your menus. A new sequence will be cre-ated (see Figure 4.33).6. Name this sequ

165 TUTORIAL: BUILDING A TIMELINE4. Now find the file using this path:NTSC: Xpress Pro|Free DV\Supporting Files\Test Patterns\SMPTE_Bars.pctPAL: Xpre

166CHAPTER 4: THE TIMELINE  Table 4.1 Keyboard Shortcuts for ScrubbingAction ShortcutPlay forward at 30 fps. Press the L key once.Play forward at 60

167 TUTORIAL: BUILDING A TIMELINEYou have now replaced a portion of shot 7 and left a black hole where shot 2previously existed.Customizing and Savin

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xviINTRODUCTION Advanced features and functions that are less documented. Have you ever worked with asoftware application only to find that your way

169 TRIMMINGChapter ContentsWhat Is Trimming?Trim SelectionTrimming MethodsMore Trimming ConsiderationsTutorial:Trimming SequencesTrimmingOne of the

170CHAPTER 5: TRIMMING What Is Trimming?What exactly does an editor do? If you’re like me, you’ve had parents that have beenasking that same question

171 TRIM SELECTIONAnd that’s just the way an audience wants it: timed precisely according to theneeds of the program. But timing isn’t always intende

172CHAPTER 5: TRIMMING In other cases, we might trim both sides at the same time. For example, if weroll the A side forward, we roll the B side forwa

173 TRIM SELECTIONWhen you enter Trim mode, the interface changes ever so slightly. Now, insteadof a Source monitor, the monitor to the left is the A

174CHAPTER 5: TRIMMING Some editors, and even more producers, can’t stand the Trim Play loop. Rememberthat it is only a tool to gauge how well the tr

175 TRIM SELECTIONI liken this scenario to rolling out carpet. Think of the pink rollers in your Time-line as little rolls of carpet. When you are tr

176CHAPTER 5: TRIMMING Trimming MathematicsI so loathe telling people that some mathematics is involved, because it can send manyan editor running. B

177 TRIMMING METHODSAdding RollersAfter you enter Trim mode and have selected which side of the transition is to betrimmed, you might have noticed so

178CHAPTER 5: TRIMMING Button trimming is normally used as a nudging device, where each frameadvance or reverse can be monitored and played back imme

AVID MADE EASY:Video Editing with Avid Free DV and theAvid Xpress®FamilyJaime FowlerWiley Publishing, Inc.4440c00.qxd 11/6/05 9:33 AM Page iii

xvii INTRODUCTIONabout the variety of Avid systems that have come into play. We’ll include your own FreeDV and Xpress systems as well.How to Use this

179 TRIMMING METHODSTrimming on the FlyTrimming on the fly is a simple yet elegant way to adjust a transition based on timingwith real-time playback.

180CHAPTER 5: TRIMMING to tell you this. The ability to dynamically trim media and view it as the trimmingtakes place makes trimming simple and preci

181 TRIMMING METHODSWhen there is a need to trim, I almost always find myself using J-K-L trimmingbecause it can be used for small and large trims. F

182CHAPTER 5: TRIMMING An alternate way to enter Slip is through the Timeline menus. While in Trimmode, place your cursor over the segment that you w

183 TRIMMING METHODScontains the first frame of the next shot following the slipped shot. As you slip the shotforward or backward, only frames 2 and

184CHAPTER 5: TRIMMING of the scene being slid. The third monitor is the last frame of the slid scene, and thefourth monitor contains the first frame

185 MORE TRIMMING CONSIDERATIONSthe A side of the transition will play, and you will be able to detect whether or not ithas the stray frame. Select t

186CHAPTER 5: TRIMMING To extend, select the track(s) you want to extend. Find the point in the sequenceto where you want to extend the clip. If this

187 MORE TRIMMING CONSIDERATIONSFigure 5.19 Sync breaks displayed on the TimelineThere are two simple rules that I use to avoid breaking sync:• When

188CHAPTER 5: TRIMMING Usually adding the edits would mean cueing up to the transition point, selectingall the video and audio tracks with no media o

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189 TUTORIAL: TRIMMING SEQUENCESThen do the exact same thing over again. Press the Play Transition Loop buttonagain and press the W button. The B sid

190CHAPTER 5: TRIMMING Trimming Using Digital ScrubMove forward to the next transition. Again, using the skills you’ve learned so far, findthe transi

191 IMPORTING, EXPORTING, AND DIGITAL CUTChapter ContentsStill GraphicsImporting Other Types of FilesExportingDigital CutTutorial:Import and ExportIm

192CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT Still GraphicsStill graphics are a big part of any production. Examples can include show credits,

193 STILL GRAPHICSLet’s take a look at some image import settings. If you want to follow alongwith your Xpress Pro or Free DV, click inside a bin and

194CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT Figure 6.2 (top) NTSC SDTV signal; (bottom) PAL SDTV signalAn important thing to note is that NTS

195 STILL GRAPHICSPixel AspectTelevision signals have long had accepted standards. The idea of standards when creat-ing media is that the picture can

196CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT Let’s take a look at each of these options as they appear in the import options inyour software.6

197 STILL GRAPHICSpictures will import so that they fill the screen from top to bottom and have black barson either side. Wide, horizontal, or “lands

198CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT the color gamut, image brightness and darkness, and so on is extraordinary. Fortunately,we won’t

1 INTRODUCTION TO AVID AND EDITINGChapter ContentsInto Nonlinear EditingThe Avid Product LineEditing WorkflowIntroduction toAvid and EditingAfter we’

199 STILL GRAPHICSvideo with the upper field first. If we were to specify the field ordering as lower fieldfirst, Mr. Bledsoe’s arm would begin forwa

200CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT Field dominance doesn’t play a big role in your determinations, unless yoursource material has cu

201 STILL GRAPHICSSo if you are using graphic files created with a graphics application, there is aninvert alpha option.Importing Graphic FilesAvid F

202CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT Figure 6.8 The Import dialog boxSingle Frame Import DurationFor each graphic import, you can choo

203 STILL GRAPHICSSaving Import Settings (Xpress Pro)Now that you’ve established your import settings, save them on your system. If youwork with a gr

204CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT Importing Photoshop Graphics (Xpress Pro)Xpress Pro can work with the layer’s capabilities that a

205 STILL GRAPHICSBatch Reimporting Graphics (Xpress Pro)When you import graphic files, it is a good idea to store them in a place on your sys-tem ha

206CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT graphics were previously imported at 15:1s and you have changed the import setting toDV25 411, it

207 IMPORTING OTHER TYPES OF FILESMusic CDs use a sampling rate of 44.1 kHz. If you want the sample rate to matchthat of your project, choose Setting

208CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT Be sure to select the format of the file on the Import menu, or else it won’t show inyour file br

2CHAPTER 1: INTRODUCTION TO AVID AND EDITING Into Nonlinear EditingEditing is fun. Even before nonlinear editing applications were invented for the p

209 EXPORTINGWith Xpress Pro, you can also export the following:• Sequences for use on other systems• MPEG streams for use with DVD authoring• Export

210CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT Creating Your Own SettingsYou can create new export settings as well as use the ones described he

211 EXPORTINGThis is based on the presumption that you would even use a video image forprint. A more common use for exported graphics is its use in a

212CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT automated fashion. If they are not contiguous, you can edit a new sequence togetherand make them

213 EXPORTINGno-brainers: If you select Use Marks in your Export dialog box, and the clip in the binhas no marks, there will be no audio exported.The

214CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT Exporting QuickTimeBefore we discuss exporting frames and audio files, let’s get right to the mos

215 EXPORTINGcompressed and is easily accessed. The instruction set used in this file is so small thatthere is very little concern for drive space. H

216CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT There are some codecs that come with QuickTime when you install it (see Figure6.17). Other codecs

217 EXPORTINGExporting SequencesLet’s start by exporting a sequence. From here, we’ll go through all the options anddialog boxes. At first, this may

218CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT settings. At the top, there is also an Export As setting. Click on it to reveal all the dif-feren

3 INTO NONLINEAR EDITINGThe history of editing is fascinating. In the old days, a film editor would workon a bench with razor blades, splicing tape,

219 EXPORTINGmachine. This method of export goes directly from the Xpress Pro bin to the targetapplication. The function is called Send To. Here’s ho

220CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT With the sequence selected (either by clicking on the Timeline or the Recordmonitor) select File

221 EXPORTINGnumber of settings available depends upon the type of computer, the enabled mediacapabilities, and the amount of software that you own.

222CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT Finish that sandwich and we’ll go over each option.Fast Start Fast start allows your QuickTime to

223 EXPORTINGExporting OMFI FilesOpen Media Framework Interchange (OMFI) is a file format that can be transferred toother platforms and other applica

224CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT Exporting OMFI and AAF Compositions and MediaLet’s see how you can export AAF and OMFI filesFirst

225 DIGITAL CUTConsolidate Media and Link to Consolidated Media When you have a sequence that islong, you can consolidate it so that it doesn’t have

226CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT Editing Bars and ToneA lot of people skip this task, but I highly encourage putting bars and tone

227 DIGITAL CUT Table 6.2 Bars and Tone Formatted for CommercialsSource TC In TC Out DurationBars and Tone 00:58:50:00 00:59:50:00 00:01:00:00Slate/

228CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT Some people like to get fancy with their slates. I personally prefer a simple blackbackground wit

4CHAPTER 1: INTRODUCTION TO AVID AND EDITING The Avid Product LineToday, Avid has several different nonlinear editing systems. They all basically do

229 DIGITAL CUTLook Busy!If the sequence is really long and it takes more time than you anticipated, here are some addi-tional stratagems for keeping

230CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT For example, if you start bars at 00:58:30:00, you could start the timecode onyour tape to 00:58:

231 DIGITAL CUTyour deck and play back the digital cut. In almost every case when you are using acamera as your record deck, you use this method of r

232CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT First, go to the Project window and click the Settings tab. Locate the Deck Con-figuration settin

233 DIGITAL CUTIf your deck is not listed under the manufacturer’s name, you might be able tofind the template on Avid’s website. Avid frequently add

234CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT Software Only (without the Optional Mojo Interface)Let’s take a quick tour of the Digital Cut too

235 DIGITAL CUTTo the right of the blinking light is a blue Stop button. When recording or pre-viewing a digital cut, you can click this button to st

236CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT the tape continues playing. Mismatched levels are common in broadcasting, and theydon’t look part

237 DIGITAL CUTAlthough it looks like a direct entry box, the DV Offset is controlled throughyour deck preference settings. If you do a digital cut,

238CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT Tutorial: Import and ExportThere are several graphic files and QuickTime movies on the accompanyi

5 THE AVID PRODUCT LINEwere “good enough.” Of course, the software was updated to keep the edit systemcompanies in business. Nonetheless, some compan

239 TUTORIAL: IMPORT AND EXPORTTone Media Frequency The tone media frequency is preset at 1000 Hz, which is thestandard for most recorded video media

240CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT 2. Go to the File menu and choose Import.3. Make sure the options are set as follows:Option Value

241 TUTORIAL: IMPORT AND EXPORTRender EffectsXpress Pro’s Expert Render can determine exactly how many of your effects need to berendered in your seq

242CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT After the transcoded sequence is made, load it into the Source monitor and againselect Special &g

243 TUTORIAL: IMPORT AND EXPORTConverting Audio Sample RatesBefore performing a digital cut, you have to convert all audio sample rates to the samesp

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245 EFEFCTS AND TRANSITIONSChapter ContentsMotion EffectsTitlesPalette EffectsEffect EditorEditing with KeyframesBuilding Vertical EffectsReal-Time P

246CHAPTER 7: EFFECTS AND TRANSITIONS Motion EffectsA motion effect is an effect that changes the speed at which a clip would normally play.Xpress Pr

247 MOTION EFFECTSMotion Effects InterpolationEach motion effect can be interpolated in different ways. Interpolation determines howframes and fields

248CHAPTER 7: EFFECTS AND TRANSITIONS a scan line so that the fields are aligned. This results in a smoother motion withoutdetail reduction, which wo

6CHAPTER 1: INTRODUCTION TO AVID AND EDITING For the uninitiated, a video frame consists of two fields. The picture first scans everyother line of re

249 MOTION EFFECTSask which bin the freeze frame clip is to be stored in. Choose the bin or create a newbin, then select OK. The freeze frame appears

250CHAPTER 7: EFFECTS AND TRANSITIONS TitlesAvid’s Title tool is the same in both Free DV and Xpress Pro. If you’ve worked withany kind of text editi

251 TITLESyou to group together and ungroup individual objects (or, if you prefer, elements) thatyou create in the tool.The Alignment menu allows you

252CHAPTER 7: EFFECTS AND TRANSITIONS The idea of the style menu is that you can create a look (or style) for your titlesand store it. But if you wan

253 TITLESvideo underneath your title. It uses a fairly common method of color picking,but if you like the more traditional circular color wheel, you

254CHAPTER 7: EFFECTS AND TRANSITIONS Next to the font key is a size register . You can enter a custom size orclick the arrow to use a preset size f

255 TITLESFigure 7.11 (left) Font with normal kerning;(right) font with tight kerningFigure 7.12 (left) Font with normal leading; (right) font with t

256CHAPTER 7: EFFECTS AND TRANSITIONS Palette EffectsEvery effect can be placed into one of two categories: transition effects and segmenteffects. Tr

257 PALETTE EFFECTSApplying EffectsApplying effects to your sequence is a simple drag-and-drop operation, just as Idescribed previously. To apply an

258CHAPTER 7: EFFECTS AND TRANSITIONS Your system will vary depending on its configuration. Although it might seempointless to have the ability to en

7 THE AVID PRODUCT LINEFrom this technology, we in the workforce learned two important things: First,Newton was right. You can always count on gravit

259 PALETTE EFFECTSEnding At Cut Ending At Cut allows the effect to begin before the cut point. The num-ber of frames in the transition is the determ

260CHAPTER 7: EFFECTS AND TRANSITIONS Segment EffectsSegment effects are different from transition effects in that they are applied to entireclips in

261 PALETTE EFFECTSAVX effects such as Boris FX and SpiceMASTER have extended editing interfaces oftheir own. To open this interface, click the small

262CHAPTER 7: EFFECTS AND TRANSITIONS BORDER COLORThe Border Color and Blend Color parameters let you set the color for the border.Adding a blended c

263 PALETTE EFFECTSWhen using the eyedropper tool on your border color, both the border andblend colors change to the selected color. To prevent this

264CHAPTER 7: EFFECTS AND TRANSITIONS BackgroundThe Background parameter is used to determine background colors when used withResize, Mask, Picture-i

265 PALETTE EFFECTSPositionThe Position group of parameters allows you to position the image from top to bottomand left and right in the screen. The

266CHAPTER 7: EFFECTS AND TRANSITIONS Crop values range from 0 to 999, where 0 is no cropping, and 999 crops theentire image. The Crop parameters are

267 PALETTE EFFECTSKeep in mind that with segment effects, the effect will vary based on the dura-tion of the effect, so it might move faster or slow

268CHAPTER 7: EFFECTS AND TRANSITIONS Figure 7.15 Timecode window with effect timesEditing with KeyframesKeyframes are the backbone of any effect. In

8CHAPTER 1: INTRODUCTION TO AVID AND EDITING The NuBus models incorporated different levels of video resolution, numberedAVR1-6. These single-field r

269 EDITING WITH KEYFRAMESkeyframe—the keyframe that is being currently adjusted in the Effect Editor—is indi-cated by a bright pink color. Inactive

270CHAPTER 7: EFFECTS AND TRANSITIONS Moving KeyframesIn some cases, you may need to move the position of a keyframe in the Timeline. To dothis, firs

271 EDITING WITH KEYFRAMESFigure 7.17 Advanced keyframing with PIP effectOver time, you will find many situations in which advanced keyframing is ben

272CHAPTER 7: EFFECTS AND TRANSITIONS in the monitor. To zoom out, Shift-Ctrl/F-click in the monitor. You can also map theReduce and Enlarge buttons

273 REAL-TIME EFFECT PLAYBACKWhen you create effects, you may have to determine whether elements are withinthe title safe or action safe areas. Using

274CHAPTER 7: EFFECTS AND TRANSITIONS opposed to other systems, it will use the “look-ahead” function of RAM to preventdropped frames.In some cases,

275 NESTED EFFECTS AND COLLAPSING (XPRESS PRO)Yellow Bars Yellow bars indicate areas in which the system is stressed to its limit, butdid not fail to

276CHAPTER 7: EFFECTS AND TRANSITIONS When we make the shift from linear to nonlinear editing, there are always a fewhitches, and the transition from

277 NESTED EFFECTS AND COLLAPSING (XPRESS PRO)You can do this same type of effect on higher tracks for simple snappy transi-tions. For example, you c

278CHAPTER 7: EFFECTS AND TRANSITIONS Expanded nesting shows you the tracks within a nest, but keeps the monitoringthe same. With expansion nesting,

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9 THE AVID PRODUCT LINEAs a result, Avid systems were broadcast-ready. New resolutions reflecting thesechanges were developed. Avid named them AVR 75

279 NESTED EFFECTS AND COLLAPSING (XPRESS PRO)When played back, the title doesn’t exactly emulate the path of the Picture In Pictureeffect because it

280CHAPTER 7: EFFECTS AND TRANSITIONS underneath. In essence, it’s just a wrapper for nested effects. Some other NLE productscall them “containers.”A

281 NESTED EFFECTS AND COLLAPSING (XPRESS PRO)Nesting Order and AutonestingThe order in which you build your nests within nests is very important. Fo

282CHAPTER 7: EFFECTS AND TRANSITIONS 3D Warp (Xpress Pro)Xpress Pro has additional effects that emulate 3D space. Let’s go over some basic con-cepts

283 EXPERIMENTING WITH EFFECTSSome existing effects can be promoted to 3D type effects. These effects areTitles, Picture In Picture, and imported mat

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285 WHAT’S NEW IN XPRESS PRO HDAppendix ContentsReal-Time DV-25 Bitstream OutputNew ResolutionsMore Effects Supporting Advanced KeyframingAVX 2.0 Sup

286APPENDIXA:WHAT’S NEW IN XPRESS PRO HD Real-Time DV-25 Bitstream OutputThe newest version of Xpress Pro HD is capable of a DV-25 bitstream output.

287 REAL-TIME DV-25 BITSTREAM OUTPUTtruly a DV-50 device. Otherwise, it will not work. Currently, only DV-25 real-time bit-stream encoding is support

288APPENDIXA:WHAT’S NEW IN XPRESS PRO HD Digital Cut Tool ChangesThe Digital Cut tool has also changed somewhat. Note that there is a choice of devic

10CHAPTER 1: INTRODUCTION TO AVID AND EDITING Figure 1.6 A modern Avid keyboardFor some, it was still something of a burden to have to rely on so man

289 MORE EFFECTS SUPPORTING ADVANCED KEYFRAMINGDVC Pro HD can be captured directly to Xpress Pro via FireWire. DVC Pro HDis the only HD format that i

290APPENDIXA:WHAT’S NEW IN XPRESS PRO HD AVX 2.0 SupportXpress Pro HD supports the new AVX 2.0 category of effects, which consists of third-party eff

291 GLOSSARYabsorption The retention of light withoutreflecting or transmitting.Academy leader A leader placed at head ofrelease film prints, countin

292GLOSSARY aspect ratio The ratio of picture width to pic-ture height. 1.85:1 is the most common filmaspect ratio in the United States; 1.66:1 ismor

293 GLOSSARYA bin normally consists of a series of hooksthat overhang into a nonfibrous bag. Theclips are attached to cardboard trim tags thatvisuall

294GLOSSARY picture production. Includes scene numbers,takes, circled takes, footage, and other infor-mation. A copy of this multicarbon formshould b

295 GLOSSARYCIE Acronym for International Commission onIllumination (abbreviated from its French title:Commission Internationale de l’Eclairage); the

296GLOSSARY color gamut Referring to the full range of col-ors that can be captured or reproduced by adevice, represented by a color space.colorimete

297 GLOSSARYsynchronous with the previously laid controltrack. Also be referred to as crash record (forexample, in the Avid Digital Cut tool).crawl T

298GLOSSARY diffuse Referring to scattered light.digital A signal that contains information in abinary form. Digital signals are often per-ceived inc

11 THE AVID PRODUCT LINEand Meridien resolution media with other current media types such as DV25. Mojooffers a limited selection of both Meridien re

299 GLOSSARYdigital signal vs. traditional analog. Oftenconfused with high-definition television(HDTV).dubbing In videotape production, the processof

300GLOSSARY edit rate Also called fps or frames per second.The number of frames per second that a spe-cific type of media uses. Film is 24fps, phasea

301 GLOSSARYFireWire The international hardware and soft-ware standard for transporting data at speedsof up to 400 megabits per second (Mb/s)(1394a)

302GLOSSARY gamma 1. The slope of the straight line por-tion of a CRT that relates log luminance tolog voltage. 2. The portion of an image thatnormal

303 GLOSSARYthan that of standard-definition television(SDTV) whose standards are recommendedby the Advanced Television Systems Com-mitttee (ATSC). C

304GLOSSARY video levels, originally established by theInstitute of Radio Engineers.ISO 1. International Organization for Stan-dardization 2. Refers

305 GLOSSARYkeyscope A telecine log format using files thatend with .ksl.kilobyte (KB) Approximately one thousandbytes of information.kilohertz (kHz)

306GLOSSARY luminance contrast The apparent change fromlighter to darker areas of an image.M & E track A single or stereo pair audio trackthat co

307 GLOSSARYMIDI Acronym for Musical Instrument DigitalInterface. A standard protocol that allows auser to control electronic music equipmentfrom a c

308GLOSSARY NTSC Acronym for National Television Stan-dards Committee. The group that developedthe standard for color television in the UnitedStates.

12CHAPTER 1: INTRODUCTION TO AVID AND EDITING Editing WorkflowHow many times have we heard that age-old saying, “If you don’t know where you’regoing,

309 GLOSSARYphantom telecine A system that plays backpreviously telecined films from a drive stor-age array. Used for color correction onmotion pictu

310GLOSSARY real time The actual measured time in whichevents occur.record To copy video and audio signals fromone medium to another.region of intere

311 GLOSSARYsample data The media data created by record-ing or digitizing from a physical source. Asample is a unit of data that the recording orcap

312GLOSSARY signal. It is the blackest point in the visiblepicture. Also called black level or pedestal.shared volume segmentation A method of trans-

313 GLOSSARYaspect frame to be displayed on videotape or DVD.soft wipe A wipe effect from one image toanother that has a diffused edge.sorting The di

314GLOSSARY of horizontal and vertical color samples. Afourth digit can be added to this notation toindicate the alpha channel. Alpha channelsampling

315 GLOSSARYspecially equipped camera and a telecinewith metaspeed or other speed-alterationdevice.three-point editing The principle that any editreq

316GLOSSARY 2:3 pulldown The process in telecine createdwhen a film, shot at 24 fps, is transferred tovideo at 30 fps. Every other frame of film ishe

317 GLOSSARYV-LAN An upgradable software protocol,developed by Videomedia, for video devicecontrol used by proprietary hardware betweenthe computer a

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13 EDITING WORKFLOWEven as you read this book, there is a certain amount of change that has takenplace from its original form. We started with an out

319 INDEXNote to the Reader: Throughout thisindex boldfaced page numbers indicate primary discussions of a topic. Italicizedpage numbers indicate ill

320INDEX animationframe counts for, 68Photoshop graphics for, 204anti-aliasing, 291Apollo computer, 4Apple Computer, 4arrow tool, 251arrowhead too

321 INDEXautomated dialog replacement (ADR), 291autonesting, 281AutoSave feature, 292autosync feature, 292AUX sources, 292Avid Broadcast Video Board

322INDEX Bins tab, 93–94, 93bits, 292–293bitstream output, 286–287, 287black and code process, 293black burst, 293black burst generators, 229, 293

323 INDEXDV Capture Offset, 54–55DV Scene Extraction, 64–67, 65DV transcoders, 74in editing workflow, 14–15, 14with FireWire, 74from handwritten logs

324INDEX Clip Durations option, 160Clip Frames option, 160, 160Clip menu, 108, 108Clip Name setting, 50Clip Names option, 160clipping, 295clipsdef

325 INDEXcompression, 52–53, 296Compression Settings menu, 220condition-dependency, 86cones, 296configuringbuttons, 83decks and cameras, 57–60, 58, 6

326INDEX datacines, 297daylight, 297daylight illuminant, 297decibels (dBs), 297Deck button, 41–42Deck Configuration settings, 58, 58, 98, 98deck c

327 INDEXdirect digital interface, 298direction handles, 298disks, 298dissolves, 298distortion, audio, 48distracting clients, 229divide and conquer s

328INDEX edge filters, 299edge numbers, 86edit benches, 299edit controllers, 299edit decision lists (EDLs), 300edit rates, 300Edit tab, 66editing,

14CHAPTER 1: INTRODUCTION TO AVID AND EDITING On the other hand, we’ll say the air show itself has a concept: “You Wouldn’tBelieve Our World” is the

329 INDEXmotion, 246–249, 246–249nested and collapsing, 275–276expanded nesting, 279–280, 280order and autonesting, 281step nesting, 278–279Submaster

330INDEX Ffacing pages, 300fades, 121, 300Fast Draft option, 218Fast Export as QuickTime Movie option, 209fast-forward key, 272Fast menu, 93, 113–

331 INDEXkeyframes. See keyframesrate of, 68, 289size of, 193–194, 193–194slipping, 181snapping to, 158–159in trimming, 178frames per second (fps), 3

332INDEX handwritten logs, capturing from, 63hard disks, 302hard mattes, 302HDTV (high-definition television) format,193, 302–303Head Fade button,

333 INDEXIntermission settings, 102, 173International Color Consortium (ICC), 303International Commission on Illumination(CIE), 295International Orga

334INDEX laptop drives, 26lasso toolfor rollers, 177for transitions, 172, 173last frames, monitoring, 184latency detection, 55layback process, 305

335 INDEXmagnetic tracks, 306Maintain, Non-square option, 196, 196Maintain, Square option, 196Maintain and Resize, Square option,196–197, 197Make New

336INDEX motion effects, 246, 246defined, 307freeze frames, 248–249, 248interpolation, 247–248, 247standard, 249, 249motion tracking, 307mouse, 83

337 INDEXDV, 194, 194in exporting, 210frames in, 198SDTV, 195NuBus systems, 6–8, 6–7nudging effects, 178Number of Tracks setting, 150, 239numerical e

338INDEX PC notebook and workstation requirements, 23PCI systems, 8–9, 8Peak Hold option, 147peripherals, 37, 73persistence of vision, 198phantom

15 EDITING WORKFLOWCapturing material in this way enhances the creative process, as we discussed. Allof a sudden, the project becomes bigger than the

339 INDEXfor timeline, 65–66for trimming, 180projectsdefined, 309prepping, 126protection masters, 309pulldown process, 309QQT codec, 216qualityaudio,

340INDEX replace edits, 310Reset Peaks option, 148resolutionsin capturing, 52–53, 78, 78defined, 310in exporting, 210in importing, 201in logging,

341 INDEXscaling effects, 264–265, 264scanners, 311scene-by-scene telecine method, 311Schoonmaker, Thelma, 2Scorsese, Martin, 2screen fonts, 253scree

342INDEX Shared project option, 38shared volume segmentation, 312shield signal, 34shooting ratio, 25shortcutsfor capturing, 63for navigation and e

343 INDEXSource window, 107space between letters and lines, 254speed points, 313SpiceMASTER effects, 261Splice button, 111splices, 313split edits, 13

344INDEX tail framesdefined, 314monitoring, 183snapping to, 158–159tail slates, 314tails out reels, 314takes, 314tape bin, 94tapesnaming, 28, 28,

345 INDEXbars and tone for, 163–165, 164–165buttons for, 84, 87, 120–124, 122capturing to, 65–66defined, 315editing, 154deleting clips, 167Extract/Sp

346INDEX locking, 143–144, 143moving, 156patching, 141–142, 141Record track panel, 137–138, 137renaming, 147size, 146soloing, 140Source track pane

347 INDEXUndo buffer, 131, 133Undo keys, 131unlocking tracks, 144up cutting, 316upright system, 316upsampling audio, 46, 154Use Enabled Tracks option

348INDEX wild sounds, 317window dubs, 317Windows systemsimage export settings for, 208–209requirements for, 22–23wipes, 317workprints, 317Workspac

16CHAPTER 1: INTRODUCTION TO AVID AND EDITING Figure 1.10 Editing the mediaThe important thing to remember is that your sequence should be edited loo

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17 EDITING WORKFLOWmany different ways of doing it that it might appear overwhelming at first. Not toworry, you’ll adapt.By trimming each piece in ou

18CHAPTER 1: INTRODUCTION TO AVID AND EDITING If a graphical representation of what is being said necessitates a flowchart or bargraph, one might hav

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19 EDITING WORKFLOWThe effects tool on Free DV is somewhat limited, but you can create and customizean effect and save it for later use. Many effects

20CHAPTER 1: INTRODUCTION TO AVID AND EDITING recorder. You can output for sound mixing and sweetening, special effects generation,or animatics, whic

21 CAPTURINGChapter ContentsConsiderations Before You CaptureUsing a Deck for CaptureThe Capture Tool:Capture ControlsThe Capture Tool:Deck and Camer

22CHAPTER 2: CAPTURING Considerations Before You CaptureBoth Free DV and Xpress Pro have certain system requirements. Although it is truethat some in

23 CONSIDERATIONS BEFORE YOU CAPTURE• 1 GB system memory (1.5 GB recommended)• A qualified graphics card (as supported by system vendor); Avid recom-

24CHAPTER 2: CAPTURING For Macintosh• Single- or dual-processor G4 or G5• Mac OS X 10.3.4, 10.3.5, 10,36 , 10.3.7, or 10.3.8• 1GB RAM• Graphics adapt

25 CONSIDERATIONS BEFORE YOU CAPTUREAllotting Proper Drive SpaceBefore you begin any project, you’ll need to make sure that you have enough drivespac

26CHAPTER 2: CAPTURING When using Free DV or Xpress Pro, it’s highly recommended that you storemedia on a separate drive. In other words, do not stor

27 CONSIDERATIONS BEFORE YOU CAPTUREwhat media is on the drive. This file can be fairly large, depending on how many mediaobjects are stored on that

28CHAPTER 2: CAPTURING It’s important to remember that when logging and capturing, you should alwaysgive a couple of seconds at the beginning and end

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29 CONSIDERATIONS BEFORE YOU CAPTUREXpress Pro uses several resolutions, as shown in Figure 2.4. If your source is aDV tape, you should use DV 25 OMF

30CHAPTER 2: CAPTURING planned, but it least you have an idea about what it will take to get the project done right.Here’s an example of what can go

31 USING A DECK FOR CAPTUREFigure 2.5 Picking a deck for captureWhen using FireWire with Xpress Pro and Free DV, you can also control thesource deck.

32CHAPTER 2: CAPTURING RS-422RS-422 is an older serial protocol that was created to control professional video decks.Using RS-422 allows you to contr

33 USING A DECK FOR CAPTUREWhen using RS-422 with non-FireWire decks, you need a transcoder to convertvideo and audio data into a FireWire signal tha

34CHAPTER 2: CAPTURING RCA connectors can also be used for audio. There are no strict conventions onwhich types of RCA/Phono cables to buy, but I wou

35 USING A DECK FOR CAPTURESome transcoders offer balanced audio connections. The Mojo, however, doesnot (see Figure 2.13). Adapting a balanced signa

36CHAPTER 2: CAPTURING FireWire If your deck is FireWire-capable, use FireWire. It keeps the signal in the digi-tal domain with minimal loss. However

37 THE CAPTURE TOOL: CAPTURE CONTROLSThe Capture Tool: Capture ControlsThere are significant differences between the Capture tool used in Xpress Pro

38CHAPTER 2: CAPTURING Figure 2.16 The Project screenAssuming that you have not previously created a project, the project selectionscreen should be b

AVID MADE EASY:Video Editing with Avid Free DV and theAvid Xpress®FamilyJaime FowlerWiley Publishing, Inc.4440c00.qxd 11/6/05 9:33 AM Page iii

39 THE CAPTURE TOOL: CAPTURE CONTROLSFigure 2.17 Left:the Free DV Capture tool; right,the Xpress Pro Capture toolThe Capture ButtonThe red button wit

40CHAPTER 2: CAPTURING so, the functionality of Avid systems extends across a very wide range of users. As aresult, the “keep or discard” message sta

41 THE CAPTURE TOOL: CAPTURE CONTROLSFigure 2.18 The Xpress Pro logging interfaceIf you don’t want to mark clips on the fly, you can type in a timeco

42CHAPTER 2: CAPTURING picture was there originally. If you have a good knowledge of your source material, youmight be able to figure out which parts

43 THE CAPTURE TOOL: CAPTURE CONTROLSWaveform and Vectorscope Tool (Mojo Only)If you have an Xpress Pro with Mojo, you’re in luck. The Capture interf

44CHAPTER 2: CAPTURING The left side of the window is where you make adjustments. There are fourvideo sources to choose from. Note their order as the

45 THE CAPTURE TOOL: CAPTURE CONTROLSNow let’s take a look at the Waveform monitor. As I mentioned before, theWaveform monitor will address the brigh

46CHAPTER 2: CAPTURING the Audio Project Settings window. Xpress Pro has more settings available than FreeDV, but everything we need for this adjustm

47 THE CAPTURE TOOL: CAPTURE CONTROLSupsample everything to 48 kHz because it is the best sampling rate available. At thesame time, upsampling does l

48CHAPTER 2: CAPTURING To adjust input levels, select the Input tab on your Audio Project Settings window.A slider appears. Note that the slider is s

Acquisitions Editor: WILLEM KNIBBEDevelopment Editor: PETE GAUGHANTechnical Editor: DENNIS KUTCHERAProduction Editor: HELEN SONGCopy Editor: NANCY SIX

49 THE CAPTURE TOOL: CAPTURE CONTROLSChoosing Recording TracksThe Capture tool will capture only the media that is selected on the track selectionsec

50CHAPTER 2: CAPTURING You can also use a variety of audio sources, depending upon whether you have aMojo connected to your system. For those who do

51 THE CAPTURE TOOL: CAPTURE CONTROLSIf you want to add information during capture, click in the Name box and start typing.To switch from the Name en

52CHAPTER 2: CAPTURING One sure way to organize is by tape and then by subject. When you capturemedia, put the clips from each tape into individual b

53 THE CAPTURE TOOL: CAPTURE CONTROLSDV-50 This compression uses DVC Pro (DV-50) codecs. DV-50 provides twice theinformation of the standard DV codec

54CHAPTER 2: CAPTURING not to overfill your drives, because the media databases will continually need to rebuildas you editWhich drive(s) should you

55 THE CAPTURE TOOL: CAPTURE CONTROLSAnother possibility is that timecode information might arrive earlier than pictureand sound. When using RS-422 f

56CHAPTER 2: CAPTURING The Capture Tool: Deck, Camera, and Timecode ControlsLet’s take a look at the deck controls and configurations in the Capture

57 THE CAPTURE TOOL: DECK, CAMERA, AND TIMECODE CONTROLSIf the deck is controlled by Xpress Pro and is put in Remote mode, every timethat you insert

58CHAPTER 2: CAPTURING Free DV and Xpress Pro can poll the deck or camera to determine its model andmake automatically. There are times, however, whe

Wiley Publishing, Inc. End-User License AgreementREAD THIS. You should carefully read these terms and conditionsbefore opening the software packet(s)

59 THE CAPTURE TOOL: DECK, CAMERA, AND TIMECODE CONTROLSthrough your Mac without dealing with any card installation. In Deck Configuration,it is show

60CHAPTER 2: CAPTURING Using TimecodeThe Xpress Pro capture system works like any other good nonlinear editing system.With specific information, it f

61 THE CAPTURE TOOL: DECK, CAMERA, AND TIMECODE CONTROLStimecode begins at 1:00:00:00, Tape 2 timecode begins at 2:00:00: 00, and so forth).Nonethele

62CHAPTER 2: CAPTURING Duration The Duration icon has both a Mark In and Mark Out icon together. Actu-ally, it isn’t a button at all. This is Xpress

63 THE CAPTURE TOOL: DECK, CAMERA, AND TIMECODE CONTROLSAnother similar method is to capture from a handwritten log, using specifictimes from that lo

64CHAPTER 2: CAPTURING Naming and Commenting Clips During CaptureAs you are capturing the source material to your drives,you may have noticed that th

65 THE CAPTURE TOOL: DECK, CAMERA, AND TIMECODE CONTROLSFigure 2.35 The DV Scene Extraction windowThe system will automatically extract each scene di

66CHAPTER 2: CAPTURING 3. Select the Edit tab.4. Select the Enable Edit to Timeline button.5. Choose the number of frames that you want captured as a

67 THE CAPTURE TOOL: DECK, CAMERA, AND TIMECODE CONTROLS• There must be very little space between start/stops. The system understands thatthere is no

68CHAPTER 2: CAPTURING Video does not really record at a rate of 30 frames per second. It’s slightly offthat number; it’s actually 29.97 frames per s

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69 THE CAPTURE TOOL: DECK, CAMERA, AND TIMECODE CONTROLS• You do not add or subtract actual frames of video when using either drop ornon-drop frame t

70CHAPTER 2: CAPTURING Converting Log Formats with Avid Log ExchangeAvid Log Exchange (ALE) is a conversion program that allows you to read from them

71 THE CAPTURE TOOL: DECK, CAMERA, AND TIMECODE CONTROLSFigure 2.36 Batch Capture settingsThe next setting is Switch To Emptiest Drive If Current Dri

72CHAPTER 2: CAPTURING Other Batch SettingsThe final four Batch Capture settings allow you to either use the compression settingsas logged in the bin

73 TUTORIAL: CAPTURING TO YOUR AVIDTutorial: Capturing to Your AvidFor many editors, the process of capturing is overlooked because although we edita

74CHAPTER 2: CAPTURING Capturing Directly with FireWireIf you intend to capture directly from a DV deck to Free DV or Xpress Pro, it’s a lotsimpler t

75 TUTORIAL: CAPTURING TO YOUR AVID3. Before going to the Capture tool, configure the deck. Go to the Project Windowand select Settings. Choose the D

76CHAPTER 2: CAPTURING Now you can begin to adjust the video levels, starting with the contrast. Adjustthe contrast so that the darkest element of th

77 TUTORIAL: CAPTURING TO YOUR AVIDFigure 2.38 Adjusting the audio levels with Audio Project settings and the audio toolNaming the TapeName this tape

78CHAPTER 2: CAPTURING If you are capturing to a system drive or have drive filtering turned on, youmight not see any highlighted drives in the list.