Avid File-Based Workflows Guide

Transcription

1 Avid File-Based Workflows Guide

2 Legal Notices Product specificatios are subject to chage without otice ad do ot represet a commitmet o the part of Avid Techology, Ic. This product is subject to the terms ad coditios of a software licese agreemet provided with the software. The product may oly be used i accordace with the licese agreemet. This product may be protected by oe or more U.S. ad o-u.s patets. Details are available at This documet is protected uder copyright law. A authorized licesee of Avid Media ComposerNewsCutterAvid Symphoy Nitris may reproduce this publicatio for the licesee s ow use i learig how to use the software. This documet may ot be reproduced or distributed, i whole or i part, for commercial purposes, such as sellig copies of this documet or providig support or educatioal services to others. This documet is supplied as a guide for Avid Media ComposerNewsCutter ad NewsCutter XPAvid Symphoy Nitris. Reasoable care has bee take i preparig the iformatio it cotais. However, this documet may cotai omissios, techical iaccuracies, or typographical errors. Avid Techology, Ic. does ot accept resposibility of ay kid for customers losses due to the use of this documet. Product specificatios are subject to chage without otice. Copyright 2013 Avid Techology, Ic. ad its licesors. All rights reserved. The followig disclaimer is required by Apple Computer, Ic.: APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED, REGARDING THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE ABOVE EXCLUSION MAY NOT APPLY TO YOU. THIS WARRANTY PROVIDES YOU WITH SPECIFIC LEGAL RIGHTS. THERE MAY BE OTHER RIGHTS THAT YOU MAY HAVE WHICH VARY FROM STATE TO STATE. The followig disclaimer is required by Sam Leffler ad Silico Graphics, Ic. for the use of their TIFF library: Copyright Sam Leffler Copyright Silico Graphics, Ic. Permissio to use, copy, modify, distribute, ad sell this software [i.e., the TIFF library] ad its documetatio for ay purpose is hereby grated without fee, provided that (i) the above copyright otices ad this permissio otice appear i all copies of the software ad related documetatio, ad (ii) the ames of Sam Leffler ad Silico Graphics may ot be used i ay advertisig or publicity relatig to the software without the specific, prior writte permissio of Sam Leffler ad Silico Graphics. THE SOFTWARE IS PROVIDED AS-IS AND WITHOUT WARRANTY OF ANY KIND, EXPRESS, IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND, OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS, WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE. The followig disclaimer is required by the Idepedet JPEG Group: This software is based i part o the work of the Idepedet JPEG Group. This Software may cotai compoets licesed uder the followig coditios: Copyright (c) 1989 The Regets of the Uiversity of Califoria. All rights reserved. Redistributio ad use i source ad biary forms are permitted provided that the above copyright otice ad this paragraph are duplicated i all such forms ad that ay documetatio, advertisig materials, ad other materials related to such distributio ad use ackowledge that the software was developed by the Uiversity of Califoria, Berkeley. The ame of the Uiversity may ot be used to edorse or promote products derived from this software without specific prior writte permissio. THIS SOFTWARE IS PROVIDED ``AS IS'' AND WITHOUT ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, WITHOUT LIMITATION, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. Copyright (C) 1989, 1991 by Jef Poskazer. Permissio to use, copy, modify, ad distribute this software ad its documetatio for ay purpose ad without fee is hereby grated, provided that the above copyright otice appear i all copies ad that both that copyright otice ad this permissio otice appear i supportig documetatio. This software is provided "as is" without express or implied warraty. 2

3 Copyright 1995, Triity College Computig Ceter. Writte by David Chappell. Permissio to use, copy, modify, ad distribute this software ad its documetatio for ay purpose ad without fee is hereby grated, provided that the above copyright otice appear i all copies ad that both that copyright otice ad this permissio otice appear i supportig documetatio. This software is provided "as is" without express or implied warraty. Copyright 1996 Daiel Dardailler. Permissio to use, copy, modify, distribute, ad sell this software for ay purpose is hereby grated without fee, provided that the above copyright otice appear i all copies ad that both that copyright otice ad this permissio otice appear i supportig documetatio, ad that the ame of Daiel Dardailler ot be used i advertisig or publicity pertaiig to distributio of the software without specific, writte prior permissio. Daiel Dardailler makes o represetatios about the suitability of this software for ay purpose. It is provided "as is" without express or implied warraty. Modificatios Copyright 1999 Matt Koss, uder the same licese as above. Copyright (c) 1991 by AT&T. Permissio to use, copy, modify, ad distribute this software for ay purpose without fee is hereby grated, provided that this etire otice is icluded i all copies of ay software which is or icludes a copy or modificatio of this software ad i all copies of the supportig documetatio for such software. THIS SOFTWARE IS BEING PROVIDED "AS IS", WITHOUT ANY EXPRESS OR IMPLIED WARRANTY. IN PARTICULAR, NEITHER THE AUTHOR NOR AT&T MAKES ANY REPRESENTATION OR WARRANTY OF ANY KIND CONCERNING THE MERCHANTABILITY OF THIS SOFTWARE OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. This product icludes software developed by the Uiversity of Califoria, Berkeley ad its cotributors. The followig disclaimer is required by Nexidia Ic.: 2010 Nexidia Ic. All rights reserved, worldwide. Nexidia ad the Nexidia logo are trademarks of Nexidia Ic. All other trademarks are the property of their respective owers. All Nexidia materials regardless of form, icludig without limitatio, software applicatios, documetatio ad ay other iformatio relatig to Nexidia Ic., ad its products ad services are the exclusive property of Nexidia Ic. or its licesors. The Nexidia products ad services described i these materials may be covered by Nexidia's Uited States patets: 7,231,351; 7,263,484; 7,313,521; 7,324,939; 7,406,415, 7,475,065; 7,487,086 ad/or other patets pedig ad may be maufactured uder licese from the Georgia Tech Research Corporatio USA. The followig disclaimer is required by Paradigm Matrix: Portios of this software licesed from Paradigm Matrix. The followig disclaimer is required by Ray Sauers Associates, Ic.: Istall-It is licesed from Ray Sauers Associates, Ic. Ed-User is prohibited from takig ay actio to derive a source code equivalet of Istall-It, icludig by reverse assembly or reverse compilatio, Ray Sauers Associates, Ic. shall i o evet be liable for ay damages resultig from reseller s failure to perform reseller s obligatio; or ay damages arisig from use or operatio of reseller s products or the software; or ay other damages, icludig but ot limited to, icidetal, direct, idirect, special or cosequetial Damages icludig lost profits, or damages resultig from loss of use or iability to use reseller s products or the software for ay reaso icludig copyright or patet ifrigemet, or lost data, eve if Ray Sauers Associates has bee advised, kew or should have kow of the possibility of such damages. The followig disclaimer is required by Videomedia, Ic.: Videomedia, Ic. makes o warraties whatsoever, either express or implied, regardig this product, icludig warraties with respect to its merchatability or its fitess for ay particular purpose. This software cotais V-LAN ver. 3.0 Commad Protocols which commuicate with V-LAN ver. 3.0 products developed by Videomedia, Ic. ad V-LAN ver. 3.0 compatible products developed by third parties uder licese from Videomedia, Ic. Use of this software will allow frame accurate editig cotrol of applicable videotape recorder decks, videodisc recorders/players ad the like. The followig disclaimer is required by Altura Software, Ic. for the use of its Mac2Wi software ad Sample Source Code: Altura Software, Ic. The followig disclaimer is required by Ultimatte Corporatio: Certai real-time compositig capabilities are provided uder a licese of such techology from Ultimatte Corporatio ad are subject to copyright protectio. 3

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5 Footage Arri Courtesy of Arri/Fauer Joh Fauer, Ic. Bell South Aticipatio Courtesy of Two Headed Moster Tucker/Waye Atlata/GMS. Cayolads Courtesy of the Natioal Park Service/Departmet of the Iterior. Eco Challege British Columbia Courtesy of Eco Challege Lifestyles, Ic., All Rights Reserved. Eco Challege Morocco Courtesy of Discovery Commuicatios, Ic. It s Shuttletime Courtesy of BCP & Caadia Airlies. Nestlé Coffee Crisp Courtesy of MacLare McCa Caada. Satur Calvi Egg Courtesy of Cossette Commuicatios. Tigers: Trackig a Leged Courtesy of Carol Amore, Executive Producer. "The Big Swell" Courtesy of Swell Pictures, Ic. Widhorse Courtesy of Paul Wager Productios. Arizoa Images KNTV Productio Courtesy of Graite Broadcastig, Ic., Editor/Producer Brya Foote. Cayolads Courtesy of the Natioal Park Service/Departmet of the Iterior. Ice Islad Courtesy of Kurtis Productios, Ltd. Torados + Belle Isle footage Courtesy of KWTV News 9. WCAU Fire Story Courtesy of NBC-10, Philadelphia, PA. Wome i Sports Paraglidig Courtesy of Legedary Etertaimet, Ic. Avid File-Based Workflows Guide Jue

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7 Cotets Chapter 1 Digital Ciema ad TV Productios Cosideratios whe Editig with File-Based Media Workflow: Digital Ciema Productio Workflow: Uscripted TV Productio Editig o Iterplay Checklist: File-Based Editig Workflow o a Stadaloe Editig System Chapter 2 Workig with High-Resolutio Media What's the Differece betwee Resolutio ad Size? What is Color Maagemet? Chagig Source Properties o a Master Clip Reframig your Media Reformattig the Media to fit the Project Frame Size Settig the Color Properties of Acquired Media Editig with Low-Resolutio Proxy Media Relikig to Source Media for Coform ad Fiishig Likig to MXF Media Mergig Additioal Metadata for Clips Rederig Effects Settig the Mask Regios for the Fial Output Exportig Sequeces to File Exportig Sequeces to Exteral Applicatios Chapter 3 Acquisitio of File-Based Media (AMA) The Avid Media Access (AMA) Workflow Viewig Istalled AMA Plug-is Selectig the AMA Settigs Copyig File-Based Media to a FireWire or Network Drive Draggig ad Droppig File-based Media Directly to a Bi Creatig Dyamic Media Folders Likig Media with AMA

8 Relikig to AMA-Liked QuickTime Files Spaed Clips AMA Likig with Acillary Data AMA Likig with Multichael Audio The AMA Plug-i Log File Usig Virtual Volumes Virtual Volumes ad AMA Bis Deletig Clips Usig AMA Plug-Is Uderstadig the Source Settigs Histogram Adjustig the Source Settigs Histogram Workig with Export Volumes AS-11 Support

9 1 Digital Ciema ad TV Productios Productio compaies, post houses, ad audio post facilities eed to stay coected ad i costat cotact to meet tight deadlies ad striget quality requiremets. Offlie editig, soud post, effects ad graphics work ca take place at differet facilities, ad Avid editig tools ad itercoectivity solutios support the file iterchage workflows betwee these specialized post facilities. Moder advaces i ciematography, like the digital cameras from RED, Arri, ad Soy, have chaged the media-creatio idustry. The ew geeratio of video cameras records to digital media istead of film or videotape. This allows editors to copy the file-based media directly oto the editig system. As a result, productios ca ow be edited from start to ed usig a tapeless format. File-based workflows ca greatly accelerate post-productio, replacig real-time tape capture with much faster file-based import alog with the itegral metadata to preserve image quality throughout the editig pipelie. With the emergece of ew digital cameras that ca record images with higher precisio ad dyamic rage, media ca come i varyig size, resolutio, aspect ratio, frame rate, compressio, ad color ecodig (color model, bit depth, gamma). Avid applicatios have adapted to allow better hadlig of resolutios ad color ecodig that these cameras ad formats are costatly itroducig. You ow have a reliable approach to achieve accurate ad cosistet color throughout your workflow. The editig applicatio will ease the editig of high-resolutio images ad properly maage the colors i these images right through the productio pipelie. The metadata associated with the files esures that the origial iformatio is represeted as accurately as possible, ad eables other dowstream systems ad processes to reproduce the same look for fial delivery to ciema, HD, SD or web formats. The source file metadata is trasferred via Avid s AAF to exchage color ad spatial iformatio with parter products, ad esure that the media ca be re-liked withi the Avid ad parter eco-systems. Media Composer s first step towards resolutio idepedece allows you to lik directly to the high-resolutio footage (2K ad higher), ad apply the ecessary color trasformatios ad image framig optios, all withi a HD/SD project. For example, you ca perform your editorial withi a HD frame size, ad still pa over the high resolutio image to keep the importat actio withi view.

10 Cosideratios whe Editig with File-Based Media While performig the edit, you ca perform a backgroud trascode of the media used i your sequece so that you ca cotiue the editorial i a lower resolutio, but with improved playback. For the fiishig, you ca the relik back to the high-resolutio footage for the fial reder ad output to HD, SD or other delivery formats. The scearios preseted i this documet provide recommedatios for file-based workflows usig Avid products. Digital Ciema (2K+ documetary or movie productios) ad Scripted TV (series, soap operas, commercials) see Workflow: Digital Ciema Productio o page 14. Uscripted TV (reality, talk, or lifestyle TV shows) see Workflow: Uscripted TV Productio o page 19. Cosideratios whe Editig with File-Based Media Your Avid editig system ca work directly with footage that is already i digital file format, such as files from digital video cameras or film scaig processes. Avid Media Access (AMA) is a plug-i architecture that allows you to lik to clips ad preview footage directly from a storage device without ecessarily importig the media ito your storage. To lik to a particular file-based format, you eed the appropriate AMA plug-i istalled o your system. There are a umber of AMA plug-is that ca be dowloaded from the Avid.com/AMA web page or participatig third-party web sites. Istall the plug-is desiged for the types of media that you will be editig. You may begi editig with the liked source material immediately. If the media maagemet eeds of the project are ot great, the project does ot require several streams of video to play cocurretly (as with multicam sources), ad the CPU ad storage is up to the task, the the offlie process ca cotiue usig liked media. System performace whe editig with liked media also depeds o whether the Avid editig system supports the media format atively or o-atively. NATIVE codec support meas you ca work with the camera media without the eed to trascode first. NON-NATIVE codec support meas that the media must first be imported or trascoded before the Avid system ca maage it. With AMA, you ca still lik to footage that is o-ative ad get direct access to it, however, depedig o the format of the source, there may be performace delays whe playig the clips. Media formats that have ative codecs ca be cosolidated. Cosolidatig simply rewraps your files as Avid MXF OPAtom media, ad places them ito the Avid MediaFiles folder for idexig. Cosolidatig preserves the camera's origial codec e.g. XDCAM stays XDCAM; DVCPRO HD remais DVCPRO-HD. The respective storage rates of the data, however, are ot reduced whe media is cosolidated give the same origial spa of the media. 10

11 Cosideratios whe Editig with File-Based Media Whe workig with o-ative file formats, ad should you eed better playback performace durig the editorial, you ca trascode the origial files to low-resolutio proxies. Trascodig takes the origial essece ad coverts it to either Avid HD or SD media i a differet codec with a data rate of choice. If you are trascodig to SD, the you ca expect much less storage requiremets for the offlie. If you trascode to HD, depedig o the resolutio you go with, you may get little or o storage reductio beefit. Before the editorial begis, you ca trascode all the camera files to low-res proxies o a high-badwidth primary storage to save space ad work with better playback performace for the editorial. For the fiishig, you may the trascode just the required media to a higher, output-quality resolutio o the primary storage. Fially, if your project eeds to be delivered i a higher-tha-hd format, you ca cosolidate ad move the origial camera essece to a primary storage where they ca be accessed by the fiishig applicatios. 1 ACQUISITION 2 INGEST & CREATIVE EDITORIAL 5 OUTPUT & DISTRIBUTION Audio & Video Cameras Copy Avid Media Composer (Symphoy optio) Fial master VIDEO or WEB DELIVERABLES (HD, SD, DVD, BLU-RAY, WEB) AMA-lik to source 3rd party stack of drives Trascode to SD for offlie Trascode to HD for coform Lik to media ISIS 5000/7000 Storage Avid Pro Tools 3 AUDIO EDITING/ MIXING Lik to source media Avid DS or 3rd-party Fiishig applicatio 4 FINISHING & SPECIAL EFFECTS Fial master FILM, VIDEO or WEB DELIVERABLES (2K+, HD, SD, DVD, BLU-RAY, WEB) I a Avid Iterplay eviromet, the relik process is dyamically maaged. The system tracks the differet media qualities ad spas, the automatically liks to the resolutio that you request. O stadaloe editig systems, however, you should cosider how you orgaize your 11

12 Cosideratios whe Editig with File-Based Media source ad trascoded footage. For example, you may wat to orgaize your clips ito separate source ad proxy bis to allow you to switch to the appropriate bi that holds the clips with the resolutio that you require. Here is a suggested order i which you ca prepare, edit ad coform your file-based media: Move the media from the camera drives to a more robust, high-capacity drive ad orgaize the files ito a proper folder structure that works best for your facility's workflows. After the files are orgaized, coect the drives to your Media Composer system ad AMA-lik to the appropriate folders to create the ecessary bis cotaiig the liked master clips. Ay preparatio of media for the editorial process should take place o the AMA-liked master clips so that they will available for the coform stage as well. These adjustmets typically iclude geeral color space adjustmets that eed to be applied to all files from the same camera. Trascode all your footage to a low-res format SD or DNxHD 36 resolutio optimized for the offlie workflow. Build a rough-cut of your sequece by previewig ad cuttig with the proxy clips. Oce you start editig with the proxies, ay color or spatial adjustmets should be applied to the proxy clips i the bi. You the eed to refresh the sequece i order to propagate the adjustmets to the sequece. Relik your sequece to the AMA clips. Trascode the sequece to a higher-resolutio for the fiishig ad output. For step-by-step details o the complete workflow, see Checklist: File-Based Editig Workflow o a Stadaloe Editig System o page 26. Orgaizig your File-Based Media Avid recommeds movig all your camera footage to a robust storage, ad orgaizig the source files i a maer that will ease the search for specific footage. You ca structure the root folders as you see fit (e.g. Day 1, Day 2) but it is importat that the actual card structures from the camera remai as they were shot. Typically, these folders cotai metadata files that eed to remai with the camera media. 12

13 Cosideratios whe Editig with File-Based Media Whe orgaizig your files, keep the followig i mid: You will ot be able to AMA lik to a volume or file if the file path ame has a illegal character. AMA clips display offlie if the file path ame you are likig to cotais illegal characters, icludig < > : /? *. for Widows ad : for Macitosh. Durig the AMA-likig process, you ca select a subfolder cotaiig the media files. AMA ca fid ad lik to these files as log as they are ot more tha 2 folder levels dow from the selected folder. Widows UNC (Uiversal Namig Covetio) paths are supported with AMA media. You ca move your AMA bis from a Widows system to a Macitosh system ad from a Macitosh system to a Widows system. The media files eed to reside i the same shared locatio whe you move the bis to ad from differet operatig systems. After all media has bee moved to the storage, create a archive of the orgaized drive for backup. Whe likig to the footage, you ca cofigure the system to automatically orgaize the master clips ito oe or more bis. Whe the bis are created, create ay ecessary colums so that you ca add iformatio that will properly idetify your clips for the dowstream coform process. Durig the editorial process: Do ot reame or reorgaize the folders with the origial media oce the editorial has begu. Do ot delete the clips or bis created by the AMA process. You ca close them ad reope them later whe you eed to relik to the origial media. 13

14 Workflow: Digital Ciema Productio Workflow: Digital Ciema Productio Digital cameras ca record footage at high-quality resolutios of 2K ad up. This makes for bright ad realistic images that are ideal for digital ciema productios. Durig the post-productio process, this quality may oly be required durig the fial fiishig stages, so it s best to use a lower resolutio for the offlie editig ad ecoomize o time ad disk space. Depedig o your delivery requiremets, you ca fiish by switchig to a higher target resolutio, or coformig the project o aother editig system where you ca view the material at higher-tha-hd resolutio. The illustratio below shows a typical workflow for feature film editig usig both Avid ad 3rd-party applicatios. 1 DAILIES CREATION 2 CREATIVE EDITORIAL 5 OUTPUT & DISTRIBUTION Audio & Video Cameras Copy Dailies Applicatio Avid Media Composer 3rd-party stack of drives AAF Media processed & trascoded to HD AMA-Lik to HD proxies Fial master Avid Pro Tools VIDEO or WEB DELIVERABLES (HD, SD, DVD, BLU-RAY, WEB) ISIS 5000/7000 Storage 5 AUDIO EDITING/MIXING Lik back to source media Avid DS or 3rd-party Fiishig applicatio 4 Fial master FINISHING & SPECIAL EFFECTS FILM, VIDEO or WEB DELIVERABLES (2K+, HD, SD, DVD, BLU-RAY, WEB) 14

15 Workflow: Digital Ciema Productio For detailed procedures, see: Checklist: File-Based Editig Workflow o a Stadaloe Editig System o page 26 Dailies Creatio There are may compaies that provide tools ad techologies to streamlie the preparatio of dailies. The dailies process ivolves the fixig of timig errors, duratio problems, audio/video sychroizatio, framig, color gradig or spatial aligmet. Also, whe a film is shot i 3D, there are additioal fixes required to adjust color ad spatial aligmets betwee the left/right eye images. The dailies systems also iject the ecessary metadata to facilitate other dowstream editig processes. Not all these fuctios eed to be completed i the dailies as they ca be udertake i the video editig applicatio. Your workflow, timescale, storage capacity ad other criteria will determie the best flexibility i the pipelie. Oce the footage to be delivered to editorial has bee idetified, it is typically passed o i the form of trascoded MXF or QuickTime files. The processed media is the set to the creative editorial suite alog with the associated sequece AAFs, ALEs, ad LUTs from the color gradig process. If you have adequate disk storage, you ca edit i Media Composer at full resolutio to maitai the best possible quality. It is also possible to acquire lower resolutio HD proxy footage for the selected takes, ad at a later time pass a pull list back to dailies to obtai the full resolutio equivalets. Acquisitio of High-Resolutio Media With a file-based workflow, the footage is already i digital file format so the editig system ca lik to media directly o a camera or storage device. Avid systems support media origiatig from a variety of cameras ad formats which have differet codecs, color ecodigs, frame rates ad raster sizes. All metadata is take ito accout durig acquisitio ad preserved alog with the project ad media iformatio. Sice file sizes ted to be large, the real-time playback of media o the timelie may be compromised. As such, it may be advatageous to trascode the footage to a lower-res format for the rough cut, ad the lik back to the origial media before applyig the fial effects ad outputtig the sequece. Some cameras ca eve record i MXF formats that ca be hadled i Media Composer without the eed to trascode. 15

16 Workflow: Digital Ciema Productio The majority of high-resolutio (2K+) file-based media comes from devices that have their ow set of Look Up Tables (LUT) for advaced color maagemet. These LUTs may come from the digital camera o which the footage was recorded, or from color gradig doe durig the dailies processig. These LUTs eed to be icorporated with the icomig media so that Media Composer ca seamlessly apply the ecessary color trasformatios at the appropriate stages durig the editorial process. (Media that is pre-processed by other applicatios i the dailies or other upstream processes ca be liked i Media Composer via AAFs or ALEs.) Acquisitio to Shared Storage With a Avid shared storage solutio, you ca quickly icrease collaboratio i a post facility. There are Avid storage solutios for facilities with stadaloe editig systems, as well as larger etworked systems requirig high-resolutio storage ad badwidth. I post productios with high shoot ratios, such as reality TV, a hour of programmig ca ivolve perhaps 100 hours of raw media to process. This requires media to be copied from camera storage to a Avid ISIS shared storage. However, this meas that a lot of capacity is required to hold media that might be discarded later i the process. To make the process more efficiet, a low-badwidth ISIS 2000 ca be used as a parkig storage for the source media. After the editor has previewed the media ad created clips of the usable shots, the required media ca the be moved from the source files to the high-badwidth ISIS 5000/7000 storage. Media ca also be cosolidated or trascoded to give editors better performace durig playback of sequeces. Likig to File-Based Media Whe workig with media comig directly from digital cameras or other media-creatio applicatios, may editors use AMA to lik to ad edit their footage. Editig statios coected to a digital camera or card reader ca lik to almost ay file-based media to create clips. Likig to your media, istead of importig it, ca potetially save you storage space. Dyamic Media Folders ca be set up to ru automated media acquisitio actios o the specific drives/folders where the origial media is located. These profiles ca be cofigured to automatically move ad/or trascode the media to a earlie or shared storage. All media is processed ad maaged i the backgroud while you do your editig. Whe ready, you ca update the bis to refresh the metadata for each clip ad poit to the ew path(s) o the earlie or ISIS storage. 16

17 Workflow: Digital Ciema Productio Audio Editig & Mixig Basic audio tracks with surroud soud ad audio effects ca be created i Media Composer ad later sweeteed i Pro Tools. This icludes placig markers o the timelie to idicate where soud effects eed to be added. The key to maitaiig a high level of iteroperability betwee Media Composer ad Pro Tools is to use a AAF file. This is curretly the best format for trasferrig ad reassemblig the sequece or sessio compositio from oe applicatio to aother. Export the audio tracks to a AAF ad perform separate exports of the media files (e.g. QuickTime or MXF) from Media Composer. If the destiatio Pro Tools system has a Avid video peripheral or a Video Satellite system, you ca also export Avid video tracks as part of the AAF. Whe the AAF is opeed i Pro Tools, it populates a ew sessio with all the audio media ad/or video metadata eeded to recreate ay iitial edits doe i Media Composer. Pro Tools ca also edit with accompayig video by either importig ad viewig a QuickTime file, capturig with a attached video peripheral, or viewig playback from a coected Media Composer Video Satellite system. Durig the audio editig sessio, you ca ehace the rough audio track (also kow as the "guide track") produced by the video editor. The markers help spot where soud effects eed to be added. You ca also view ay volume automatio, clip gai or pa automatio iformatio imported for idividual tracks ad easily add ad maipulate break poits usig the Pro Tools editig fuctios. Create other ecessary audio tracks for dialog, ADR, foley, music, ad soud effects i either moo or stereo. Whe the fial audio sweeteig sessio is complete, you should mix it dow, ad export both the AAF ad audio media back to Media Composer. Fiishig & Special Effects Ay segmets that require special visual effects processig ca be set to a separate iteral or exteral facility alog with the selected source media. Avid DS ad other 3rd-party fiishig systems support editig of frame sizes higher tha HD ad ca be used for fiishig ad output i a format for digital ciema. Metadata from the editig fuctios performed i Media Composer, as well as the path to the media locatio for AMA-liked clips, are passed via the AAF/AFE. 17

18 Workflow: Digital Ciema Productio The fiishig editor will coform the sequece (AAF/AFE/EDL) from Media Composer ad relik to the source files at the origial resolutio to perform compositig, special effects ad color gradig with a deeper set of tools. Output ad Distributio Whe the productio is complete, the fial master ca be packaged ad output to various delivery formats for ciema, TV, or web. Depedig o your cliet's delivery specificatios, you will eed to either export fial sequece with the combied video ad audio, or deliver the audio ad video compoets separately. Media Composer is curretly limited to HDTV broadcast ad distributio requiremets, however all the source metadata is carried over the AAF/AFE export so that the sequeces ca be coformed i a fiishig applicatio for higher tha HD delivery formats. Output SD/HD If you are deliverig a fial master for broadcast or DVD format, you ca output file-based footage i formats as high as HD RGB 4:4:4. Output for Web There are a variety of digital file formats (such as QuickTime, MP4, ad MXF) for web or mobile delivery. Sed to Air Avid video servers hadle both small ad large facility requiremets for playback ad playout operatios. The AirSpeed allows you to play out multiple chaels at the same time. Before you ca sed your sequece to the AirSpeed from a Avid editig system, you must add the AirSpeed server to your Sed To Playback list i the Avid editig applicatio. Whe the sequece is complete, the editor dyamically reliks to the high-res media ad seds the fial sequece to the AirSpeed playout server for broadcast or playback (this optio is oly available with Media Composer ad NewsCutter). 18

19 Workflow: Uscripted TV Productio Multi-Distributio System Avid s Iterplay Pulse simplifies, speeds, ad uifies distributio of cotet to diverse chaels ad devices. Iterplay Pulse liks productio processes with distributio to web, mobile ad social media outlets by orchestratig workflow ad automatig file preparatio ad trascodig. It provides a sigle iterface withi inews ad/or Iterplay Productio to create ad deliver cotet to ay selected destiatio platform. Workflow: Uscripted TV Productio A high amout of TV productios today fall ito the realm of uscripted programs such as reality shows, talk shows, or lifestyle shows. These programs are typically filmed with a umber of cameras ad microphoes that are positioed aroud the set to allow for recordigs from differet perspectives. As such, the productios ca have very high shoot ratios (30/1 to 100/1) with every hour of programmig ivolvig up to 100 hours of raw media to process. With the icreased availability of digital cameras o the market today, both post ad broadcast facilities eed to import or lik to high-resolutio source material from 2K or higher camera formats, but cotiue to edit ad output web ad TV formats up to HD Rec Producers typically do ot eed use third-party dailies or fial color tools for post productio of such programs. Avid editig systems are used for the igest, edit, coform ad fial color gradig. For productios where large amouts of footage are geerated, the media is always edited i proxy/offlie for ecoomies i time ad disk space. For the fial fiishig stages, the sequeces are the trascoded to HD resolutio ad color-corrected for the fial delivery. The illustratio below shows a typical workflow for uscripted TV shows usig Avid Media Composer for the etire productio process. 19

20 Workflow: Uscripted TV Productio 1 ACQUISITION 2 INGEST & CREATIVE EDITORIAL 5 OUTPUT & DISTRIBUTION Audio & Video Cameras Copy Avid Media Composer (Symphoy optio) Fial master VIDEO or WEB DELIVERABLES (HD, SD, DVD, BLU-RAY, WEB) AMA-lik to source 3rd party stack of drives Trascode to SD for offlie Trascode to HD for coform Lik to media ISIS 5000/7000 Storage Avid Pro Tools 3 AUDIO EDITING/ MIXING Lik to source media Avid DS or 3rd-party Fiishig applicatio 4 FINISHING & SPECIAL EFFECTS Fial master FILM, VIDEO or WEB DELIVERABLES (2K+, HD, SD, DVD, BLU-RAY, WEB) For detailed procedures, see: Checklist: File-Based Editig Workflow o a Stadaloe Editig System o page 26 Acquisitio of High-Resolutio Media With a file-based workflow, the footage is already i digital file format so the editig system ca lik to media directly o a camera or storage device. Avid systems support media origiatig from a variety of cameras ad formats which have differet codecs, color ecodigs, frame rates ad raster sizes. All metadata is take ito accout durig acquisitio ad preserved alog with the project ad media iformatio. Sice file sizes ted to be large, the real-time playback of media o the timelie may be compromised. As such, it may be advatageous to trascode the footage to a lower-res format for the rough cut, ad the lik back to the origial media before applyig the fial effects ad outputtig the sequece. Some cameras ca eve record i MXF formats that ca be hadled i Media Composer without the eed to trascode. 20

21 Workflow: Uscripted TV Productio The majority of high-resolutio (2K+) file-based media comes from devices that have their ow set of Look Up Tables (LUT) for advaced color maagemet. These LUTs may come from the digital camera o which the footage was recorded, or from color gradig doe durig the dailies processig. These LUTs eed to be icorporated with the icomig media so that Media Composer ca seamlessly apply the ecessary color trasformatios at the appropriate stages durig the editorial process. (Media that is pre-processed by other applicatios i the dailies or other upstream processes ca be liked i Media Composer via AAFs or ALEs.) Acquisitio via Video Server For broadcast ad fast-turaroud media productio eviromets, AirSpeed captures SD/HD feeds directly to shared Avid storage, freeig the Avid editig system for editig. This media ca be recorded either from icomig broadcast chaels or coected cameras ad decks. You ca use Iterplay Capture ad oe or more AirSpeed servers, coupled with the Avid Iterplay Low-Res Ecoder to simultaeously igest high-res ad low-res versios of the same media. The assets master clips, sequeces, ad bis, alog with the ecessary AAF metadata are automatically checked ito the Iterplay database. Clips poit to both versios of the media. This way editors ca place clips o the timelie, work efficietly usig the low-res media, ad simply switch to the high-res media for the fial editig ad playout. This method of igest captures supported file-based formats as MXF with the exceptio of XDCAM ad AVC-Itra which ca be hadled i their ative formats. While media is beig igested, you ca use the Iterplay Stream Publish service to automatically create streamable media that ca easily be viewed over a local area etwork (LAN) or wide area etwork (WAN).The Iterplay Trascode Service ca trascode the high-res media to additioal lower resolutios (proxies) o a as-eeded basis. Acquisitio to Shared Storage With a Avid shared storage solutio, you ca quickly icrease collaboratio i a post facility. There are Avid storage solutios for facilities with stadaloe editig systems, as well as larger etworked systems requirig high-resolutio storage ad badwidth. I post productios with high shoot ratios, such as reality TV, a hour of programmig ca ivolve perhaps 100 hours of raw media to process. This requires media to be copied from camera storage to a Avid ISIS shared storage. However, this meas that a lot of capacity is required to hold media that might be discarded later i the process. To make the process more efficiet, a low-badwidth ISIS 2000 ca be used as a parkig storage for the source media. 21

22 Workflow: Uscripted TV Productio After the editor has previewed the media ad created clips of the usable shots, the required media ca the be moved from the source files to the high-badwidth ISIS 5000/7000 storage. Media ca also be cosolidated or trascoded to give editors better performace durig playback of sequeces. Likig to File-Based Media Whe workig with media comig directly from digital cameras or other media-creatio applicatios, may editors use AMA to lik to ad edit their footage. Editig statios coected to a digital camera or card reader ca lik to almost ay file-based media to create clips. Likig to your media, istead of importig it, ca potetially save you storage space. Dyamic Media Folders ca be set up to ru automated media acquisitio actios o the specific drives/folders where the origial media is located. These profiles ca be cofigured to automatically move ad/or trascode the media to a earlie or shared storage. All media is processed ad maaged i the backgroud while you do your editig. Whe ready, you ca update the bis to refresh the metadata for each clip ad poit to the ew path(s) o the earlie or ISIS storage. Audio Editig & Mixig Basic audio tracks with surroud soud ad audio effects ca be created i Media Composer ad later sweeteed i Pro Tools. This icludes placig markers o the timelie to idicate where soud effects eed to be added. The key to maitaiig a high level of iteroperability betwee Media Composer ad Pro Tools is to use a AAF file. This is curretly the best format for trasferrig ad reassemblig the sequece or sessio compositio from oe applicatio to aother. Export the audio tracks to a AAF ad perform separate exports of the media files (e.g. QuickTime or MXF) from Media Composer. If the destiatio Pro Tools system has a Avid video peripheral or a Video Satellite system, you ca also export Avid video tracks as part of the AAF. Whe the AAF is opeed i Pro Tools, it populates a ew sessio with all the audio media ad/or video metadata eeded to recreate ay iitial edits doe i Media Composer. Pro Tools ca also edit with accompayig video by either importig ad viewig a QuickTime file, capturig with a attached video peripheral, or viewig playback from a coected Media Composer Video Satellite system. 22

23 Workflow: Uscripted TV Productio Durig the audio editig sessio, you ca ehace the rough audio track (also kow as the "guide track") produced by the video editor. The markers help spot where soud effects eed to be added. You ca also view ay volume automatio, clip gai or pa automatio iformatio imported for idividual tracks ad easily add ad maipulate break poits usig the Pro Tools editig fuctios. Create other ecessary audio tracks for dialog, ADR, foley, music, ad soud effects i either moo or stereo. Whe the fial audio sweeteig sessio is complete, you should mix it dow, ad export both the AAF ad audio media back to Media Composer. Coform ad Output If you ited to coform ad output i HD, you ca relik your sequece to the source media. After addig the ecessary visual effects ad fiishig touches, the sequece is redered to the required delivery format. Output ad Distributio Whe the productio is complete, the fial master ca be packaged ad output to various delivery formats for ciema, TV, or web. Depedig o your cliet's delivery specificatios, you will eed to either export fial sequece with the combied video ad audio, or deliver the audio ad video compoets separately. Media Composer is curretly limited to HDTV broadcast ad distributio requiremets, however all the source metadata is carried over the AAF/AFE export so that the sequeces ca be coformed i a fiishig applicatio for higher tha HD delivery formats. Output SD/HD If you are deliverig a fial master for broadcast or DVD format, you ca output file-based footage i formats as high as HD RGB 4:4:4. Output for Web There are a variety of digital file formats (such as QuickTime, MP4, ad MXF) for web or mobile delivery. Sed to Air Avid video servers hadle both small ad large facility requiremets for playback ad playout operatios. The AirSpeed allows you to play out multiple chaels at the same time. 23

24 Editig o Iterplay Before you ca sed your sequece to the AirSpeed from a Avid editig system, you must add the AirSpeed server to your Sed To Playback list i the Avid editig applicatio. Whe the sequece is complete, the editor dyamically reliks to the high-res media ad seds the fial sequece to the AirSpeed playout server for broadcast or playback (this optio is oly available with Media Composer ad NewsCutter). Multi-Distributio System Avid s Iterplay Pulse simplifies, speeds, ad uifies distributio of cotet to diverse chaels ad devices. Iterplay Pulse liks productio processes with distributio to web, mobile ad social media outlets by orchestratig workflow ad automatig file preparatio ad trascodig. It provides a sigle iterface withi inews ad/or Iterplay Productio to create ad deliver cotet to ay selected destiatio platform. Editig o Iterplay The exchage process betwee Avid audio ad video editig systems ca be facilitated with Avid itercoectivity solutios. Media Composer, NewsCutter, ad Pro Tools systems support itegratio with Avid s Iterplay asset maagemet system ad shared storage. Both post ad broadcast facilities ca cofigure a multi-resolutio workflow, that allow producers, assistats ad editors to log, mark ad edit large amouts of material quickly ad accurately. With Iterplay Access, ayoe ca search or browse folders that orgaize assets from across all workspaces. Iterplay tracks the locatios of assets, icludig all resolutios of a master clip, ad allows you to easily pull them ito your project. The followig illustratio shows how a facility ca use the Avid Iterplay ifrastructure to maage ad efficietly edit large amouts of footage. This post productio eviromet cosists of Avid video, audio ad fiishig editig statios, Avid ISIS shared storage, ad a Avid Iterplay Productio drivig the media maagemet betwee the Avid editig systems. 24

25 Editig o Iterplay 1 ACQUISITION Direct Audio & Video Camera Coectio Copy 2 AMA-lik to source INGEST & CREATIVE EDITORIAL Avid Media Composer Check-i Bis, Sequeces, Clips Fial master 5 OUTPUT & DISTRIBUTION VIDEO or WEB DELIVERABLES (HD, SD, DVD, BLU-RAY, WEB) ISIS 2000 Nearlie Storage Iterplay Egie Audio & Video Satellite Feeds Copy oly hi-res media used i sequece Igest low & hi-res media Trascode media Dyamically relik to source media or trascoded MXFs Check-out/i edited sequece Lik to media AirSpeed 5000 Video Server ISIS 5000/7000 Storage Lik to MXF or hi-res source media 3 Avid Pro Tools AUDIO EDITING/ MIXING Check-out/i edited sequece 4 Avid Symphoy FINISHING & SPECIAL EFFECTS Fial master VIDEO or WEB DELIVERABLES (HD, SD, DVD, BLU-RAY, WEB) Editig with File-based Formats The latest versio of Iterplay itroduces typical media maagemet fuctios (e.g. deletio) to ehace your productio workflow whe workig with media i popular digital formats. All AMA-liked clips will be maaged i the same robust maer as MXF Avid-compliat OPAtom files. Similarly, all media, whether acquired traditioally or liked by AMA, will be displayed i a sigle widow i the Media Tool. 25

26 Checklist: File-Based Editig Workflow o a Stadaloe Editig System Audio Editig & Mixig For the audio mixig ad soud effects process, the Avid Media Composer editor ca export the fial sequece as a AAF ad check it i to the Iterplay database. The soud editor usig Avid Pro Tools ca import the sequece ad relik to the audio files to fialize the soud editig. The completed mix ca the be checked back ito Iterplay ad imported back ito the video editig applicatio for the fial sychroizatio. Whe coected to a Iterplay system, Avid video editig systems ca check i/out projects, sequeces, ad media from Iterplay, created for or by Pro Tools. Whe equipped with the Pro Tools Iterplay Itegratio optio, Pro Tools ca iteract directly with Avid Iterplay to export the sessio ad ay ew media back to the sequece o Iterplay. - Ope sequeces directly from Iterplay - Sed sequeces directly to 3rd-party playback servers for live playback (Iterplay Trasfer optio ad Pro Tools Sed to Playback web service required). For more iformatio o audio-video editig workflows, see the Audio-Video Editig Workflow Guide ad the Pro Tools Avid Iterplay Guide. Special Effects & Fiishig Whe a sequece is ready for the effects ad fiishig process, a Media Composer editor ca export a AFE ad check it i to the Iterplay database. The Symphoy editor checks-out the AFE, ad coforms ad reliks to the high-resolutio media. After addig the ecessary visual effects ad fiishig touches, the sequece is redered to the required delivery format ad all the ecessary project files ad ew media are checked back i to Iterplay. If the sequece eeds to be set back to Media Composer, it should be checked back i. Checklist: File-Based Editig Workflow o a Stadaloe Editig System This sectio outlies the basic workflow for likig ad editig file-based footage o a Media Composer system. If you are editig stereoscopic media, you should also refer to the Avid Stereoscopic 3D Editig Workflow Guide for specific guidelies pertaiig to acquirig ad editig 3D media. Follow these steps i the order that they are listed, ad retur to this checklist each time you complete a step. 26

27 Checklist: File-Based Editig Workflow o a Stadaloe Editig System Step Refer to this sectio Before you begi: Uderstad AMA ad the most efficiet way to lik to ad edit high-resolutio (2K+) files. There are a umber of ways to edit your productio with Avid tools. Read about the workflow that best applies to your project. Lear about high-resolutio files ad how they are hadled i Media Composer. Cosideratios whe Editig with File-Based Media o page 10. Workflow: Digital Ciema Productio o page 14 or Workflow: Uscripted TV Productio o page 19. What's the Differece betwee Resolutio ad Size? o page 34. What is Color Maagemet? o page 36. Avid s ew dyamic media folders ad backgroud trascode/cosolidate processes brig much more efficiecy to the media acquisitio stage. Lear how you ca set up media service profiles to automate these fuctios. Some media formats are supported atively i Media Composer ad ca be liked or igested directly. Other formats that are ot atively supported will eed supportig AMA plug-is developed by the camera maufacturers. The Avid Media Access (AMA) Workflow o page 64. Viewig Istalled AMA Plug-is o page 68. Istall the ecessary AMA plug-is o your workstatio. Go to avid.com/ama to istall the latest plug-is. Istall QuickTime. Go to the Apple web site to dowload Quicktime. Create a project. Creatig a New Project i the help. Set your project frame size. Settig the Project Format to Accomodate Variable Resolutios i the help. Set your project color space. Settig the Project Color Space i the help. 27

28 Checklist: File-Based Editig Workflow o a Stadaloe Editig System Step Refer to this sectio Dyamic Media Folders ca be set up to ru automated media acquisitio actios o the specific drives/folders where the origial media is located. Profiles ca be cofigured to automatically move ad/or trascode the media to a earlie or shared storage. If you ited to use the DMF ad Backgroud Trascode services, make sure that you eable them. These services have certai processig requiremets for your system. Startig ad Stoppig Avid Backgroud Services i the Media Composer Readme. Acquirig your Media: Eable Avid Media Access (AMA) settigs. Selectig the AMA Settigs o page 68. Set the storage locatio for ay trascoded or cosolidated media. For media comig directly from the camera: Coect ay camera or portable media drive to your system. The device will be recogized as a volume o your system from which you ca read the media files. or Copyig File-Based Media to a FireWire or Network Drive o page 70. Copy the media from the camera to a desigated folder o a storage device. This ca be doe with automated profiles. If you eed to use media that has bee pre-processed o a Dailies system: Creatig Dyamic Media Folders o page 71. MXF media: Place it i the Avid MediaFiles folder o your Avid editig system or a shared storage. Quicktime media: Place it i a desigated folder of your choice. Place the AAF/ALE ad ay LUTs created by the dailies applicatio i the same folder with their associated media. 28

29 Checklist: File-Based Editig Workflow o a Stadaloe Editig System Step Refer to this sectio If you have ay additioal metadata for your clips, such as additioal chages to the media doe by 3rd party applicatios, you ca import this iformatio usig log files (ALE). Lik to all footage that you require. You must make sure to keep your files orgaized ito bis that will allow you to easily relik to the source media durig the fiishig stages. Likig Media with AMA o page 78. To acquire MXF media created by a dailies applicatio, use a AAF to lik to the media. To prepare the media for the editorial process, you may wat to apply certai chages, such as color adjustmets, directly o the source media. These chages should be applied to the AMA clips rather tha the trascoded clips. This way, these source chages will be available whe you coform ad lik back to the AMA clips. Set the appropriate color space for your acquired media. Chagig Source Properties o a Master Clip o page 37. Settig the Color Properties of Acquired Media o page 47. For certai media types, you ca also use the respective AMA plug-i to adjust the color settigs. If the plug-i is istalled o your system, there will be additioal tab called AMA Source Settigs i the Source Settigs dialog box. Apply (or igore) custom color metadata attached to your media. If you wat to remove uecessary areas of the image, you ca reframe it by settig ew dimesios. If ecessary, reformat your media to fit the project frame size. Usig Color Decisio Lists (CDLs) o page 50. Reframig your Media o page 39. Reformattig the Media to fit the Project Frame Size o page 44. Cosolidatig or Trascodig your Media: 29

30 Checklist: File-Based Editig Workflow o a Stadaloe Editig System Step Likig to high resolutio files via AMA ca be both processor ad storage itesive. If you require better performace, you may wat to cosolidate or trascode your media ad work with lower-resolutio (proxy) versios of the media. You ca automate the cosolidate/trascode process to ru i the backgroud by settig up automated profiles for the file folders where you placed your media. Refer to this sectio Editig with Low-Resolutio Proxy Media o page 51. Creatig Dyamic Media Folders o page 71. Editig your sequece: Perform the offlie editorial usig the proxy clips. If you eed to perform ay reframig or paig o your clips, it must be applied o the proxy clips i the bi. The sequece must the be refreshed to update these chages oto the clips o the timelie. You ca create some basic audio tracks with surroud soud ad audio effects i Media Composer ad sed these tracks to Pro Tools for sweeteig. Whe the fial audio sweeteig sessio is complete, it is mixed dow, ad both the AAF ad audio media are exported back for use i Media Composer. Reframig your Media o page 39. Paig a Shot o page 43. Reformattig the Media to fit the Project Frame Size o page 44. Exportig Sequeces to Exteral Applicatios o page 61. Fiishig your sequece: Whe you are ready to move o to the fiishig stage, save your sequece ad relik to the source AMA clips. If ecessary, trascode your sequece to a HD resolutio required for the fial delivery. The trascoded sequece will automatically be liked to the ew trascoded media. Color correct ad apply effects to your clips. Add the ecessary titles to your sequece. Relikig to Source Media for Coform ad Fiishig o page

31 Checklist: File-Based Editig Workflow o a Stadaloe Editig System Step If you eed to master the etire sequece i aother applicatio or apply custom effects o certai segmets, export the sequece or ecessary segmets as a AAF/AFE. You will also eed to sed the correspodig source media at the best quality. If the fiishig system will eed to relik to the origial camera essece, the you eed to relik to the AMA-liked clips before exportig the AAF/AFE. If you are workig with high-res files, do ot use the optio to exted hadles beyod the master clip edges. Refer to this sectio Exportig Sequeces to Exteral Applicatios o page 61. Relikig to Source Media for Coform ad Fiishig o page 53. If the fiishig system will use the same HD media, you should first make a copy of the sequece, move it to its ow bi, decompose it (with hadles as desired), select ALL master clips, ad export as ALE with appropriate colums visible i the bi. Outputtig your sequece: Reder the effects i your fial sequece to avoid ay droppig of frames durig the output process. Output the fial sequece to the appropriate medium for delivery. If you wat to create a master with a differet aspect ratio tha the project settig, you ca specify mask margis o the output frame i order to chage the dimesios of the output image. If you have a HD sequece ad eed to output to SD, the you eed to first dowcovert the project. Output your project to a tape deck or disc recorder, or Export your project to a media file such as a QuickTime movie. Settig the Mask Regios for the Fial Output o page 55. Exportig Sequeces to File o page

32 2 Workig with High-Resolutio Media The followig diagram shows the differet poits i the pipelie where you will be able to set your image format properties for display ad output. It also idicates the places where the color trasformatios are applied i order to maitai the proper color appearace from acquisitio to output. Oly displays regio withi output frame size/mask Composer View Full Scree Playback Exteral Moitor Set the Raster Dimesios & output frame size i the project format settigs Set the color space for the project Outputs oly regio withi output frame size/mask OUTPUT TO TAPE Set the mask regio i the Target settigs Ope/Create Lik Edit Sequece 4 Apply Effects 5 Output Sequece New Project Media 3 Set the Source Size ad framig area i the Source settigs Reformats media to project settigs Trasforms origial color ecodig to the project color space Uses the project settigs to play back the effect EXPORT TO FILE MEDIA Iterpret/set the icomig media s color ecodig & format Capture Media Set the Source Size ad framig area i the Capture Tool Media is saved at the origial format The color iformatio ca be saved o disk alog with the media The reder operatio geerates precomputes usig the project settigs Exports oly regio withi output frame size (with optio to set a differet frame size) Import Media STORAGE Set the Source Size ad framig area i the Import settigs Optio to trascode to the workig resolutio (proxy) ad color space 1. Ope/Create a Project Media will origiate from differet sources such as file-based cameras, film frames scaed to files, SD or HD tapes, ad eve computer-geerated motio graphics. Each of these media sources ca have arbitrary sizes, resolutio, frame rates, compressio ad color ecodig (color model, gamma, bit depth, etc.).

33 Media Composer gives you the ability to capture, import, or lik to media comig from differet sources, regardless of their resolutio, ad mix them freely i the timelie. Of course, all this media eeds be output to oe frame size, hece it is importat to set a commo frame size i the Avid editig applicatio. The applicatio also eeds to use a commo color space for all media i the project so that a commo trasformatio model is applied to all icomig media. Step 2. Acquire ad Iterpret Quality of the File-based Footage Whe likig to media, you have access to all of the pixels i the source image. However, to fit the fial delivery format, you eed to set the project size so that media of differet sizes ad formats ca be reformatted to specificatio. File-based media ca be liked or imported. Likig to media via AMA allows you to view the image i its origial format. Importig the media reformats the image to the frame size of the project. If you lik your clips, you will be able to view the media i its full resolutio ad thus have greater flexibility whe mappig the media to the project settigs. You ca use the full image or select a regio to be framed, ad the choose how to format the media to the SD or HD project size. Whe the master clips are created i the bi, ay associated color metadata (comig either from the camera or other upstream processig) ca also be detected ad applied. Media Composer keeps all source metadata with the master clips. This metadata will also carry over i the AAF/AFE export so that the sequeces ca be coformed i a fiishig applicatio for higher tha HD delivery formats. Step 3: Edit the Sequece For the editig process, the project format i Media Composer is curretly restricted to HDTV broadcast ad distributio requiremets. Oce a clip is placed o the timelie, it will reformat to fit the media coversio settigs that you have chose for your project. For further efficiecy durig the editorial, there is the optio to trascode to a lower resolutio (proxy). Step 4. Apply Effects Ay effects applied to clips o the timelie will be applied to the area of the image displayed i the viewer. These will be processed o-the-fly durig playback, ad ay precomputes will be redered to the disk storage. (Note: Processig is doe usig the settigs i the Media Creatio dialog). 33

34 What's the Differece betwee Resolutio ad Size? Step 5: Output the Fial Sequece Avid editig applicatios give you the ability to output your sequeces to a format suitable for TV broadcast or DVD/BluRay. For ow, sequeces ca oly be output to the Rec 709 color space which is the stadard for HDTV. This color space ca the be chaged at the fial output stage to match a differet delivery format. For example if you've bee workig i a HD format, you ca switch to stadard-defiitio (SD), ad the colors will automatically be coverted for a ITU 601 color space ad ay effects recomputed if ecessary. What's the Differece betwee Resolutio ad Size? Quite ofte, the terms resolutio ad size are used iterchageably. There is a differece betwee the two ad it's importat that we clarify the meaig of each oe so that you uderstad how your media is formatted i the editig applicatio. The resolutio of the media refers to the umber of pixels that compose the image. Naturally, the more pixels i the image, the higher your resolutio will be, ad the better the quality of the image. The resolutio is typically defied by the umber of pixel colums (width) by the umber of pixel rows (height). HD images are usually 1920 by 1080, ad high resolutio images are typically 2K ad above. These resolutios vary depedig o the camera that shot the footage. For example, a ARRI 3K image is 2880 x 1620, whereas a RED 3K image is 3072 x The size refers to the physical space that the image occupies i a particular display or prit area. Size is simply used to provide a commo referece for the framig of images of differet resolutios. Let's use the aalogy of a digital photo that you wat to have prited ad framed. Your photo is shot at a high quality resolutio e.g x 2448 ad you wat to prit it to fit i a 5 x 7 picture frame, as well as i a 15 x 20 frame. Whe the photo is elarged to fit i the larger frame size, each pixel icreases i size. Thus, whe lookig at each of the photos up close, the image i the smaller frame will be much sharper. The umber of pixels, however, remais the same. They are just more tightly packed i the smaller frame size. 34

35 What's the Differece betwee Resolutio ad Size? There will be cases whe the image is required to fit ito a frame size that is of differet dimesios tha the origial image. For example, if the 5 x 7 photo had to be framed ito a 6 x 9 picture frame, it could either be cropped or left as is ad framed with a matte Crop Matte Similar choices ca be made whe editig video. The examples below show how a image ca be framed i the Avid editig applicatio. A image ca be rescaled, cropped, or padded to fit the project frame size. The pixels i the image are simply shruk or elarged as ecessary. 35

36 What is Color Maagemet? EXAMPLE A 1:1 mappig Pixels remai the same size Stadard HD image 1920 x 1080 fits directly i HD 16:9 projectio frame EXAMPLE B Fit to projectio frame Stadard SD image 720 x 486 pixels are stretched to fit to 16:9 projectio frame or elarged proportioally ad padded with black x 1080 resolutio x 486 resolutio x 486 resolutio EXAMPLE C High-res RED 3K image ca be fit to frame or cropped Fit to projectio frame Pixels are shruk to fit the frame size Keep same size Pixels remai the same size Image ca be cropped to fit the frame size x 1728 resolutio 3072 x 1728 resolutio What is Color Maagemet? Sice most cameras record at a high precisio, it would be ideal to preserve the maximum precisio ad color rage right through the editig process. Color maagemet eables you to retai the colors of the origial images ad maitai that color appearace durig editig. Durig acquisitio (either by basebad capture, import or lik to file), Media Composer will automatically detect the color ecodig of the footage ad will allow you to choose the color space that best matches the footage. Media Composer will perform the ecessary color trasformatio of the footage i order to map the colors to iteral applicatio fuctios. The color space that you choose depeds o the fial delivery format. For this release, fial output is iteded for TV broadcast i HD. Therefore, color mappig is limited to Rec The origial color ecodig will remai with the master clip metadata for use throughout the editig pipelie, ready to traslate the image's colors for other devices at ay give poit (e.g. for viewig o the moitors). Part of the color ecodig icludes "look" tables (or LUTs) that ca be 36

37 Chagig Source Properties o a Master Clip passed alog with the media to esure that a cosistet color is applied to all related footage. The color maagemet system will take the colors i a image ad map them as accurately as possible to the color model chose for the editig process. This color mappig is either doe 'o-the-fly', or ca be redered to ew media after ay effects are applied. Color mappig also takes place o each device where you view the footage. The Avid system ca be coected to a variety of moitors, ad each model will display colors differetly. For example, say that a certai color comig from a digital camera is turquoise blue (represeted by RGB umbers R75, G201, ad B220), but appears closer to sea gree o a moitor. The color maagemet system eeds to traslate the RGB umbers to the equivalet umbers required by the moitor i order to preserve the turquoise blue appearace. This traslatio is performed by settig the appropriate color profile o the moitor. (Note: For this release, oly Rec. 709 color profiles will be supported o the viewers ad exteral moitors.) If you wat to simulate the colors as they will be projected for fial delivery, the you ca must calibrate your exteral moitor accordigly. ACQUISITION INTERPRET COLOR ENCODING & MAP COLORS TO INTERNAL COLOR MANAGEMENT SYSTEM EDITING EDIT IN REC 709 COLOR SPACE OUTPUT & DISTRIBUTION RENDER & OUTPUT COLORS IN REC 709 COLOR SPACE HD 4:4:4 WEB DELIVERABLES High-resolutio scaed files CG Computer-geerated files VIDEO DELIVERABLES (HD, SD, DVD, BLU-RAY) High-resolutio digital camera files Avid Media Composer FILM DELIVERABLES EXPORT AAF/AFE WITH ORIGINAL SOURCE FILE METADA FOR FINISHING IN OTHER APPLICATIONS Chagig Source Properties o a Master Clip To ease the editorial process, Avid provides a umber of tools to preview the origial essece from the camera ad make adjustmets to the icomig media or its metadata. Ay adjustmets made to the master clips are applied as source adapter effects. Import or AMA-lik to your file-based media i the usual maer. After media has bee acquired ad the master clips have bee created i the bi, you will be able to view ad adjust the media properties from a sigle Source Settigs view. 37

38 Chagig Source Properties o a Master Clip The Source Settigs dialog box detects the properties of the source media based o the metadata that was foud with these files. It allows you to quickly see the properties of the iput files ad make chages if ecessary.you ca also view ay framig applied o the image, as well as a histogram showig the rage of colors i the image. If there is a AMA plug-i istalled o your system for this media format, the a additioal AMA Source Settigs tab will be available. Ay settigs o this tab will be applied before the Color Ecodig tab. The Source Settigs dialog box allows you to: set the aspect ratio of the media set the color space of the media apply specific color trasformatios to the source media choose the way you wat to format the source ito the curret project frame size select a smaller area of the overall image size to be displayed i the project frame Some of these settigs ca be set directly i the bi colums. Imported clips will already be resized to the project size ad aspect ratio. However, it is still possible to reframe or reformat the imported clip. A Spatial Adapter effect is applied either whe the clip is reframed, or reformatted to fit withi the project frame size. A Color Adapter effect is applied whe a color trasformatio applied to the clip. Whe the clip is placed o the timelie, ay of these chages will be idicated as adapter effects ad will display as gree dots o the clip. These effects ca be modified with the Effect Editor ad redered to allow for smooth playback ad output. 38

39 Reframig your Media Reframig your Media For various reasos, it is commo practice to shoot at a higher resolutio tha the fial output itetios. Framig charts, that defie the dimesios of the fial output, have bee developed for camera viewfiders so that the camera people ca keep the proper perspective i view while filmig. The framig chart used durig the oset shoot is usually filmed as the first frame of the shot. Some digital cameras eve iclude these framig parameters i the file metadata that is passed through to the Avid editig applicatio. Durig post productio, these framig parameters serve as guidelies for the editig process, ad this iteded actio area ca be automatically framed to the project frame size. 39

40 Reframig your Media Durig the oset shoot, certai objects (such as lights, flags ad other o-set equipmet) may iadvertetly be recorded withi the mai viewig area. As part of the dailies process, these objects may be trimmed out from the regio of the image that is preseted to editorial. If ot, the the post editor is required to crop out ad reframe the image as ecessary. If the framig parameters were icluded i the media metadata, the the Framig view will reflect the same area used durig the oset shoot. If ecessary, the editor ca adjust these dimesios maually. Clips are reframed by applyig a spatial adapter o the clip i the bi. The Source Settigs dialog has a FrameFlex tab where the dimesios of the framig box ca be adjusted. The area withi the framig box is what will fially be fit ito the project frame whe the clip is used i a sequece. The reformattig settigs for each clip are saved i the bi. Whe the clip is dropped o the timelie, a gree dot appears o the clip to idicate that a source adapter effect has bee applied. The applicatio accesses the origial image ad applies the formattig durig playback. Effects are applied ad redered based o these settigs. For clips that have already bee used i a sequece, the sequece ca be refreshed to frame to the ew dimesios. To set the framig dimesios: 1. Select oe or more clips i the bi, right-click ad choose Source Settigs. 2. If the image viewers are ot displayed i the Source Settigs dialog, click the Show Viewers checkbox. 3. Select the FrameFlex tab. The framig optios display with the framig box outliig the full image. If framig parameters were passed from a camera vedor that is a Avid parter, the the framig view used o set may be displayed i the viewer. 4. I the FrameFlex box, adjust the Framig parameters to set the ew dimesios of the framig box. Optio Same size as project s raster dimesios Frame aspect ratio Descriptio Sets the framig box at a 1:1 ratio with the project frame size. Chages the size of the framig box accordig to the selected aspect ratio. 40

41 Reframig your Media Optio X Y Size Color Reset Descriptio Repositio the framig box alog either the X or Y axes. Resize the framig box proportioally. Set color of framig box outlie i the viewer. Resets the framig to the origial size. Reformat Stretch Pillarbox/Letterbox Cetre Crop Cetre, Keep Size Revert Apply Stretches the image (disproportioally, if ecessary) to fill the project frame. Scales the image proportioally util either the height or the width exteds to the project frame. Black bads will appear o the sides (Pillarbox), or o the top ad bottom (Letterbox) i order to pad the empty areas of the frame. Scales the image proportioally to fill the project frame. Areas that fall outside of the project frame will be cropped. Ceters the image i the viewer without modifyig its origial size. Areas that fall outside of the project frame will be cropped. Reverses ay chages you made sice the last time the Apply butto was clicked. Applies all selectios that you made so that you ca see the chages i the viewers. 41

42 Reframig your Media 5. The bottom viewer displays the framed area as it would appear withi the actual project frame. Refer to Reformattig the Media to fit the Project Frame Size o page 44 for more details o the choices that you have. 6. Click Apply. The ew framig of the image will be applied whe you drop the clip i the Source viewer or o the timelie. A gree dot o the clip i the timelie idicates that spatial chages (i the form of a spatial adapter effect) have bee applied to this clip. 7. If you had placed your clip o the timelie before doig the reframig, you ca refresh your timelie with the chages see Refreshig Clips to Use Curret Clip Attributes i the Help. 8. If you wat to make further chages to the framig box from the timelie, ope the spatial adapter effect for this clip see also Paig a Shot o page

43 Reframig your Media Paig a Shot If you wat to pa ad sca over a segmet of video, you eed to apply a FrameFlex source adapter to the clip i the bi. Whe the clip is placed o the timelie, a gree dot will appear o it ad you ca ope the Effect Editor to chage the framig box ad aimate it for the ecessary duratio see Reframig your Media o page 39. If the clip was already part of the sequece before you applied the FrameFlex source adapter, the you will eed to refresh the sequece so that iherits the ewly-set attributes from the clip i the bi see Refreshig Clips to Use Curret Clip Attributes i the Help. If the clip still refereces the source media, you will see all the pixels i the image. You simply have to set the framig box over the area that is required i the focus ad make sure that the box shifts to a ew positio i subsequet frames i order to follow the importat actio. These positios should be keyframed to create the effect of a "pa" shot. To aimate the framig parameters: 1. Select the clip o the timelie ad click the Effect Mode butto. The Effect Editor displays. 2. Select ad expad the FrameFlex effect. The Record viewer becomes your workspace to adjust the framig parameters. 3. scree grab of UI - check eabler to bypass whe clicked ad ALT-CLICK to Reset 43

44 Reformattig the Media to fit the Project Frame Size 4. Click i the positio bar below the Effect Preview moitor at the poit i the effect where you wat to add the keyframe. The positio idicator moves to that frame. 5. Do oe of the followig to add a keyframe: t I the Effect Preview Moitor toolbar, click the Add Keyframe butto. t Maually adjust the framig box i the Record viewer. For example, drag the hadles o the corers of the image to resize it. The Avid editig applicatio automatically creates a ew keyframe. Reformattig the Media to fit the Project Frame Size I the source settigs dialog box, you have the optio to reformat the etire image or just the area withi the framig box to the curret project format. The reformat image optio is also available i the Effect editor if you eed to apply a chage to a clip o the timelie. To reformat the image to the project frame size: 1. I either the bi or o the timelie, select the clip that you wat to chage, right-click ad choose Source Settigs. The Source Settigs dialog box displays with the viewer showig the first frame of the clip with the curret framig dimesios. 2. Select the FrameFlex tab. 3. Select the appropriate Reformat optio. Whe usig media of a differet format from the project format, you ca specify how the media will be coverted i the applicatio by usig oe of the modes below: Reformat Optios Stretch Pillarbox/Letterbox Cetre, Keep Size Descriptios Stretches the image (disproportioally, if ecessary) to fill the project frame. Scales the image proportioally util either the height or the width exteds to the project frame. Black bads will appear o the sides (Pillarbox), or o the top ad bottom (Letterbox) i order to pad the empty areas of the frame. Ceters the image i the viewer without modifyig its origial size. Areas that fall outside of the project frame will be cropped. 44

45 Reformattig the Media to fit the Project Frame Size Reformat Optios Cetre Crop Descriptios Scales the image proportioally to fill the project frame. Areas that fall outside of the project frame will be cropped. The results of your chages will be displayed i the bottom viewer. PROJECT FRAME SIZE SOURCE MEDIA 16:9 4:3 CENTRE, KEEP SIZE STRETCH CENTRE CROP LETTERBOX/PILLARBOX Areas of the image that fall outside of the project frame size, will be cropped. O the other had, if the image is smaller tha the project frame size, it will be padded with black. Oce a clip is placed o the timelie, it will reformat to the project frame size accordig to the media coversio settigs that you have chose. Note that ay reformattig optios are processed o the fly durig playback ad do ot affect the source clip. 45

46 Reformattig the Media to fit the Project Frame Size 4. Click Apply. The ew formattig of the image will be applied whe you drop the clip i the Source viewer or o the timelie. Example of Reframig ad Reformattig The followig example shows a 2K image with a framig box set aroud the desired area of the image. The applicatio first crops out the uwated area ad the fits the image withi the project frame size (usig the letterbox/pillarbox optio selected by the editor). Defiig the framig box Origial 2K image Project frame size (HD) Framig box 46

47 Settig the Color Properties of Acquired Media Reframig ad reformattig applied Project frame size (HD) Clip reformatted ad padded to fit project frame size Settig the Color Properties of Acquired Media The applicatio preserves all color metadata from the acquisitio process. This icludes color iformatio embedded i the raw footage, as well as i accompayig coversio tables (LUTs, CDLs) that ca be associated alog with the media to esure that a cosistet color is applied to all related footage. This iformatio is saved with the clip i the bi. For other commo digital cameras, Avid provides a stadard set of camera coversio tables that will map the camera color values to the color space used i Media Composer.. Camera vedors that have partered with Avid also supply AMA plug-is for specific camera formats. Refer to Usig AMA Plug-Is o page 88 for more details o usig these formats i Media Composer. A look-up table (LUT) is a file that cotais a coversio table used to map a iput color value to a output color value. LUTs are used for the followig reasos: To esure a stadardized color output value across differet devices such as computer moitors, broadcast moitors, ad film projectors. To offer flexibility i editig ad post-productio whe workig with media from differet sources or shot with differet cameras. To covert logarithmic media files to liear format prior to editig ad applyig effects. 47

48 Settig the Color Properties of Acquired Media For creative or artistic purposes to obtai a particular look ad feel to a scee. To determie how the color data of the fial image will be displayed. Media Composer automatically detects color maagemet attributes ecoded i the camera format. The camera maufacturers eed to structure their metadata accordig to the Avid requiremets to allow for these values to be passed o to the editig applicatio. Refer to the web sites of your camera maufacturers to fid out if their file formats iclude the ecessary color maagemet attributes. For more iformatio o other ways that custom trasformatios that ca be applied to your media, see Usig Color Decisio Lists (CDLs) o page 50. To chage the color ecodig of the source media: 1. I the bi, select oe or more clips that you wat to chage, right-click ad choose Source Settigs. Certai file formats that have a AMA plug-i istalled o your system will also reveal a AMA Source Settigs tab. I the case of RED media, for example, the color space adjustmets should be made o this tab. 2. Select the Color Ecodig tab. The Source Settigs dialog box displays with the viewer showig the first frame of the clip with the curret color ecodig. 48

49 Settig the Color Properties of Acquired Media Color Ecodig Parameters Source color space Descriptios For some kow camera formats, the applicatio reads the color space metadata withi the source media, ad displays the most appropriate color space. If you kow the color space of the media you ca select it here ad this iformatio will remai with the clip for other dowstream processes. If you click the Auto butto, this color space will be applied as a trasformatio to the media whe the clip is used i a sequece. You may leave it as Ukow if you do ot kow the color space of the media. I this case, the applicatio will leave the colors as they are. 49

50 Settig the Color Properties of Acquired Media Color Ecodig Parameters [list of color trasformatios] Delete Auto Bypass all color trasformatios Revert Apply or Apply All Descriptios To apply a additioal color trasformatio to the media, select a optio from the drop dow list ad click the Add butto. You ca add more tha oe color trasformatio to your media. Select a trasformatio from the list of applied trasformatios, ad click Delete to remove it. Clickig this butto will apply the assiged (detected) Source color space to the media. Igore all color ecodig settigs. This may be required if you eed to sed a particular segmet for special effects processig without ay trasformatios that you have applied durig the editig process. Reverses ay chages you made sice the last time the Apply butto was clicked. Applies the settigs to all clips that you selected i the bi. Color chages will be visible i the viewer. 3. If you kow what color trasformatio you wat to apply, select it from the Color Trasformatio list, ad click the + butto. The trasformatio is added to the list ad applied to the image i the viewer. 4. You ca add more tha oe trasformatio if ecessary, ad chage the order i which they are applied by selectig ad draggig the trasformatio up or dow i the list. Trasformatios are applied cumulatively startig from top to bottom. 5. Click OK to close the dialog box. Whe clips are viewed i the Source moitor or dropped o the timelie, ay associated look files (LUTs, CDLs, etc.) are also cosidered whe the color trasformatio is applied. This will be reflected whe the clips are played back. You ca also choose to apply these chages to ay ew media is geerated through trascode, cosolidate or mixdow. Usig Color Decisio Lists (CDLs) A CDL (color decisio list) is a simple color trasformatio format specified by the America Society of Ciematographers (ASC). It is a way to commuicate color reditios betwee equipmet ad software from differet maufacturers, usig four critical parameters slope, offset, power ad saturatio. 50

51 Editig with Low-Resolutio Proxy Media CDLs are used for the followig reasos: to covey the itet of the Director of Photography (decisios made o-set) trasferrig primary color gradig values from dailies or media preparatio statios to the offlie editig statios as a startig poit for fiishig statios to perform the fial gradig Primary color gradig ca be performed as oe of the pre-post fuctios o dailies systems ad the passed o to the offlie editig system. If the editig statio uses MXF media, these colors are already applied. However, if the editor decides to use the origial media, the he or she may wat to read these values via the CDL ad apply them to the master clips. These CDL values are imported via a EDL or ALE (i the ASC_SOP ad ASC_SAT parameters). They are stored with the clip metadata ad ca be exposed i the bi colums. Whe you export your sequece/segmet as a AAF/ALE/EDL, these values are icluded ad ca be set alog to the effects specialist alog with the associated media. To eable the readig of CDL parameters: 1. Select the Settigs tab. 2. Double-click Color Maagemet from the list. 3. Select Use CDL values from ASC_SOP ad ASC_SAT bi colums whe available. Ay values attached to the clip from the EDL/ALE will be applied as a color trasformatio ad ca be see i the Source Settigs for the clip. 4. Ay clips with CDLs to which you lik will automatically apply the CDL values. For clips that were already liked, you will eed to ope the Source Settigs dialog ad click the Auto butto o the Color Ecodig tab. Alteratively, you ca select the CDL optio from the Color Trasformatio list. CDL values ca be copied from oe ASC_SOP bi colum of a clip ad applied to aother. The chages will ot be reflected o the receivig clip util you ope the Source Settigs dialog ad click the Auto butto. Editig with Low-Resolutio Proxy Media AMA offers the advatage of allowig you to trascode material to a lower resolutio at ay stage of the process. Most productio facilities trascode all their footage up frot i order get the best performace whe previewig the footage for the editorial. Trascodig to DNxHD 36 is a acceptable quality for editig your sequeces. However, if you pla o doig fiishig work to your sequece, it's advisable to trascode your fial sequece to DNxHD 145, DNxHD 220, or DNxHD 220x. 51

52 Editig with Low-Resolutio Proxy Media To build your sequece with trascoded clips: 1. Trascode your clips usig either the maual or backgroud trascode process. For the trascode, right-click the sequece ad trascode to the offlie resolutio icludig hadles. I the Cosolidate/Trascode dialog box, select: - Create ew sequece - Create ew clips - Apply color trasformatio (if color space adjustmets were made o the AMA-liked clips ad you wat them to be applied whe the ew media is geerated) - Apply reformattig optio (if the AMA-liked clip was reframed/reformatted ad you wat it to be reflected whe the ew media is geerated) Color ad reframig optios do ot have to be baked i to the media if you wat the flexibility to make further trasformatios to the clips withi the sequece. Ay chages made to the proxies will be the be reflected whe you relik to the source files. Whe the sequece is trascoded, ew media is created for each of the clips i the sequece. This media is refereced by.ew clips that will appear i your bi. Similarly, a ew.trascoded sequece will also appear i your bi. 2. Move all the *.ew clips to a ew bi ad reame the bi suitably. Separatig the AMA ad trascoded clips ito differet bis will allow you to lik back to the source AMA clips more easily later i the editorial process. 3. Close the bis with the AMA-liked clips. 4. Load the trascoded sequece oto the timelie for the fie-tue editig. Oce you start editig with the low-res proxies, ay color adjustmets you make to the proxy clips o the timelie are ot trasferred back to the origial AMA clips. Therefore, apply source-side color adjustmets directly to the proxy clips i the bi ad the refresh the sequece i order to propagate the adjustmets to the sequece. These adjustmets will the be available whe you lik to the AMA clips. For procedures o how to refresh your sequece, see Refreshig Sequeces to Use Curret Clip Attributes i the Help. For example, there may be a case where you eed to reframe a certai segmet of your sequece or do a pa ad sca i order to follow the importat actio. Sice the clips are already used withi the sequece, you eed to add the framig adapter o the proxy clips i the bi. You must the make sure to refresh your sequece i order to propagate the framig parameters to the sequece. This will allow you to do further adjustmets o the framig box directly o the timelie i order to chage it s size ad/or positio from oe frame to the ext. 52

53 Relikig to Source Media for Coform ad Fiishig 5. After the editig process is complete, you may wat to switch back to the high-resolutio sources before outputtig your fial sequece see Relikig to Source Media for Coform ad Fiishig o page 53. Relikig to Source Media for Coform ad Fiishig If you built your sequece with AMA-liked clips ad switched to lower-resolutio clips for the editorial, you will eed to switch back to the high-resolutio sources if you wat to output your fial sequece at a better resolutio. The relik operatio ca be doe automatically if you are i a Iterplay eviromet. Refer to Usig MultiRez ad Dyamic Relik i the olie help. To relik to the origial media: 1. Close the bi(s) with the trascoded clips ad ope the bi(s) with the AMA-liked clips. 2. Select the edited sequece, press the Shift key ad select all the AMA-liked master clips i all the ope bis. You do t eed to kow which clips were used i your sequece. By selectig all the AMA clips, the applicatio will automatically relik the trascoded clips o your timelie to their parterig AMA master clips. 3. Right-click o the edited sequece ad select Relik from the meu. 4. I the Relik dialog box, choose: - Relik selected items to: Selected items i ALL ope bis - Create ew sequece. 5. Set ay other optios as ecessary ad click OK to relik. A ew reliked sequece cotaiig the AMA-liked clips will appear i the bi. 6. Load this reliked sequece oto the timelie for the coform. At this poit, you ca cotiue the fiishig process with the AMA-liked clips, or you ca trascode your sequece to a HD resolutio that is suitable for output. 7. For the trascode, right-click the sequece ad trascode to the olie resolutio icludig hadles. This will trascode oly the required media ad create a ew sequece with liks to the ewly trascoded clips. You ca the load this trascoded sequece oto the timelie for the fial stages. 53

54 Likig to MXF Media Likig to MXF Media Your facility may have a pipelie which creates processed or aliged MXF files usig a dailies applicatio. Avid recommeds that the dailies system geerate a AAF file of this media. The AAF ca be imported ito the Avid to geerate bis with master clips that poit to the MXF media. I the case of a AAF, the media will come olie automatically. If a AAF is ot available, the you ca use the Avid Media Tool to create clips from the MXF media. Keepig media from the same source (at all available resolutios) i the same folder, will also ease the file maiteace ad facilitate the reimport process i the evet that a differet resolutio of a clip is required. To lik to MXF media via AAF: 1. Make sure that all your trascoded MXF files are located i the appropriate Avid MediaFiles folder (drive letter:\avid MediaFiles\MXF\). 2. Ope the bi i which you wat to create the master clips. 3. Right-click i the bi, ad select Import (or simply drag ad drop your clips ito the bi). 4. Locate the AAF file that you wat to import ad click Ope. If you imported a AAF, all clips i the bi will automatically be liked to the correspodig MXF media. 5. The master clips will appear i the bi. To lik to MXF media via the Media Tool: 1. Select Tools > Media tool. 2. Select the media drives where the MXF files are located. 3. Sort the clips by creatio date ad select the clips that you eed. 4. Drag these clips ito your bi. 5. The master clips will appear i the bi. Mergig Additioal Metadata for Clips You ca import additioal metadata for your media such as iformatio from a 3rd-party applicatio that processed the media ad merge it with existig master clips i a bi. This metadata will be imported as log as it follows the Avid covetios for the bi colum data. 54

55 Rederig Effects To merge additioal metadata ito a bi: 1. Select the master clips for which you have additioal metadata to merge. 2. Right-click o oe of the clips, ad select Import. 3. Locate the ALE file holdig the metadata that you wat to import, ad click Ope. 4. To select optios for combiig evets o import, click Optios to ope the Import Settigs dialog box. 5. From the Shot Log tab, you must select Merge evets with kow master clips. Whe this optio is selected, your Avid editig applicatio merges iformatio i the shot log oto selected master clips based o the matchig tape ame or source file ame. This must be a exact match ad so should the START ad END timecodes. 6. Click OK to close the Import Settigs dialog box ad retur to the Select Files to Import dialog box. 7. Select the source file from the list ad click the Ope butto. Whe your Avid editig applicatio fiishes importig the file, the clips (or ew metadata for the clips) will appear i the selected bi. Rederig Effects Ay effects applied to clips o the timelie will use the project color space (Rec 709) whe they are processed for real-time playback. All effects-processig for playback is doe o the fly, i some cases, droppig frames or slowig dow as ecessary to display your color-corrected output at high quality for evaluatio purposes. Playback is ot cached to RAM. You ca choose to ivoke the Reder optio ad cache the ew media to disk storage i order to play your sequece smoothly. Ay precomputes redered to the disk storage will also be geerated usig the project color space with a maximum bit depth of 10-bit. Settig the Mask Regios for the Fial Output You ca specify mask margis o the output frame to create a master with a differet aspect ratio tha the project settig. This provides may useful features especially for those dealig with film distributio (e.g. widescree mode for DVD). You will be able to select from various aspect ratio presets. I the viewers, the selected aspect ratio will mask out (with a gray or black backgroud) ay area of the image that is ot iside the specified rectagle. No reder is eeded durig ormal editig operatios For example, if you apply a dissolve or a effect, the mask is ot processed. The viewer simply displays the masked area as show i the illustratio below. 55

56 Settig the Mask Regios for the Fial Output Project frame (HD) Mask margis For fial output, the mask margis will be applied, ad rest of the output frame will be filled with black. The mask is redered whe exportig the sequece. Scee cropped to mask margis ad filled with black To set the mask margis for the project: 1. I the Project dialog box, select the Format tab. 2. Click the Mask Margis butto. The Target Settigs dialog displays. 56

57 Settig the Mask Regios for the Fial Output 3. Select oe of the mask presets or set the margis maually by selectig the appropriate percetage of the image to be occluded. To display the mask area i the viewers: 1. Right-click i the source or record viewer ad select Target Mask. 2. Choose from oe of the followig optios: Optio No Mask Gray Mask Black Mask Descriptio Does ot display masked regio. Displays masked regio with a traslucet gray to allow you to view the full image. Blacks out the masked regio to display the image as it would appear whe output. The viewer updates accordigly. 57

58 Settig the Mask Regios for the Fial Output Source viewer showig full image with gray mask Record viewer showig reformatted image with black mask 58

59 Exportig Sequeces to File Exportig Sequeces to File The media formats for which you ca output media iclude the followig QuickTime (MOV, AVI), Widows Media (WMV), MPEG, HDV, DV Stream, sigle-frame graphics (PNG, TIFF, BMP, etc.). Before you output your sequece, refer to Preparig to Export a Sequece i the Help for your editig applicatio. To select the sectio for export: 1. Reder ay AMA-liked clips ad effects i your sequece. 2. Idetify the portio of the sequece that you wat to export. Optio To export specific tracks i a clip or sequece: To export a sigle-frame graphic: To export part of a clip or sequece: To export the etire clip or sequece: Descriptio Eable the tracks i the Track Selector pael, ad disable all others. Esure that Use Eabled Tracks is selected i the Export Settigs dialog box. Mark a IN poit to export the marked frame from a bi or a moitor, or move the positio idicator to the frame you wat to export. Esure that Use Marks is selected ad that Sequetial Files is deselected i the Export Settigs dialog box. Mark IN ad OUT poits to export the marked rage from a bi or a moitor. If you mark a IN poit ad o OUT poit, your Avid editig applicatio exports from the IN poit to the ed of the clip or sequece. Esure that Use Marks is selected i the Export Settigs dialog box. Make sure the topmost track is moitored. Esure that Use Eabled Tracks ad Use Marks are deselected i the Export Settigs dialog box. For iformatio o settig optios i the Export Settigs dialog box, see the Help. 3. Select the clip or sequece by doig oe of the followig: t Click the moitor that displays the clip or sequece you wat to export. t Click the clip or sequece i a bi. Ctrl+click (Widows) or Shift+click (Macitosh) to select multiple clips or sequeces. 4. Do oe of the followig: 59

60 Exportig Sequeces to File t Select File > Export. t Right-click the clip or sequece, ad the select Export. The Export As dialog box opes with a default file ame i the File ame text box (Widows) or the Save As text box (Macitosh), based o the file type. 5. Click the Export Settig meu, ad select oe of the predetermied settigs. This meu lists the possible formats i which you ca export your selectio. It also determies the type of file(s) that will be exported. For example, if you select Soreso Squeeze, the a QuickTime referece file will be exported. Here are the possible optios whe exportig to media files: If oe of these meet your eeds, the select Utitled ad click Optios to create a customized export settig. Export Settig Avid 3D Audio Avid Pro Tools LE (Mbox-Ref) Fast-Export QuickTime NTSC Fast-Export QuickTime PAL Macitosh Image NTSC Macitosh Image PAL Make New - QuickTime Referece Pro Tools QuickTime (ref) QuickTime Referece QuickTime Referece DV Codec Sed to QT Movie Soreso Squeeze Soreso Squeeze - Ecode for DVD Widows Image NTSC Widows Image PAL Export Format WAV MOV MOV MOV TIF TIF MOV MOV MOV MOV MOV MOV MOV BMP BMP 6. If you wat to view or modify the curret Export Settig, click Optios. 60

61 Exportig Sequeces to Exteral Applicatios The Export Settigs dialog box opes. The export settigs for some formats ca be complicated. I some cases, optios i the Export Settigs dialog box ope additioal dialog boxes with further optios. If you are modifyig the Export settigs, cosult Commo Export Settigs i the Help. Close the Export Settigs dialog box to retur to the Export As dialog box. 7. Select the destiatio folder for the file. 8. Eter a Fileame for the selectio that will be exported. The extesio will deped o the Export Settig that you chose. 9. Click Save. Your Avid editig applicatio exports the file. If you abort the Export while it is i progress, ay files that were created, will be deleted. Exportig Sequeces to Exteral Applicatios If you eed to apply custom effects or if you ited to fiish your project o aother applicatio such as Avid DS for color gradig, effects ad other fiishig, the you ca export your sequece to a project data file. Your Avid editig applicatio allows you to export part, or all your sequece to a AAF/AFE/EDL alog with the associated video ad audio media. 61

62 Exportig Sequeces to Exteral Applicatios To select the sectio for export: 1. Idetify the portio that you wat to export. Optio To export specific tracks i a clip or sequece: To export a sigle-frame graphic: To export part of a clip or sequece: To export the etire clip or sequece: Descriptio Eable the tracks i the Track Selector pael, ad disable all others. Esure that Use Eabled Tracks is selected i the Export Settigs dialog box. Mark a IN poit to export the marked frame from a bi or a moitor, or move the positio idicator to the frame you wat to export. Esure that Use Marks is selected ad that Sequetial Files is deselected i the Export Settigs dialog box. Mark IN ad OUT poits to export the marked rage from a bi or a moitor. If you mark a IN poit ad o OUT poit, your Avid editig applicatio exports from the IN poit to the ed of the clip or sequece. Esure that Use Marks is selected i the Export Settigs dialog box. Make sure the topmost track is moitored. Esure that Use Eabled Tracks ad Use Marks are deselected i the Export Settigs dialog box. For iformatio o settig optios i the Export Settigs dialog box, see the Help. 2. Select the clip or sequece by doig oe of the followig: t Click the moitor that displays the clip or sequece you wat to export. t Click the clip or sequece i a bi. Ctrl+click (Widows) or Shift+click (Macitosh) to select multiple clips or sequeces. 3. Do oe of the followig: t Select File > Export. t Right-click the clip or sequece, ad the select Export. The Export As dialog box opes with a default file ame i the File ame text box (Widows) or the Save As text box (Macitosh), based o the file type. 4. Click the Export Settig meu, ad select oe of the predetermied settigs. This meu lists the possible formats i which you ca export your selectio. It also determies the type of file(s) that will be exported. For example, if you select Export to Pro Tools, the a AAF metadata file will be exported. Here are the possible optios: 62

63 Exportig Sequeces to Exteral Applicatios If oe of these meet your eeds, the select Utitled ad click Optios to create a customized export settig. Export Settig AudioVisio Avid 3D Video Avid Pro Tools LE (002) Avid Pro Tools LE (Mbox-AAF) Avid DS Cosolidate Audio to Folder Cosolidate-Embed Audio Oly Cosolidate-Lik Audio ad Video Export to Pro Tools Lik to Audio Oly Lik to Audio ad Video Lik to Audio ad Video Mixdow Export Format AAF AAF AAF AAF AFE AAF OMF AAF AAF AAF AAF AAF 5. If you wat to view or modify the curret Export Settig, click Optios. The Export Settigs dialog box opes. The export settigs for some formats ca be complicated. I some cases, optios i the Export Settigs dialog box ope additioal dialog boxes with further optios. If you are modifyig the Export settigs, cosult Commo Export Settigs i the Help. Close the Export Settigs dialog box to retur to the Export As dialog box. 6. Select the destiatio folder for the file. 7. Eter a Fileame for the selectio that will be exported. The extesio will deped o the Export Settig that you chose. 8. Click Save. Your Avid editig applicatio exports the file. If you abort the Export while it is i progress, ay files that were created, will be deleted. 63

64 3 Acquisitio of File-Based Media (AMA) You ca lik, import, or export clips ad sequeces from may third-party volumes or third-party files to ad from the Avid editig system. You ca maipulate ad edit this media as you would ay other clip or sequece. File-based media ca be acquired from a third-party device (a camera, reader, or drive), from a CD or DVD, from a folder o your system, or from a virtual volume (a server coected to your system). To move the media ito your Avid editig system, you have the optio to use the AMA method (Avid Media Access) which liks the file based media directly ito a bi through a AMA plug-i, or you ca use the o-ama method which imports the media oto your system. Whe you work with high-resolutio media, the AMA method is the preferred ad the faster method. AMA likig also allows for more metadata to be brought ito the bi which gives you more iformatio about the media. For example, essece marks (or markers) associated with the clip are automatically brought ito your bi. For iformatio o importig ad exportig media, see Importig Files o page 393 ad Exportig Frames, Clips, or Sequeces o page Before you begi workig with AMA, make sure you have doe the followig: Go to avid.com/ama to make sure you dowload the latest plug-i for your specific third-party device. If you are usig a XDCAM, XDCAM EX or a P2 device, make sure you have the appropriate drivers istalled. See your third-party documetatio for iformatio o istallig drivers. Coect the third-party device accordig to the documetatio supplied with the device. The Avid Media Access (AMA) Workflow Avid Media Access (AMA) is a plug-i architecture that lets you lik directly to clips o a exteral third-party device. The device ca be a camera, a card reader, a optical disk, a virtual volume. AMA lets you be more productive by browsig ad editig directly from the device or volume.

65 The Avid Media Access (AMA) Workflow There are two ways of browsig ad editig this media: Maually browse through the media o the third-party device, ad lik to selected media to create master clips i your bi, or Move all the media from the third-party device to a Avid dyamic media folder where you have set up a automated process to create the master clips. Typical media maagemet fuctios (e.g. deletes, trascodes, cosolidates) apply to all AMA-liked clips i the same robust maer as they do for maaged MXF Avid-compliat OPAtom files. All media, whether captures, imported or liked by AMA, will be displayed i a sigle widow i the Media Tool. AMA ad dyamic media folders are the quickest method by which you ca automate the acquisitio of footage, ad sigificatly ehace your productio workflow whe workig with media i popular digital formats. With the use of dyamic media folders, you ca orgaize your files ad assig automated actios to a watched folder system. These actios ru i the backgroud, allowig you to keep workig while files are beig igested ito the applicatio. The actios iclude copy, cosolidate ad trascode see Creatig Dyamic Media Folders o page 71. The illustratio below shows how you ca automate the acquisitio of file-based media i the backgroud so that you ca cotiue editig your sequece without iterruptio. Before you begi editig, set up media service profiles to ru automated media acquisitio actios o the specific drives/folders where the origial media is located. Ay files placed i these folders will be processed ad maaged i the backgroud. 65

66 The Avid Media Access (AMA) Workflow Avid Media Composer Exteral card reader Set up automated processes to move files to a local or shared folder Backgroud Process 1 Files moved to local or shared folder Dyamic Media folder (ative formats) 3 Avid Media Files folder (MXF OP Atom formats) 2 Master clips created Media cosolidated ad/or trascoded New master clips created for trascoded/cosolicated media 4 Request bi update, ad the clips poit to source files that have bee copied to the AMA media folders 5 Perform maual relik of clips to trascoded media 1. You ca begi the editorial by likig directly to the media o a exteral device. I the meatime, the pre-cofigured Dyamic Media Folder (DMF) profiles will automatically copy the files from the exteral device to a AMA media folder of your choice o a local or shared storage. These folders will be maaged ad idexed by the applicatio. 2. Master clips will be created for all the copied files ad added to a 'stagig' area so as ot to cause iterruptios each time a ew file is acquired. Ay related audio ad video files will be auto-syced. Similarly, ay related clips comig from multiple cameras will be auto-grouped. 3. Depedig o how your dyamic media folders were cofigured, some specific file formats will be cosolidated ad/or trascoded to MXF proxy media. This media will be placed i the Avid MediaFiles folder ad separate master clips (*.ew) will be created i the bi for this media. 66

67 The Avid Media Access (AMA) Workflow 4. Whe files are ready to be pulled ito a bi, you will be otified by a gree light to the right of the audio meters i the timelie. Through the Dyamic Media Folders dialog, you ca request a bi update which will pull the clips ito a bi. Ay AMA-liked clips already o the timelie will automatically poit to the ew locatio of the media i the desigated AMA media folder(s). Similarly, if ay files were cosolidated, ad you selected the relik optio i the DMF dialog, the master clips will automatically poit to the ew cosolidated files. 5. If you wat to work with trascoded media, o the other had, you eed to maually relik your sequece to the ew master clips i the bi. I a Iterplay eviromet, the relik ca be doe automatically. See Eablig Dyamic Relik i the olie help. Cosideratios ad Limitatios for AMA Footage from the Soy XAVC ad ARRI ALEXA cameras ca be recorded directly to MXF. Sice Avid will have ative HD codecs for these MXF formats, editors ca lik to or import this media i Media Composer. Workig with the MXF media provides better performace for playback ad rederig. Other high resolutio raw file formats that are ot supported by Media Composer ca be trascoded to MXF by Avid MetaFuze. The followig limitatios apply: Whe the AMA settig is activated, the o-ama method does ot appear i the File meu. Deactivate the AMA settig to display the File > Import P2 (ad Import XDCAM Proxy) optio. The AMA settig is o by default. Widows UNC (Uiversal Namig Covetio) paths are supported with AMA media. You ca move your AMA bis from a Widows system to a Macitosh system ad from a Macitosh system to a Widows system. The media files eed to reside i the same shared locatio whe you move the bis to ad from differet operatig systems. Do ot AMA lik to a volume or file if the file path ame has a illegal character. AMA clips display offlie if the file path ame you are likig to cotais illegal characters, icludig < > : /? *. for Widows ad : for Macitosh. You ca create stereo clips from AMA-liked media. Refer to Avid Stereoscopic 3D Editig Workflow Guide. Iterplay ad Iterplay Sphere users ca use the dyamic relik capability to view the best available media for AMA-liked clips. Refer to Usig Dyamic Relik with Iterplay Sphere Editig Systems o page 49 or the Avid Iterplay Sphere Remote News Editig Workflow Guide. 67

68 Viewig Istalled AMA Plug-is Whe you reder a audio effect o a AMA media clip, all audio media files are writte as PCM (MXF), regardless of what you set for the audio file format. Avid does ot support MultiCamera editig with AMA clips. You should ot mix workflows. Either use the AMA method or use the traditioal import/batch import method. Viewig Istalled AMA Plug-is Oce you dowload ad istall a third-party plug-i from avid.com/ama, you ca eter a cosole commad to view a list ad the versio umber of the plug-is istalled o your system. To display the list of istalled AMA plugis: 1. Select Tools > Cosole. 2. I the commad etry text box, type: AMA_ListPlugis 3. Press Eter (Widows) or Retur (Macitosh). AMA_ListPlugis displays a list of the plugis istalled o your system. Selectig the AMA Settigs You ca set optios i the AMA Settigs dialog box to tur AMA o or off (o by default), to automatically mout your volumes, to customize your bi, ad to set audio chael likig optios. To set up AMA: 1. I the Project widow, click the Settigs tab. 2. Double-click AMA. The AMA Settigs dialog box appears. 68

69 Selectig the AMA Settigs 3. Click the Volume Moutig tab. 4. If you wat the system to automatically sca drives (volumes) every time, select the optio Whe moutig previously mouted volumes, do ot check for modificatios to the volume. This optio is off by default. 5. If you remout a volume, deselect the optio Whe moutig previously mouted volumes, do ot check for modificatios to the volume, ad the system checks the modificatio date of the device or drive agaist the last time the clips were liked. If the date is the same, the clips come back olie. If the date is differet, the system liks the clips agai, ad liks ay ew clips added to the volume. This optio is off by default. If you restart your Avid editig applicatio, the system automatically rescas the drives regardless of the optios you ve selected. 6. To customize your bi, click the Bis tab. By default, the system liks your clips ito a ew bi usig the same ame as your project ame. If you wat to chage the bi ame or wat to use a already existig bi, you ca make these chages i the Bis tab. For more iformatio o Bis optios, see AMA Settigs: Bis Tab o page 46. Depedig o your AMA Settigs, every time you isert a card ito a reader, the system creates a ew bi whether the same card or device has bee previously iserted or ot. 7. To map source audio chaels to multichael or moo tracks i your clips, click the Lik Optios tab, ad the click Edit. 69

70 Copyig File-Based Media to a FireWire or Network Drive The Set Multichael Audio dialog box opes. For iformatio o settig multichael audio optios, see Usig XDCAM Multiple Resolutio Clips with AMA o page Click OK. Copyig File-Based Media to a FireWire or Network Drive After you isert cards or a disk ito your third-party device, you ca copy the media to a FireWire drive or a etwork drive ad the eject the card or disk. You might fid it coveiet to copy several cards or disks to other drives so you ca reuse the cards or disks. You ca also create Dyamic Media Folders (DMF) to copy all files placed i the DMF to a specified locatio. See Creatig Dyamic Media Folders o page 71. You ca work with media o a card/disk or work with media o aother drive, but you caot work with media that is stored i both places simultaeously. To avoid the problem, eject the card or disk after you copy the media files to the other drive. To copy the card or disk media to aother drive: 1. O the local or shared system drive, set up a folder for each card or disk you wat to copy. Avid recommeds that you do ot place the media folder at the top level of the drive. 2. Give each folder a uique ame that idetifies the card or disk. The ame does ot have to be the same as the actual card or disk ame. 3. Navigate to the actual card or disk ad select the folder with the media. 4. Do oe of the followig: t Copy ad paste the cotets of the card or disk media folder to the system folder. t Click the card or disk folder ad drag it to the system folder. 5. Eject the card or disk. Draggig ad Droppig File-based Media Directly to a Bi You ca drag ad drop file-based media directly to a bi. 70

71 Creatig Dyamic Media Folders To drag ad drop files directly ito a bi: 1. Navigate to the folder that cotais the file based media. 2. Select the files you wat to drag to the bi. 3. Alt + drag (Widows) or Optio + drag (Macitosh) the files to the bi. The files appear i the bi as AMA liked files. These are also maaged files ad appear i the Media Tool. Creatig Dyamic Media Folders Dyamic Media Folders (DMF) are user created folders that allow you to efficietly work with file-based media. DMF folders allow you to maage ad process media eve whe the editig applicatio is ot ruig. For example, you ca create a DMF folder where the media from a digital camera ca be moved off the camera ad placed i the DMF, allowig the productio team to quickly take the camera back out i the field. A profile associated with that DMF folder ca be setup to have these files AMA lik ito a particular bi. AMA media is ow maaged. Therefore the AMA media will ow appear i the Media Tool ad ca be checked ito Iterplay. You ca also create DMF folders that are setup to perform time cosumig tasks such as copyig, trascodig or cosolidatig. You ca create a DMF folder that copies all files placed i the DMF to a specified locatio. You ca also setup a DMF to trascode or cosolidate ay file that is placed i the folder to a specified resolutio. These processes occur i the backgroud. The basic workflow for usig DMF folders is the followig. Create a folder. This folder ca sit o your desktop or aywhere o your Avid editig system. Assig a profile to the folder. This profile is where you specify the actios you wat performed o the files. Ay time files are added to that folder, the actios you set i the profile for that folder will be applied to those files. A idicator o the Timelie will let you kow whe files have bee added to a DMF folder. Access the DMF widow ad choose to place the files from the DMF folder ito the appropriate bi. To create a Dyamic Media Folder: 1. Select Tools > Dyamic Media Folders. The Dyamic Media Folders widow opes. 71

72 Creatig Dyamic Media Folders 2. Create a ew folder by clickig the + ico i the Dyamic Media Folders widow. The Select Folder widow opes. 3. Browse to the folder you wat to desigate as a Dyamic Media Folder. 4. Click Select Folder. 5. Click the Profile Editor butto to create a profile that you wat associated with the DMF folder. The Profile Editor opes. 6. Click the Meu bars to ope the default profile summary ad default AMA Settigs ad Actios. 72

73 Creatig Dyamic Media Folders 7. Select AMA Settigs optios as described i the followig table. Settig Optio Descriptio AMA Plugi Lik Usig Select which Plug-i you wat the editig applicatio to use whe performig AMA liks for the files added to the selected DMF folder. If you are likig to Volumes, Avid recommeds you select the Autodetect AMA Plug-i. Bis Use active bi Whe this optio is selected, your Avid editig applicatio uses the curretly active bi to store clips liked usig AMA. 73

74 Creatig Dyamic Media Folders Settig Optio Descriptio Create a ew bi Whe this optio is selected, your Avid editig applicatio creates a ew bi to store clips liked usig AMA ad cotrols the bi ame. This is the default optio. Default bi amig covetio: uses the project ame for the bi (bi ame followed by a cosecutive umber). Volume ame: the ame or label of the volume (for example D:). Specify bi ame: lets you eter a ew bi ame. Lik Multichael Audio Select this optio if you wat to assig audio tracks to specific chaels i your liked media, up to a maximum of 16 audio chaels for the clips i your bis. This allows you to specify which source chaels are treated as moo or multichael audio tracks i your project, rather tha havig to modify the clips i your bi after you lik to the AMA media. Click Edit to ope the Multiple Mixes dialog box, which allows you to map audio tracks to chaels. Audio Start-Time Optio (for Broadcast Wave) Select this optio to set the audio Project Rate for Broadcast Wave files. 8. To add additioal actios to be performed o files foud i the DMF folder such as copy, trascode, cosolidate or check ito Iterplay, click the Actios + to add a actio. 74

75 Creatig Dyamic Media Folders 9. Click the Meu butto o a row to access the desired copyig, cosolidatig ad/or trascodig actios you wat to be performed o the files. Choose from the followig optios: Actio Optio Descriptio Copy to Folder Copy to: Click the Set butto to choose the locatio where you wat the files copied to. Cosolidate Auto Relik whe complete Checki to Iterplay Skip media files already o the target drive Relik selected clips to target drive before skippig Covert Audio Sample Rate Covert Audio Bit Depth Files are automatically reliked whe the copy is completed. Checks i assets to Iterplay. Whe you select this optio, also select the Auto Relik whe complete optio. Select to bypass files if some related media files are already located o the target drive. Select to esure that all selected clips are liked to media o the target drive. Select this optio to covert the sample rate to 32 khz, 44.1kHz, or 48 khz. Select this optio to covert the Bit Depth to 16 Bit or 24 Bit. 75

76 Creatig Dyamic Media Folders Actio Optio Descriptio Covert Audio Format Video Drive Audio Drive Select either OMF (WAVE), OMF(AIFF-C), or MXF (PCM) audio format. Select the applicable drives. Trascode Trascode Video Resolutio Select the applicable Project type, Color Space, Raster ad Codec you wat to trascode to. Apply Reformattig optio (compatibility mode) Apply color trasformatios Covert Audio Sample Rate Covert Audio Bit Depth Covert Audio Format Trascodes the media ad applies ay framig ad reformattig optios that have bee set o the master clips. Trascodes the media with ay color trasformatios (color space, LUTs, CDLs) that have bee applied to the master clips. If these optios are ot selected, the the reformattig optios, framig, ad color trasformatios are ot applied whe the media is trascoded. The iformatio however, is still retaied i the clip metadata, ad will be used with the trascoded media whe the clip is dropped o the Timelie. Select this optio to covert the sample rate to 32 khz, 44.1kHz, or 48 khz. Select this optio to covert the Bit Depth to 16 Bit or 24 Bit. Select either OMF (WAVE), OMF(AIFF-C), or MXF (PCM) audio format. 76

77 Creatig Dyamic Media Folders Actio Optio Descriptio Video Drive Audio Drive Select the applicable drives. 10. You ca also reorder the actios by priority by draggig oe above or below the other. 11. Click Save to save the Profile. 12. Name the Profile ad click OK. 13. Select Eable i the Dyamic Media Folders widow to make sure that ay files added to the Dyamic Media folder will have the actios set by the associated Profile. Oce a Profile is associated with a folder, you caot chage that Profile. You ca oly assig oe Profile per folder. Whe files are placed i a Dyamic Media Folder, you will see a progress idicator i the Timelie. If the Show Dyamic Media Folders progress idicator is gree, ew clips are available. 14. Right+click the Show Dyamic Media Folders progress idicator ad select Dyamic Media Folders. The Dyamic Media Folders widow opes. 15. Click Acquire. The ew assets will populate the editig applicatio Bi accordig to the Bi settig you chose i the Profile Editor. Ay clips that have bee cosolidated or trascoded will also populate the bi as.ew files. If some clips are still i process, they will populate the bi as offlie. You ca moitor the backgroud progress of these files by selectig Tools > Backgroud Queue. 77

78 Likig Media with AMA Likig Media with AMA The editig applicatio will automatically lik clips o a volume whe you coect to your third-party device. You ca also use the File > AMA Lik optio to maually lik to a volume or file. AMA media is maaged. AMA maaged media meas that the AMA media is tracked. The AMA media is associated with.pmr ad.mdb files. Therefore the AMA media will appear i the Media Tool ad ca be checked ito Iterplay. AMA likig lets you poit to media o a device or poit to the media directly o your system. The media physically resides o your system or it ca reside o a exteral device. The media poits to the most recet source. For example, if you lik the clips to a virtual volume o your desktop, the drive colum displays the desktop as the locatio where the clips are liked to. If you the isert a card ito a reader with the same media, the clips poit to the media o the card. If you remove the card, the clips poit to the media o the card ad the clips appear offlie. The card beig the most recet source. Oce the card is reiserted, the clips i the bi appear olie. See also, Usig Virtual Volumes o page 86 ad Virtual Volumes ad AMA Bis o page 87. For optimum viewig ad playig, Avid recommeds a sigle clip legth should ot exceed more tha 12 hours. The decompose optio from the Clip meu is ot available with AMA. You do ot eed to decompose clips whe you use the AMA Lik. To automatically lik clips from a third-party device: 1. Coect the drive, card reader or device to your computer as described i the third-party device documetatio. The system scas the device ad liks the clips ito the default bi ad with the default multichael audio track formats (based o the AMA settigs). A lik ico appears ext to the clip. To chage the default bi, bi ame, or audio track format, from the Project widow double-click AMA Settigs ad select optios from the Bis ad Lik Optios tabs. For more iformatio, see AMA Settigs o page 46 ad Usig XDCAM Multiple Resolutio Clips with AMA o page 90. To lik clips from a virtual volume with AMA: 1. Select File > AMA Lik. The Ope dialog box opes. 78

79 Likig Media with AMA 2. Navigate to the folder that cotais your file-based media. For P2, avigate oe level above the Cotets folder. For XDCAM disks, avigate to oe level above the Clip folder. For XDCAM EX, avigate to oe level above the BPAV folder. For RED, avigate to the root directory of the RED card. For GFCAM, avigate to the root directory of the GFPAK. For QuickTime, avigate to the QuickTime folder that holds the QuickTime files. Depedig if you are usig a existig bi or creatig a ew bi, the Bi Selectio dialog box opes. 79

80 Likig Media with AMA 3. Select Bi Selectio optios. Optio Descriptio Sigle Bi Based O Selected Folder Places all liked clips ito oe default bi. Sigle Bi Named Bi(s) Based o Curret AMA Settig Bi(s) Based o Subfolders Top Bi Widow Lets you create a ew bi ad type i a ew bi ame. Places all liked clips ito that bi. Places the clips i the bi(s) you set up i the AMA Settigs Bis tab. Places the clips i bi(s) based o their subfolders. Places the clips i the active bi. 4. Click OK. The clips appear i the bi or bis depedig o the optios you selected. A lik ico appears ext to the clips. To lik clips from a file with AMA: 1. Select File > AMA Lik. You ca also right-click a bi ad select AMA Lik. 2. The Ope dialog box opes. 3. Navigate to ad select the files you wat to lik to. Ctrl+click or Shift+click to select multiple files. 4. From the Files of Type meu either select Autodetect AMA Plug-i or select the plug-i from the list. Audodetect will detect the appropriate plug-i from the list of istalled plug-is. 80

81 Relikig to AMA-Liked QuickTime Files 5. Click Ope. The clips appear i the active bi with the default multichael audio track formats (based o the AMA settigs). A lik ico appears ext to the clips. If the system caot lik a file, a error message displays iformig you to ope the Cosole widow for more iformatio about the file(s) i error. If you move the clip from the origial drive to aother drive o your system, the clip displays as offlie i your bi. If you move a source file from oe locatio to aother ad the back to the origial locatio, you might eed to refresh the bi to redisplay the clip. Close ad reope the bi to refresh the bi. Relikig to AMA-Liked QuickTime Files After you lik Quicktime files ito your sequece, you have the optio to make chages (i a third party applicatios, such as Adobe After Effects) to that file. If you chage the fileame or chage the locatio of the file, the best way to lik that clip back ito your sequece is through the relik optio. Relikig to a AMA file allows you to lik to a differet file. This process oly works if the targeted file is compatible with the old file, for example the file has the same duratio, edit rate or umber of tracks. This feature is helpful whe you have a group of liked clips that were moved to a differet folder or drive. You ca relik the clips to the ew locatio. You ca also use this feature to toggle betwee differet versios of a QuickTime movie, for example a low-resolutio versio of the movie is mymovie_dv.mov ad the high-resolutio versio of the movie is mymovie_1to1.mov. You ca relik to both of these versios, to see which clip works better i your sequece. At this time, Relik to AMA File(s) is oly available with AMA QuickTime files. To relik to AMA file(s): 1. Select the file(s) you wat to relik by doig oe of the followig: t Click a sigle file t Shift+click to select multiple adjacet files t Ctrl+click (Widows) or Commad+click (Macitosh) to select multiple oadjacet files 2. Right-click ad select Relik to AMA File(s). The Select file(s) to relik AMA clip dialog box opes askig you to locate the ew file(s). 3. Locate the folder where the files exist. 4. Click OK. 81

82 Spaed Clips The clips appear liked i the bi. If all the clips you wated to relik to do ot reside i the selected folder, you will receive a dialog idicatig how may files were ot reliked. Ope the Cosole widow to see the ame of the file or files that were ot reliked. If the ew file is ot compatible with the clip i the bi (it does ot have the same duratio, edit rate or umber of tracks), the clip i the bi retais its origial lik. Spaed Clips Spaed clips are clips that exted from oe card to aother. Avid supports workig with spaed clips with some third party devices such as P2, AVCHD, Cao, ad XDCAM EX. The followig illustratio shows how clips ca spa multiple cards. Example of spaed clips. The white rectagles represet P2 cards ad the gray rectagles represet clips. The first ad third clips spa multiple cards. 82

83 AMA Likig with Acillary Data Whe you work with spaed clips, cosider the followig: If you remove a card that cotais a spaed clip, for example Card 2 i the above example, ad you try to play Clip 1, it plays util it reaches the portio of the clip that resides o Card 2. Media Offlie appears util you reach the media o Card 3. Avid recommeds that you do ot place aother card i the removed card s place uless you remove all the cards that cotai the spaed clip (Cards 1 ad 3 i this example). You ca mix cards that cotai spaed ad uspaed master clips. However, if you eject a card which cotais a chuk of a spaed clip ad isert aother card, the master clips i the ewly iserted card are ot visible i the Media Tool but the media files are visible. To work aroud this, remove all the cards which cotai chuks of the spaed clip ad choose File > Umout followed by File > Mout All (o-ama method). All the master clips are visible. P2 ad XDCAM EX spaed media covers multiple drives, but the bi displays oly oe drive letter. The drive letter i the bi might be ay of the drives, but is usually the highest lettered drive where the media exists. If ecessary, copy all spaed clips to aother drive to esure a clip s itegrity before you swap out the cards. AMA Likig with Acillary Data You ca AMA lik to a XDCAM or a MXF (SMPTE 436M) clip with acillary data, the acillary data appears i your bi. You ca lik to the acillary data clip without a Avid iput/output hardware, however, i order to view the acillary data i a moitor, a Avid Nitris DX or Avid Mojo DX device is required. For iformatio about acillary data ad data tracks, see Preservig HD Closed Captioig ad Acillary Data o page 1234 ad Data Track Method o page AMA Likig with Multichael Audio You ca use the AMA Settigs dialog box to defie the audio track formats for the audio chaels i your liked media, up to a maximum of 16 audio chaels for the clips i your bis. This allows you to specify which source chaels are treated as moo or multichael audio tracks i your project, rather tha havig to modify the clips i your bi after you lik to the AMA media. The mappigs affect all media clips created whe you lik to your source media. If you wat to use differet mixes for differet master clips or differet projects, create a custom AMA Settigs template for each separate type of mix ad the create your liked master clips. 83

84 AMA Likig with Multichael Audio Each stereo track requires two chaels, but you ca mix moo ad stereo iput chaels for your likig operatio as log as you do ot exceed the maximum of 16 audio chaels for each master clip. To specify the multichael audio mix for liked AMA clips: 1. I the Project widow, click the Settigs tab. 2. Double-click AMA. The AMA Settigs dialog box appears. For iformatio about the AMA Settigs, see AMA Settigs o page Click the Lik Optios tab. The Lik Optios tab lists ay multichael audio mappigs i the curret AMA Settigs template. 4. Click Edit. The Set Multichael Audio dialog box opes. 84

85 AMA Likig with Multichael Audio 5. Click the format buttos to select oe of the followig audio track formats for each pair of source chaels: Butto Track Format Moo Stereo You must map source audio chaels i moo or stereo pairs. For example, you caot map A1 to a moo track ad A2 ad A3 to a stereo track. Istead, map A1 ad A2 to moo tracks, ad A3 ad A4 to a stereo track. If the source media does ot have a audio chael o A2, the Avid editig applicatio igores the chael. 6. Click OK to close the Set Multichael Audio dialog box, ad the click OK to close the AMA Settigs dialog box. The Track Formats colum i the bi Text view displays the format for all multichael audio tracks i a master clip. To save a custom map of liked audio chaels as a settigs template: 1. Click the Settigs tab i the Project widow. The Settigs list appears. 2. Click AMA. 3. Select Edit > Duplicate. A duplicate settig appears i the Settigs list. 4. Name the settig by doig the followig: a. Click the custom ame colum. b. Type a ame. 85

86 The AMA Plug-i Log File c. Press Eter (Widows) or Retur (Macitosh). The custom ame colum is the ceter colum i the Project widow. Whe you move the poiter over the custom ame colum, the poiter chages from a poitig figer to a text isertio bar. You ca select this ew settig wheever you lik clips with AMA. The AMA Plug-i Log File The Avid system creates a AMA plug-i log file whe you lik clips. The log file records errors ad iformatio about the clips. If you experiece ay problems while you lik clips or if you receive a error message, check the AMA log file to get more iformatio about the error (for example: a corrupt file or a bad fileame). You ca view the log file from the followig locatio o your system: (Widows) drive:\program Files\Avid\Media Composer\Avid FatalError Reports. The ame of the log file is AMALoggerMM_DD_YY.log. (Macitosh) Volume/Users/Shared/AvidMediaComposer/Avid FatalError Reports. The ame of the log file is AMALoggerMM_DD_YY.log. Usig Virtual Volumes You ca use a virtual volume to copy media from a card or disk. This lets you use the card or disk agai. A virtual volume ca be a folder o your desktop or a folder located o a server. However, the virtual volume folder should reside oe level dow from the root level i order for the system to display it as a virtual volume. The followig are examples of virtual volumes: C:\Desktop\BPAV Z:\P2\Card 1 Z:\GFPAK\ Whe likig to AMA volumes, the system looks ito folders up to two levels deeper. This is helpful whe likig to AMA volumes that cotai left ad right stereoscopic files/folders. With the AMA method, all drives ad virtual volumes associated with your bi mout automatically. You caot remove a volume while i AMA, however you ca remove a virtual volume. To umout a virtual volume: 1. Choose File > Umout. The Umout dialog box opes. 86

87 Virtual Volumes ad AMA Bis 2. Select the virtual volume you wat to remove. 3. Click OK. The system removes the virtual volume from your system ad clips liked to this virtual volume appear offlie. Whe you restart your Avid editig applicatio, the system scas the system for virtual volumes ad the clips appear olie. Virtual Volumes ad AMA Bis If you select Volume Name i the AMA Bi Settigs tab, the system ames the bi the same ame as the virtual volume drive ame. If you cotiue to use the same virtual volume to lik other media through AMA, the system cotiues to place the liked media i the same bi. If you wat to create a ew bi for differet types of media you lik through AMA, you ca either create a ew virtual volume drive for each type of media (XDCAM, XDCAM EX, P2, GFCAM, etc.) or you ca create a ew bi every time you lik to ew media o a virtual volume. To create a ew bi o the same virtual volume: 1. Before you lik your media through AMA, click the Settigs tab i the Project widow. 2. Double-click AMA. 3. Click the Bis tab. 4. Select Create a ew bi ad specify a ew bi ame. 5. Click OK. 6. Select File > AMA Lik. The media appears i the ewly created bi. Repeat these steps for each type of media. Deletig Clips You ca delete master clips, but you caot delete media files that reside o drives. Your Avid editig applicatio treats files as read-oly devices. You ca delete master clips ad media files the same way you delete other master clips ad media files. However, you might ot be able to delete files that you moved rather tha copied. If you caot delete master clips ad media files, first ulock the clips as described i the secod procedure, ad the delete them. To delete files from cards/volumes: 1. Quit your Avid editig applicatio. 2. O the desktop, avigate to the drive. 87

88 Usig AMA Plug-Is 3. Select the files you wat to delete ad press the Delete key. To delete files o a local drive i your Avid editig applicatio: 1. I a bi, select the clips you wat to delete. 2. (Optio) Right-click ad select Ulock Bi Selectio. 3. Press the Delete key. The Delete dialog box opes. 4. Select Delete master clips ad Delete associated media files. 5. Click OK. You ca also choose to AMA Lik if you wat to ope the assets as Read-oly i a classic bi. Usig AMA Plug-Is The followig topics iclude high-level procedures of a typical workflow you might use whe you edit with a particular media type ad AMA Plug-Is. Usig XDCAM ad XDCAM EX ad XDCAM SR AMA Plug-Is The Soy XDCAM decks ad camcorders use a optical disk to store recorded media. The XDCAM devices record media i high-resolutio MPEG IMX, DVCAM, ad XDCAM HD formats or correspodig low-resolutio or compressed (proxy) media (MPEG-4). This lets you work with the compressed or low-resolutio media i a off-lie editig sessio ad the later coform or lik the compressed media to the correspodig high-resolutio media. The HDCAM SR AMA plug-i supports MXF-wrapped SR Lite ad SR SQ formats (422 YUV ad 444 RGB) as trasferred from HDCAM SR devices. You ca play XDCAM HD media to a Cliet moitor or output a digital cut as Best Performace (yellow/yellow) or Draft Quality (yellow/gree). If you use Avid Nitris DX or Avid Mojo DX, you ca play out the back of the HD-SDI. The followig steps describe a typical workflow for editig XDCAM, XDCAM EX or XDCAM SR clips with AMA. Do ot mix AMA ad traditioal workflows. Either use AMA whe you work with a XDCAM device or use the traditioal import/batch import workflow. 88

89 Usig AMA Plug-Is You should be aware of the followig: Playback performace from a optical disk is very slow. To create a sequece with multiple effects or layered tracks, Avid suggests that you cosolidate the media to a local drive, istead of workig directly from the optical disk. Avid has tured off redrawig of waveforms i the Timelie whe you lik to XDCAM clips that reside o a disk. This allows for a faster likig process. Whe the media is cosolidated, the waveforms redraw. Whe you lik XDCAM clips from a optical disk, Avid recommeds that you do ot display the bi i Frame view or Script view due to performace issues. A typical workflow is as follows: 1. Make sure the Soy XDCAM ad XDCAM EX, or XDCAM SR AMA plug-i is istalled o your system. 2. For XDCAM, istall the appropriate Soy XDCAM drivers. You do ot eed drivers for XDCAM EX. 3. Isert the XDCAM disk or XDCAM EX card. The system liks the XDCAM clips ito a bi. The media itself remais o the disk. The clips poit directly to the high-resolutio media o the disk. For XDCAM clips from a optical disk, a progress bar appears to show you how much time is left to lik the media. If you use multiple cards ad you remove oe of the cards, your media displays offlie. 4. Use the master clips to edit the sequece. 5. (Optio) Reame the clips to help orgaize your material. 6. You ca either trasfer your media to your hard drive ad the trascode or cosolidate your sequece or clips, or cosolidate directly from the XDCAM disk. Whe you cosolidate, if you wat to keep your AMA clips liked to the origial source, select the optio Keep Master clips liked to media o the origial drive, i the Copyig Media Files dialog box. Cosolidatig your media helps whe you work with multiple cards. If you remove a card from the reader, cosolidatig lets you view your sequece with all the media olie. Due to the desig of the Nitris iput/output hardware, playback of XDCAM or XDCAM EX media o a Avid Symphoy usig Nitris causes dropped frames. To allow for full performace playback, trascode the XDCAM media ito DNxHD media to play the video o your Avid Symphoy system with Avid Nitris iput/output hardware. 89

90 Usig AMA Plug-Is For iformatio o cosolidatig your sequece, see Cosolidatig Media o page 567. For iformatio o trascodig your sequece, see Usig the Trascode Commad o page Remove the XDCAM disk or XDCAM EX card: t (Widows) Select Safely Remove Hardware ico i the taskbar ad select Safely Remove XDCAM EX device ame. t (Macitosh) Click the device ico o your desktop ad drag it to the Trash. Usig XDCAM Multiple Resolutio Clips with AMA The XDCAM AMA plug-i allows you to lik to low-resolutio (proxy) or high-resolutio audio or video media. The AMA multiple resolutio feature supports specific XDCAM devices which iclude a /PROAV folder. For example, the Soy PDWU1 Professioal Disc Drive Uit. See your Soy documetatio for iformatio o how to eable the /PROAV directory for your device. Avid editig systems do ot support XDCAM proxy audio. The followig steps describe a typical workflow for editig XDCAM multiple resolutio clips with AMA. Do ot mix AMA ad traditioal workflows. Either use AMA whe you work with a XDCAM device or use the traditioal import/batch import workflow. You should be aware of the followig: Playback performace from a optical disk is very slow. To create a sequece with multiple effects or layered tracks, Avid suggests that you cosolidate the media to a local drive, istead of workig directly from the optical disk. Avid has tured off redrawig of waveforms i the Timelie whe you lik to XDCAM clips that reside o a disk. This allows for a faster likig process. Whe the media is cosolidated, the waveforms redraw. Whe you lik XDCAM clips from a optical disk, Avid recommeds that you do ot display the bi i Frame view or Script view due to performace issues. A typical workflow is as follows: 1. Use Soy s PDZ-1 software to associate your low-resolutio clips with metadata to idetify the clip i the Avid bi. This icludes eterig a User Disc ID i the Disc Properties widow. 2. The Soy XDCAM ad XDCAM EX AMA plug-i should be istalled o your system. 3. Istall the appropriate Soy XDCAM drivers. 4. I the Project widow, click the Settigs tab. 90

91 Usig AMA Plug-Is 5. Double-click AMA. The AMA Settigs dialog box appears. 6. Click the Quality tab. 7. Click the appropriate resolutio for your video ad audio i the AMA Lik Preferece sectio, ad click OK. 8. Isert the XDCAM disk i the XDCAM device. 9. Select Bi Selectio optios from the Bis tab. For iformatio o bi selectio optios, see Likig Media with AMA o page Select File > Lik to AMA Volume. The Browse for Folder dialog box opes. 11. Navigate to the XDCAM clips, ad the click OK. The clips appear i the bi or bis depedig o the bi optios you selected. A lik ico appears ext to the clips. 12. Edit the sequece. 13. Right-click the bi ad select Modify AMA Resolutios to relik your low-resolutio to high-resolutio media. 14. To cosolidate your media, see Cosolidatig Multiple Resolutio Media o page 92. Whe you cosolidate, if you wat to keep your AMA clips liked to the origial source, select the optio Keep Master clips liked to media o the origial drive, i the Copyig Media Files dialog box. 15. Click the Highest Quality for your video ad audio ad click OK. The highest quality clips appear i the bi alog with the low resolutio (most compressed) clips. A lik ico appears ext to the clips. If the system caot fid the correspodig low-resolutio clip, it might be because you iserted the wrog XDCAM disk. If you isert the wrog disk, the system displays a message that iforms you to isert the correct disk. If you used Soy s PDZ-1 software ad provided a disk ame i the User Disc ID field, the system message displays the disk label ame. If you did ot use the PDZ-1 software, the system asks you to isert the disk cotaiig the (low-resolutio) clip selected i the bi. 16. Remove the XDCAM disk. Spaed clips are clips that exted from oe card to aother. Avid supports workig with spaed XDCAM EX clips i your Avid editig applicatio. For more iformatio about spaed clips, see Spaed Clips o page

92 Usig AMA Plug-Is Switchig Betwee Multiple Resolutio Media Oce you lik to the low-resolutio or high-resolutio media ad complete your edits, you ca easily switch from low to high ad high to low-resolutio media. Whe you switch to a differet resolutio, the system replaces the clip i the bi with the ew clip ad resolutio. The steps below highlight switchig from low-resolutio to high-resolutio media. You ca also switch from high-resolutio to low-resolutio. For XDCAM, if you use the Soy PDZ-1 software to assig a User Disc ID, the Avid editig system displays this iformatio i a bi colum ad kows what disk ame is associated with each clip. To switch from low-resolutio to high-resolutio media: 1. Isert the disk i the device. 2. Select the low-resolutio clips i the bi. 3. Right-click the bi ad select Modify AMA Resolutios. The AMA Resolutios Quality dialog box appears. 4. Click the Highest Quality for your video (audio is always set to Highest Quality) ad click OK. The highest quality clips replace the most compressed (low-resolutio) clips i the bi. A lik ico appears ext to the clips. If the bi cotais clips from multiple volumes, you will be prompted to isert aother disk. Cosolidatig Multiple Resolutio Media Whe you are ready to move your media to shared storage, you ca lik to your resolutio ad cosolidate at the same time. 92

93 Usig AMA Plug-Is The steps below highlight cosolidatig high-resolutio media. You ca also cosolidate low-resolutio media. For iformatio o why you should cosolidate, see Cosolidatig Media o page 567. To cosolidate high-resolutio media: 1. I the Project widow, click the Settigs tab. 2. Double-click AMA. The AMA Settigs dialog box appears. For iformatio about the AMA Settigs, see AMA Settigs o page Click the Quality tab. 4. Click the appropriate resolutio for your video i the Cosolidate Preferece sectio, ad click OK. If a particular resolutio is ot available, it will be grayed out. 5. To cosolidate the clip, follow the steps i Usig the Cosolidate Commad o page 569. The resolutios you select i the Cosolidate Preferece area of the AMA Settigs Quality tab displays i the Trascode/Cosolidate dialog box whe you cosolidate or trascode. 93

94 Usig AMA Plug-Is Usig the P2 AMA Plug-I Paasoic s P2 equipmet records DV, DVCPRO, ad DVCPRO 50 media o compact, solid-state memory cards (P2 cards). Avid editig applicatios support editig of media directly from these memory cards, without the eed to capture. You ca also write your sequece back to the P2 card. Paasoic P2 video ad audio media is recorded i MXF format. The followig are recogized as P2 cards by your Avid editig applicatio: Paasoic P2 cards i a attached reader or camera or i a laptop PC Card slot. Sythetic P2 cards. A complete copy of a P2 card copied to the root of a drive or mouted as a drive, for example, by mappig to a drive letter. Each P2 card stores MXF files i two folders: (Widows) drive:\cotets\audio (Macitosh) Macitosh HD/Cotets/Audio (Widows) drive:\cotets\video (Macitosh) Macitosh HD/Cotets/Video Examples of MXF audio ad video files cotaied i the Audio ad Video folders. Top: four audio tracks for a sigle clip. Bottom: the correspodig video track. 94

95 Usig AMA Plug-Is Paasoic P2 devices write idividual MXF audio ad video media files for each track of each clip. For example, a P2 clip that icludes oe track of video ad four tracks of audio is stored o the P2 card as five idividual media files. Withi your Avid editig applicatio the five media files are represeted as a sigle clip with audio ad video. The followig steps describe a typical workflow for editig P2 clips with AMA. Do ot mix AMA ad traditioal workflows. Either use AMA whe you work with a P2 device or use the traditioal import/batch import workflow. A typical workflow is as follows: 1. Make sure the Paasoic P2 AMA plug-i is istalled o your system. 2. Istall the appropriate Paasoic P2 driver. 3. Mout oe or more P2 cards (up to five). For iformatio o moutig ad amig P2 cards, see your Paasoic device documetatio. The system liks the P2 clips automatically ito a bi. If you use multiple P2 cards ad you remove oe of the cards, your media displays offlie. 4. Use the master clips to edit ad output a sequece. 5. (Optio) Reame the clips to orgaize your material. 6. Cosolidate or trascode your sequece or clips. The media cosolidates to the destiatio you set i the Media Creatio dialog box. Cosolidatig your media helps whe you work with multiple P2 cards. If a card is removed from the reader, cosolidatig lets you view your sequece with all the media olie. Whe you cosolidate, if you wat to keep your AMA clips liked to the origial source, select the optio Keep Master clips liked to media o the origial drive, i the Copyig Media Files dialog box. Whe you trascode a sequece, the system automatically defaults to covert both audio ad video. You caot trascode video oly with P2. For iformatio o cosolidatig your sequece, see Cosolidatig Media o page 567. For iformatio o trascodig your sequece, see Usig the Trascode Commad o page Remove the P2 card. 95

96 Usig AMA Plug-Is If you work i a Avid shared storage eviromet, you ca share sequeces that cotai P2 clips i a Avid shared storage workspace. However, you ca share P2 clips oly if you trascode or cosolidate them to a workspace. I a MXF workgroup, you ca either cosolidate or trascode P2 clips to a workspace. If you trascode, you must trascode P2 MXF files to aother MXF resolutio. I a OMF workgroup, you must trascode P2 clips to a workspace. You must trascode P2 MXF files to OMF files. If you cosolidate or trascode clips to a Avid shared storage workspace, it automatically checks all related metadata ito the asset maager. This makes the clips accessible to other users. For more iformatio o workgroup support, see the Avid Iterplay Help. Some card slots of the P2 drive might require drive letters that have already bee assiged to existig etwork drives. If your computer does ot display all five card slots as drives, reassig the etwork drives or restart your system. Spaed clips are clips that exted from oe card to aother. Avid supports workig with spaed P2 clips i your Avid editig applicatio. For more iformatio about spaed clips, see Spaed Clips o page 82. Usig the AVCHD AMA Plug-I AVCHD is a file-based format ad does ot use magetic tape. Istead, video ca be recorded oto DVD discs, hard disk drives, o-removable solid-state memory ad removable flash memory cards. Play performace might vary depedig o the type of medium you use ad the speed of our computer. AVCHD media files are recorded i MTS format; the file cotais both the video ad audio. Audio ca be either ucompressed PCM or Dolby AC-3 format. You must activate the Dolby AC-3 codec the first time you AMA lik to a AVCHD clip. If you are coected to the Iteret, activatio is automatic. If you are ot coected to the Iteret, the system opes a dialog box ad the the Avid Licese Cotrol tool. Follow the o scree istructios to activate this feature. The folder ad file structure is depedet o the camera you use. Most AVCHD cameras produce default file ames startig with Be aware that you could have multiple clips with the same file ame across multiple media drives. 96

97 Usig AMA Plug-Is The followig steps describe a typical workflow for editig AVCHD clips with AMA. A typical workflow is as follows: 1. Istall the AVCHD AMA plug-i o your system. 2. To lik to a etire volume, attach the camera ad isert a card, disc or drive. The system liks the AVCHD clips automatically ito a bi. It is highly recommeded for performace reasos, that you copy the etire media volume to a exteral HD drive if you pla o copyig media from a card. You may have to use the File > AMA Lik commad if the files do ot automatically lik. If you use multiple AVCHD cards ad you remove oe of the cards, your media displays offlie. 3. To lik to a idividual AVCHD file, with the camera ad card, disc or drive iserted, select File > AMA Lik. The Ope dialog box opes. 4. From the AMA Plugi Filter meu, select AVCHD. 5. Locate ad select the.mts file(s) you wat to lik. Ctrl+click or Shift+click to select multiple files. 6. Click Ope. The clips appear i the active bi. A lik ico appears ext to the clips. 7. Use the master clips to edit ad output a sequece. 8. (Optio) Reame the clips to orgaize your material. 9. Trascode your sequece or clips. Whe you trascode a sequece, the system automatically defaults to covert both audio ad video. You caot trascode video oly with AVCHD. For iformatio o trascodig your sequece, see Usig the Trascode Commad o page 573. Spaed clips are clips that exted from oe card, disc or drive to aother. Avid supports workig with spaed AVCHD clips i your Avid editig applicatio. For more iformatio about spaed clips, see Spaed Clips o page

98 Usig AMA Plug-Is Usig the Cao XF AMA Plug-I The Cao XF305 ad Cao XF300 camera records MPEG-2 media oto compact flash cards. Through the Cao XF AMA plug-i ad the MXF AMA plug-i, you ca lik to Cao MPEG-2 media through the AMA method. Cao XF video ad audio media files record i MXF format. You ca edit directly from a flash card, without havig to capture. You ca lik to a Cao XF flash card ad reader attached to your system or copy a Cao XF flash card to the root of a drive. Each card stores the video ad audio files i: (Widows) drive:\contents\clips (Macitosh) Macitosh HD/CONTENTS/CLIPS AMA does ot recogize clips if the folder ames i the selected path cotai double-byte characters (DBCS). AMA recogizes folders with the directory path that icludes ASCII alphaumeric characters. A typical workflow is as follows: 1. The Cao XF AMA plug-i ad the MXF AMA plug-i should be istalled o your system. 2. Mout the flash cards. The system liks the Cao XF clips automatically ito a bi. If you use multiple flash cards ad you remove oe of the cards, your media displays offlie. 3. Use the master clips to edit ad output a sequece. 4. (Optio) Reame the clips to orgaize your material. 5. Cosolidate or trascode your sequece or clips. The media cosolidates to the destiatio you set i the Media Creatio dialog box. Cosolidatig your media helps whe you work with multiple cards. If a card is removed from the reader, cosolidatig lets you view your sequece with all the media olie. Whe you cosolidate, if you wat to keep your AMA clips liked to the origial source, select the optio Keep Master clips liked to media o the origial drive, i the Copyig Media Files dialog box. For iformatio o cosolidatig your sequece, see Cosolidatig Media o page 567. For iformatio o trascodig your sequece, see Usig the Trascode Commad o page Remove the flash card. 98

99 Usig AMA Plug-Is Spaed clips are clips that exted from oe card to aother. Avid supports workig with spaed Cao XF clips i your Avid editig applicatio. For more iformatio about spaed clips, see Spaed Clips o page 82. Usig the GFCAM AMA Plug-I The Ikegami GFCAM HDS-V10 is a tapeless camera/recorder that uses flash memory istead of video tapes as a recordig medium. GFCAM devices record MPEG-2 Log GOPmedia oto a GFPAK, a removable high-speed storage medium. GFCAM is oly available through the AMA method. GFCAM video ad audio media files record i MXF format. Each GFPAK stores the video MXF files i: (Widows) drive:\binxxx\video (Macitosh) Macitosh HD/BINxxx/VIDEO Each GFPAK stores the audio MXF files i: (Widows) drive:\binxxx\audio (Macitosh) Macitosh HD/BINxxx/AUDIO The GFCAM video file directory stores MXF files regulated by SMPTE 390M (MXF OP-Atom) ad SMPTE 381M (MXF mappig MPEG streams ito MXF GC). If a video clip eeds to split, such as uder the FAT32 file system, the system creates multiple MXF files for that clip. The GFCAM audio file directory stores MXF files regulated by SMPTE 382 (MXF mappig AES3 ad BWF ito the MXF GC). Each file has a AES chael that cosists of two audio chaels. For example, the system creates two MXF files from two AES chaels (four audio chaels). If a audio clip splits, the system creates multiple audio files for that clip. GFCAM allows gapless recordig over several GFPAKs, however, each GFPAK hadles the cotets as a separate clip. If you record across three GFPAKs, you create three separate clips. You ca the edit those clips together ito oe cotiuous sequece. 1080p/23.98 pulldow ad 720p/23.98 pulldow record at 59.94fps ad are oly compatible with 1080i/59.94 ad 720p/59.94 projects. 1080p/29.97 records as PSF at 59.94fps ad is oly compatible with 1080i/59.94 projects. 1080p/25 ad 720p/25 record as PSF at 50fps ad are oly compatible with 1080i/50 ad 720p/50 projects. 99

100 Usig AMA Plug-Is A typical workflow is as follows: 1. Make sure the GFCAM AMA plug-i is istalled o your system. 2. Isert the GFPAK. Your Avid editig system liks the GFCAM clips automatically ito a bi. The media itself remais o the disk. The clips poit directly to the high-resolutio media o the disk. If you use multiple GFPAKs ad you remove oe of the GFPAKs, your media displays offlie. 3. Use the master clips to edit the sequece. 4. (Optio) Reame the clips to orgaize your material. 5. Cosolidate or trascode your sequece or clips. Cosolidatig your media helps whe you work with multiple GFPAKs. If a GFPAK is uplugged, cosolidatig lets you view your sequece with all the media olie. Whe you cosolidate, if you wat to keep your AMA clips liked to the origial source, select the optio Keep Master clips liked to media o the origial drive, i the Copyig Media Files dialog box. Whe you trascode a sequece, the system automatically defaults to covert both audio ad video. You caot trascode video oly with GFCAM. 6. Discoect the GFPAK. Workig with Shot Marks ad Check Marks with GFCAM Media GFCAM products use Shot Marks ad Check Marks to store metadata about media clips. Shot Marks allow GFCAM cameras to mark evets such as clip start poits or audio clippig. Press the RET butto o the GFCAM device while you record or playback to set a Shot Mark. For a descriptio of Shot Marks, see your GFCAM documetatio. I the AMA method, Shot Marks are brought over automatically ad appear as markers i your Avid editig applicatio. There is o text associated with a Shot Mark, just a marked locatio (or a marker). For iformatio about editig markers, see Usig Markers o page 646. A Check Mark flags a good shot. The AMA method traslates this good shot clip with the word true i a ew bi colum amed Check Mark. If there are o Check Marks associated with a clip, a Check Mark headig does ot appear. 100

101 Usig AMA Plug-Is Usig the RED AMA Plug-I The RED ONE camera geerates a 4K (or 2K - 4.5K) full resolutio REDCODE RAW (.R3D) file. Media is stored o a REDFlash card or a RED drive. You ca lik to a specific R3D file o the volume or lik to the etire volume. RED ONE cameras record metadata which displays i a Avid bi. The metadata icludes: edge code, timecode, les parameters, audio settigs ad ay video image processig iformatio. Your Avid editig applicatio supports RED R3D files as high quality HD media. Oce you lik the clips through AMA, you ca chage ad fie-tue the clip color settigs through the Source Settigs dialog. You caot cosolidate the RED media i your Avid editig applicatio. The RED Camera records a uique clip ame ad additioal files that iclude the REDCODE RAW files ad a optioal QuickTime referece file placed i a clip folder (.RDC). The system ames clips by Camera Letter + Reel Number + Moth + Day + a two digit alphaumeric radom umber. For example: A001_C002_0502A6.RDC Each clip folder (.RMD) is at the root directory. I each of these folders is the.rdc folder which cotais the video, audio, ad metadata files: (Widows) drive:\camera+reel_date.rmd\camera+reel_clip_date+radom umber.rdc (Macitosh) Macitosh HD/camera+reel_date.RMD/camera+reel_clip_date+radom umber.rdc Avid's RED workflow allows you to work with RSX, RLX, ad RMD files to maage a clip's color. You have access to all the metadata ad color values i the raw RED files as well as the above metioed look files associated with this media. You may also make o-destructive, custom color adjustmets to the R3D clip. These adjustmets ca be made at ay stage of the process. AMA detects folders amed with RMD ad RDC ad files amed.r3d. Audio is icluded i the RED files, ad will display as.wav files i the bi. You caot spa media across multiple cards. Each clip is recorded as a separate clip, regardless of how may cards you use. There is a 2GB limit o a sigle master clip. As you record footage, oce a 2GB file is captured, a R3D file is created (.001). The camera cotiues to record ad the ext 2GB (or less) of media creates aother R3D file (.002) util you ed recordig. So, you ca have several R3D files i oe clip folder but they are all associated with oe master clip. Whe you lik these files/folders through the AMA method, oe master clip appears i your bi 101

102 Usig AMA Plug-Is A typical workflow is as follows: 1. Make sure the RED AMA plug-i is istalled o your system. 2. Attach the RED drive or isert a REDFlash card. Your Avid editig system liks the RED clips automatically ito a bi. The media itself remais o the disk. The clips poit directly to the high-resolutio media o the disk. All metadata iformatio displays as colums i the bi. If you use multiple cards ad you remove oe of the cards, your media displays offlie. 3. Right-clip the clip i the bi ad select Source Settigs. For detailed iformatio to set clip parameters, see Adjustig RED Source Settigs o page Use the master clips to edit the sequece. 5. (Optio) Reame the clips to help you orgaize your material. 6. Choose the video quality from the Trascode & Cosolidate tab of the Media Creatio settig. For more iformatio, see Preparig your RED Clip for Trascode, Mixdow, or Reder o page Trascode your sequece or clips to a HD or SD resolutio. If you eed to output to a resolutio higher tha HD, the export a AFE of your sequece for the coform process o a Avid DS. If your high-resolutio media is o a shared storage device ad Avid DS has access to the device, Avid DS automatically reliks to the RED files. 8. Remove the RED drive or card. For iformatio o preparig your RED clip for trascode, mixdow, or reders, see Preparig your RED Clip for Trascode, Mixdow, or Reder o page 102 Preparig your RED Clip for Trascode, Mixdow, or Reder If you wat to take a RED clip ad offlie it to aother applicatio, you ca create a differet resolutio RED file, depedig o your requiremets. This chages the speed ad quality of the clip, which could affect the playback performace. The higher the video quality the slower the process (trascode, mixdow, reder). The lower the video quality the faster the process. Before you trascode, mixdow or reder your clip or sequece, set the appropriate quality i the Media Creatio dialog box. If you apply ay Reformat optios (stretch, letterbox, etc.) to your clip, whe you perform a trascode, the reformattig optios will apply. 102

103 Usig AMA Plug-Is To prepare your RED clip for trascodig, mixdow or rederig: 1. Before you trascode, mixdow or reder, select Tools > Media Creatio. 2. Click the Mixdow & Trascode tab or click the Reder tab. 3. Select the playback quality from the R3D Source Quality (Debayer) meu. t Full t Half (Best Quality) t Half (Good Quality) t Quarter t Eighth t Sixteeth 4. Click OK. 5. Trascode, mixdow or reder your clip or sequece as required. Adjustig RED Source Settigs Whe you lik to R3D (RED) files, the Avid editig system reads each REDCODE RAW file directly. You ca the chage the clip s color values: color balace, exposure, ad cotrast i the Source Settigs widow. This color value iformatio is ecoded with the R3D file through a RLX, RSX or RMD file. These files hold the camera s origial color values of your clip. The RLX, RSX or RMD files might be created if you set the color values outside of the Avid editig applicatio. These files ca be loaded ad applied to the associated RED clip through the Source Settigs widow. Whe a RED clip displays i the bi, the system displays the metadata colums of the clip s color values. For example: Color Space, Gamma Space, Kelvi, Tit. You ca export this iformatio to ALE (Avid Log Exchage) ad XML (through Avid FilmScribe) for dowstream use i your workflow. The AMA Source Settigs widow also has various color spaces to choose from. You ca set up differet color optios (or presets) i each of these color spaces ad the apply their color values to multiple clips. To chage the RED source settigs: 1. Lik the RED clip through the AMA Lik optio. 2. Right-click the RED clip i the bi ad select Set Source Settigs. The Source Settigs dialog box opes. The clip displays i the video area. 103

104 Usig AMA Plug-Is You ca choose from the Settigs meu to select a camera metadata settig or a RSX, RLX or RMD settig (template), or adjust your ow custom parameters. This procedure details the custom parameters. 3. Drag the video slider to the frame you wat to view. The ew frame displays ad the histogram updates. The histogram is a tool that helps you more precisely adjust Source Settigs. For more iformatio about the histogram, see Uderstadig the Source Settigs Histogram i the Avid editig Help. 104

105 Usig AMA Plug-Is 4. Set the appropriate optios, you ca select from a meu, drag the sliders, eter values or click the eyedropper: Optio Color Space Gamma Curve White Balace Kelvi Tit Descriptio Choose from: Camera RGB: as close to RAW REC.709: SMPTE stadard color space for HD REDcolor (default): ewest, more accurate color sciece from RED REDcolor2: better ski toes ad color from RED REDcolor3: more improvemets from RED REDSpace: based o the camera s RGB but more saturated Lets you override the gamma curve. Choose from: REC.709: a REC.709 gamma curve with a liear portio at black ad a gamma at 2.2 curve REDLog: maps the 12-bit sesor data o to a 10-bit curve with miimal loss REDLogFilm: a way of cotaiig a large dyamic rage i a video file. Needs to be viewed through a LUT to covert it for viewig o a moitor. REDSpace: based o REC.709 but with more cotrast REDGamma (default): gamma curve from RED with a smoother highlight rolloff REDGamma2 REDGamma3 Adjusts the color temperature of your image i oe click. Use the eyedropper ico ad the click a kow white area i your RED footage to achieve the correct light or eutral balace. This optio is equivalet to adjustig the Kelvi ad Tit optios. Whe you use the White Balace optio, the system automatically adjusts Kelvi ad Tit. It is recommeded you adjust White Balace first before performig ay other adjustmets to the image for best quality. This chage adjusts the etire clip ad updates the histogram. Adjusts the RGB color to compesate for red - blue titig of the scee at differet color temperatures of the ambiet light while you shoot. Commo values are 3200 (tugste) ad 5600 (daylight). Click ad drag the slider from 1700 to Default is Adjusts the RGB color to compesate for yellow - gree titig of the scee at differet color temperatures of the ambiet light while you shoot. This is valuable whe the ambiet light source cotais a sigificat amout of yellow or gree, such as fluorescet. Click ad drag the slider from -100 to 100. Default is ISO Allows the ISO level to chage from 50 to Default is

106 Usig AMA Plug-Is Optio FLUT Shadow DRX Debayer Detail Descriptio The latest color sciece developed by RED. Allows you to balace your mid-grays i the ceter of the histogram without pushig highlight details over the edge. Adjusts the overall black level of the image without affectig the white level. Click ad drag the slider from 0.00 to Default is Lets you recover potetially lost dyamic rage by extedig ad balacig highlights, takig ito accout the rederig itet of the desired Kelvi ad Tit white balace. Click ad drag the slider from 0.00 to Default is Choose from High (default), Medium, or Low. Chroma Deoise OLPF Choose from Off (default), Miimum, Milder, Mild, Strog, or Maximum. Cotrols the optical low-pass filter. Choose from Off (default), Low, Medium, or High. Exposure Brightess Cotrast Saturatio Red Allows adjustmet to the clip exposure. Click ad drag the slider from to Default is Adjusts the overall brightess of the image. Lifts blacks without affectig the white level. Click ad drag the slider from to Default is Adjusts the toal rage of the image, which usually improves sharpess ad detail. Whe you icrease the Cotrast, it icreases toal separatio betwee adjacet gray levels but decreases the total umber of discreet gray levels i the image. Click ad drag the slider from to Default is Affects the itesity of the red, gree ad blue chaels. As the value icreases color saturatio icreases. As the value decreases, so does the color decrease. If the value is set to high, colors might clip. If the level is set to 0.00, a moochromatic image with oly gray toes appear. Click ad drag the slider from 0.00 to Default is 1.00 Icreases or decreases the camera s sesitivity to red light by amplifyig the R chael digital video sigal received from the sesor. A 0 (zero) o Red is visible, the image has a strog cya cast. Click ad drag the slider from 0.00 to Default is

107 Usig AMA Plug-Is Optio Gree Blue Descriptio Icreases or decreases the camera s sesitivity to gree light by amplifyig the G chael digital video sigal received from the sesor. At 0 (zero), o gree is visible, the image has a strog mageta cast. Click ad drag the slider from 0.00 to Default is Icreases or decreases the camera s sesitivity to blue light by amplifyig the B chael digital video sigal received from the sesor. At 0 (zero), o blue light is visible, the image has a strog yellow cast. Click ad drag the slider from 0.00 to Default is Click Apply. The chages apply to your clip. You ca cotiue to make additioal chages. If the clip is i the Source viewer, the chages are reflected i the Source viewer ad i the Cliet moitor (if you have oe attached). If you click Cacel after you click Apply, the Set Source Settigs widow closes with the chages you made. 6. Click OK to save your chage ad close the widow. The system updates the bi colum metadata with the ew parameters. If you make chages i the Source Settigs widow ad the relik the clip through AMA agai, you still keep all the parameters that you set. Usig RED Source Settigs Source Settigs lets you choose from a selectio of preset templates or you ca create your ow look. Each source settig has its ow color values associated with it. There are a few differet ways to obtai source settigs: Camera ad default source settigs are icluded with the RED AMA plugi Lik a RED clip from RED Alert! (imports the RSX source settig) Load a source settig oto your system (for example, a RLX, RSX, or RMD) Create a custom source settig You caot chage the default RSX ad RLX source settigs, these are predefied. Oce you make a chage to a parameter, the settig becomes a Custom settig. At this time, you ca oly have oe Custom settig. 107

108 Usig AMA Plug-Is You ca load multiple RSX ad RLX source settigs. As you lik a RED clip from RED Alert! (RSX) or load a RLX file, the settig appears i the Source Settigs meu. Source Settigs are helpful whe you wat to apply oe settig to multiple clips i your bi. Differet subclips from the same master clip ca have differet source settigs. Whe you edit a clip ito a sequece, the material you edit i uses the clip s curret attribute values or RED source settigs. If you chage the RED source settigs at a later poit i your workflow, the sequece does ot automatically adjust for the chage. If you wat the sequece to use the RED source settigs for clips that you have chaged sice you edited, you must refresh the sequece. For procedures o how to refresh your sequece, see Refreshig Sequeces to Use Curret Clip Attributes o page 731. Applyig a RED Source Settig To apply a source settig to a RED clip: 1. Right-click a RED clip i the bi (or Shift-click multiple clips), the choose Set Source Settigs. The Set Source Settigs widow opes ad your clip displays i the viewer. 2. Select a settig (template) from the Source Settigs meu. Source Settigs vary depedig o the files or templates loaded o your system. Settig Camera Metadata Settigs Default Settigs Grade (RSX) Settigs fileame RLX Settig Grade (RMD) Settig Custom Origi Default Default RED Alert! RED Alert! REDCINE-X User created i Avid 3. Click Apply. The settigs apply to the clip ad if the clip is loaded i the Timelie, the video updates ad displays i a Cliet moitor (if oe is attached) ad the Source moitor. 4. Click OK to save your settigs ad close the widow. The system updates the bi colum RED metadata with the parameters. 108

109 Usig AMA Plug-Is If you make additioal chages after you select a settig, the system creates a Custom settig ad Custom appears i the Settigs list. You caot make chages to a system geerated settig, however you ca use a system settig ad make chages to create your ow Custom settig. To import additioal source settigs: 1. From the Source Settigs widow, click the Load butto. The Load Exteral Settigs widow opes. 2. Browse to the Settigs file. 3. Chage the filter to display RSX, RLX or RMD files. 4. Select your settig ad click OK. The ew source settig appears i the Source Settigs meu, ad is immediately applied to the clip. Usig the QuickTime AMA Plug-I There are a few guidelies you should follow whe you lik QuickTime files through AMA. To lik QuickTime media through the AMA method, you first eed to create a QuickTime movie from a third-party applicatio or through the Avid editig system. The third-party applicatios that supports creatig a QuickTime movie iclude Adobe AfterEffects ad Fial Cut Pro. This is doe through the QuickTime Export dialog box which uses the Avid QuickTime Codecs. These codecs automatically istall o your Avid editig system. At this time, Avid supports the Same as Source ad Custom export settigs optios whe you export with the Avid QuickTime codecs. This process creates a Avid compressed QuickTime media file, with a.mov extesio. AMA oly detects ad liks to Avid compressed QuickTime media. For iformatio about exportig a QuickTime movie, see Exportig QuickTime Movies o page QuickTime files use the.mov file ame extesio. After you lik a QuickTime file through AMA, the file drops the.mov file ame extesio. QuickTime media is liked at the data rate at which it was recorded. A QuickTime AMA workflow is as follows: 1. Create a QuickTime movie with a supported codec i a applicatio such as Adobe AfterEffects or Apple s Fial Cut Pro. Avid supports the Same as Source ad Custom export settigs optios whe you export with Avid QuickTime codec. See Adobe ad Apple documetatio for iformatio o how to create a QuickTime movie. 109

110 Usig AMA Plug-Is 2. Move the created.mov file oto your Avid editig system. 3. Ope a bi. If there is o active bi, a dialog box appears askig you to select a bi. 4. Select File > AMA Lik. You ca also right-click a bi ad select AMA Lik. To lik to multiple QuickTime files, use the File > Lik to AMA Volume(s) optio ad select the folder that stores all the QuickTime files. For iformatio about AMA, see The Avid Media Access (AMA) Workflow o page 64. The Ope dialog box opes. 5. From the AMA Plugi Filter meu, select QuickTime. 6. Locate ad select the.mov file(s) you wat to lik. Ctrl+click or Shift+click to select multiple files. 7. Click Ope. The clips appear i the active bi. A lik ico appears ext to the clips. If ay of the movies you liked to were QuickTime with Alpha chael files, they appear i your bi as a Matte Key effect. The Alpha Chael optios i the Import Settigs Image tab apply to the QuickTime AMA liked file. Therefore, the QuickTime file will appear i the bi as a master clip if the Igore optio is set or will appear iverted or ot iverted depedig o the selected optios. 8. Use the liked clips to edit your sequece. 9. If you eed to chage the QuickTime clip i After Effects or FCP, ope the existig file i After Effects or FCP ad make the chage. If you chage the umber of tracks, chage the duratio of the clip or chage the clips file ame, whe you relik through AMA, the system creates a ew clip ad will ot overwrite or replace the existig clip i the bi. If you chage the umber of tracks, the duratio, or edit rate, but ot the file ame, ay clips liked to the sequece will ulik ad the clips display Media Offlie. If you chage the file ame or the locatio of the clip, you ca Relik to AMA files. For more iformatio, see Relikig to AMA-Liked QuickTime Files o page From your Avid editig applicatio, select Clear Moitor from the Clip Name meu above the moitors. This clears the moitors ad Timelie of ay old clips. 110

111 Usig AMA Plug-Is 11. Reder or export the ewly chaged QuickTime movie out of AfterEffects or FCP to the same folder locatio as the origial file. Accept all overwrite prompts. Oce the chaged QuickTime movie is exported or redered, refocus or ope (if FCP or AfterEffects are o the same system) your Avid editig applicatio. The updated clip appears i your bi (ad sequece) ad replaces the old clip. If the clip is i the Source or Record moitor, it also will update. 12. Cotiue to edit your sequece or cosolidate or trascode your sequece or clip. Whe you cosolidate, if you wat to keep your AMA clips liked to the origial source, select the optio Keep Master clips liked to media o the origial drive, i the Copyig Media Files dialog box. For iformatio o cosolidatig your sequece, see Cosolidatig Media o page 567. For iformatio o trascodig your sequece, see Usig the Trascode Commad o page 573. Adjustig QuickTime Source Settigs You ca chage the dyamic rage of a liked AMA QuickTime movie from 601/709 video rage (16-235) to RGB rage (0-255) or from RGB rage (0-255) to 601/709 video rage (16-235). This settig is oly supported with QuickTime movies that were created with a o-avid codec, icludig ProRes, H.264 ad Aimatio. Whe a QuickTime clip displays i the bi, the system displays the metadata colums of the clip s color values. To chage the QuickTime source settigs: 1. Lik the QuickTime clip through the File > Lik to AMA File optio or to lik to multiple QuickTime files, use the File > Lik to AMA Volume(s) optio. 2. Right-click the QuickTime clip i the bi ad select Set Source Settigs. If your QuickTime movie was created with a Avid codec, the Set Source Settigs optio will ot be available. The Source Settigs dialog box opes. The clip displays i the video area. 111

112 Usig AMA Plug-Is 3. Drag the video slider to the frame you wat to view. The ew frame displays ad the histogram updates. The histogram is a tool that helps you more precisely adjust Source Settigs. For more iformatio about the histogram, see Uderstadig the QuickTime Source Settigs Histogram i the Avid editig Help. 4. Set the appropriate optios: Optio Settigs Field Orderig Descriptio Default Custom: User created i Avid. Default Progressive: The image is iterpreted as a progressive image. Iterlaced - Odd (upper field first) ordered: Adjusts the clip so that the top field is played before the lower field. Iterlaced - Eve (lower field first): Adjusts the clip so that the lower field is played before the top field. Field Layout (Available whe Field Orderig > Iterlaced is selected) Merged (default): Alterates field iformatio. Split: Based o the field orderig selectio (Iterlaced Odd or Iterlaced Eve), fields will be split ito oe over the other. For example, all odd fields are over all eve fields. 112

113 Usig AMA Plug-Is Optio GFX/Video Level Descriptio Do ot modify levels: Leave as is Expad video levels to graphic levels: Chages the dyamic rage from a 601/709 video rage (16-235) to RGB rage (0-255). Compress graphic levels to video levels: Chages the dyamic rage from RGB (0-255) rage to a 601/709 video rage (16-235). This optio is useful if you created a QuickTime movie with graphic levels i AfterEffects ad the brought the clip ito a Avid editig applicatio. 5. Click Apply. The chages apply to your clip. You ca cotiue to make additioal chages. If the clip is i the Source viewer, the chages are reflected i the Source viewer ad i the Cliet moitor (if you have oe attached). If you click Cacel after you click Apply, the Set Source Settigs widow closes with the chages you made. 6. Click OK to save your chage ad close the widow. The system updates the bi colum metadata with the ew parameters. If you make chages i the Source Settigs widow ad the relik the clip through AMA agai, you still keep all the parameters that you set. Applyig a QuickTime Source Settig Source Settigs lets you choose from a Custom of Default settig. Each source settig has its ow color values associated with it. To apply a source settig to a QuickTime clip: 1. Right-click a QuickTime clip i the bi (or Shift-click multiple clips), the choose Set Source Settigs. The Set Source Settigs widow opes ad your clip displays i the viewer. 2. Select a settig from the Source Settigs meu. Settig Default Settigs Custom Origi Default User created i Avid 3. Click Apply. 113

114 Usig AMA Plug-Is The settigs apply to the clip ad if the clip is loaded i the Timelie, the video updates ad displays i a Cliet moitor (if oe is attached) ad the Source moitor. 4. Click OK to save your settigs ad close the widow. The system updates the bi colum metadata with the parameters. If you make additioal chages after you select a settig, the system creates a Custom settig ad Custom appears i the Settigs list. You caot make chages to a system geerated settig, however you ca use a system settig ad make chages to create your ow Custom settig. The Load butto does ot apply to QuickTime media. Uderstadig the QuickTime Source Settigs Histogram The histogram i the Source Settigs widow helps you visualize the distributio of color values i a image. You ca use the histogram to adjust the Source Settigs of your AMA media more precisely while avoidig clippig ad color imbalace. Example of a Source Settigs histogram. The histogram plots color values o the horizotal axis ad the percetage or proportioal umber of pixels o the vertical axis. The vertical lies represet the black poit (left) ad the white poit (right), so the area betwee them is the safe color rage. The histogram plots color values that ca be represeted by the image bit-depth o the horizotal axis. Therefore, the width of the histogram is the same as the width of the image. The histogram plots the percetage, or proportioal umber of pixels i the image, with each particular color value o the vertical axis. The vertical axis is scaled accordig to the height of the maximum value i the plot. Wheever the histogram chages, the vertical axis rescales accordig to the ew maximum. 114

115 Usig AMA Plug-Is Pixels with color values that are out of rage are grouped ito either the maximum or miimum color values o the plot. Spikes i either the highest or lowest color values might idicate loss of color iformatio due to clippig. Usig the MXF AMA Plug-I Material Exchage Format (MXF) is a wrapper or cotaier format which ecapsulates media ad rich productio metadata ito a sigle file, which is useful for media storage ad exchage. It is a ope techology that ca is implemeted by differet maufacturers. MXF is desiged to be flexible eough for use i all stages of cotet creatio, from acquisitio, to authorig, to distributio. The primary beefit of MXF is that it provides greater workflow efficiecy by preservig useful metadata as media files make their way through the cotet creatio process. The MXF format is idepedet of the type of cotet that it cotais, so a MXF file ca cotai video ad/or audio at ay resolutio or compressio. I may istaces MXF files ecapsulate media which is already formatted to oe of the existig idustry stadards. You ca select the MXF format whe you capture, lik, create titles, or reder effects. See Media Creatio Settigs o page 125. The MXF AMA plug-i is automatically istalled whe you istall your editig applicatio. A typical workflow is as follows: 1. Create a supported MXF file (create a supported MXF file from your third party applicatio, for example: Rhozet or Omeo). 2. Move the.mxf file oto your Avid editig system. 3. Select File > AMA Lik. You ca also right-click a bi ad select AMA Lik. The Ope dialog box opes. 4. From the AMA Plugi Filter meu, select MXF. 5. Select the file(s) you wat to lik. Ctrl+click or Shift+click to select multiple files. 6. Click Ope. The MXF clips appear i the active bi. A lik ico appears ext to the clips. If the system caot lik a file, a error message displays iformig you to ope the Cosole widow for more iformatio about the file(s) i error. If you move the clip from the origial drive to aother drive o your system, the clip displays as offlie i your bi. 115

116 Usig AMA Plug-Is If you move a source file from oe locatio to aother ad the back to the origial locatio, you might eed to refresh the bi to redisplay the clip. Close ad reope the bi to refresh the bi. 7. Use the liked clips to edit your sequece. 8. (Optio) Reame the clips to help orgaize your material. 9. Cosolidate or trascode your sequece or clips. The media cosolidates to the destiatio you set i the Media Creatio dialog box. Whe you cosolidate, if you wat to keep your AMA clips liked to the origial source, select the optio Keep Master clips liked to media o the origial drive, i the Copyig Media Files dialog box. Workflow for Editig Clips with Acillary Data ad AMA The followig steps describe a typical workflow for editig XDCAM or MXF clips with acillary data ad AMA. Do ot mix AMA ad traditioal workflows. Either use AMA or use the traditioal import/batch import workflow. You should be aware of the followig: You ca lik to the acillary data clip without a Avid iput/output hardware, however, i order to view the acillary data i a moitor, a Avid Nitris DX or Avid Mojo DX device is required. If you cosolidate the XDCAM or MXF clip or the sequece that cotais the XDCAM or MXF clip with acillary data, the acillary data track stays with the cosolidated clip or sequece. I additio, the Acillary Data bi colum populates with the DID ad SDID umbers oce you cosolidate or trascode the clip with the acillary data. A typical workflow is as follows: 1. The Soy XDCAM or MXF AMA plug-i should be istalled o your system. 2. For XDCAM, istall the appropriate Soy XDCAM drivers. 3. For a XDCAM clip with acillary data, isert the XDCAM disk. The system liks the XDCAM clip with acillary data ito a bi. The media itself remais o the disk. The clips poit directly to the media o the disk. Acillary data is oly supported with high resolutio XDCAM clips. A proxy clip does ot cotai a data track, however oce you relik to the high resolutio XDCAM clip, the data track comes olie. If you use multiple cards ad you remove oe of the cards, your media displays offlie. 116

117 Uderstadig the Source Settigs Histogram 4. For a MXF clip with acillary data, select File > Lik to AMA File(s). The Select file(s) for AMA likig dialog box opes. 5. From the AMA Plugi Filter meu, select MXF. 6. Select the file(s) you wat to lik. Ctrl+click or Shift+click to select multiple files. The MXF clip appears i the bi alog with a ew Acillary Data bi colum. For iformatio about AMA, see The Avid Media Access (AMA) Workflow o page Use the master clips to edit the sequece. Whe you load the clip ito a sequece, a Data track appears which cotais the acillary data. 8. You ca the trascode or cosolidate your sequece or clips. Whe you cosolidate, if you wat to keep your AMA clips liked to the origial source, select the optio Keep Master clips liked to media o the origial drive, i the Copyig Media Files dialog box. Whe you cosolidate the XDCAM or MXF clip or the sequece that cotais the XDCAM or MXF clip with acillary data, the acillary data track stays with the cosolidated clip or sequece. For iformatio o cosolidatig your sequece, see Cosolidatig Media o page 567. For iformatio o trascodig your sequece, see Usig the Trascode Commad o page 573. Uderstadig the Source Settigs Histogram The histogram i the Source Settigs widow helps you visualize the distributio of color values i a image. You ca use the histogram to adjust the Source Settigs of your AMA media more precisely while avoidig clippig ad color imbalace. 117

118 Uderstadig the Source Settigs Histogram Example of a Source Settigs histogram. The histogram plots color values o the horizotal axis ad the percetage or proportioal umber of pixels o the vertical axis. The vertical lies represet the black poit (left) ad the white poit (right), so the area betwee them is the safe color rage. The histogram plots color values that ca be represeted by the image bit-depth o the horizotal axis. Therefore, the width of the histogram is the same as the width of the image. The histogram plots the percetage, or proportioal umber of pixels i the image, with each particular color value o the vertical axis. The vertical axis is scaled accordig to the height of the maximum value i the plot. Wheever the histogram chages, the vertical axis rescales accordig to the ew maximum. Pixels with color values that are out of rage are grouped ito either the maximum or miimum color values o the plot. Spikes i either the highest or lowest color values might idicate loss of color iformatio due to clippig. Your Avid editig applicatio draws separate histograms for the red, gree, ad blue color compoets. The histograms for each color stack o top of oe aother, with the fill color chagig appropriately to idicate overlap. The followig illustratio shows the colors produced by overlap. 118

119 Adjustig the Source Settigs Histogram Adjustig the Source Settigs Histogram You ca adjust the Source Settigs Histogram i two ways. You ca toggle drawig a histogram for a idividual color, ad you ca zoom the vertical axis. To adjust the Source Settigs Histogram: t Right-click aywhere iside the histogram graph, ad the select oe of the followig optios. Optio Red Gree Blue Zoom I Zoom Out Result Eables or disables the histogram display for the selected color. A check mark idicates that the histogram for that particular color displays. Zooms i o the lower half of the vertical axis. Chages the scalig of the vertical axis so that the height is half that of the maximum value i the plot. You ca zoom i idefiitely to display, for example, 1/4, 1/8, or 1/16 of the maximum value. Zooms out of the vertical axis by a factor of two. Chages the scalig of the vertical axis to be twice that of the maximum value i the plot. You ca zoom out idefiitely to display, for example, 4, 8, or 16 times the height of the maximum value. 119

120 Workig with Export Volumes Optio Reset Zoom Result Resets the zoom so that the vertical axis boudary is equal to the maximum value i the plot. Workig with Export Volumes The Avid editig applicatio supports the creatio of AS-02 Export Volumes. AS-02 is a specificatio for groupig multiple versios of program cotet ito oe sigle budle. These budles provide a efficiet approach for workig i a file-based eviromet. For example, if you have a sequece with a Eglish audio mix ad a sequece with the same video but with a Spaish audio mix, creatig a AS-02 Export Volume allows you to have all the program elemets cotaied i a budle without redudacy. The same video essece file ca be the source for the both the Eglish ad the Spaish versios. This is useful if you wat to save time o export ad reduce used disk space. The basic workflow is to create a ew Export Volume Bi, copy the sequece or sequeces you wat to the Volume Bi, commit the assets i the Export Volume Bi, ad the archive the AS-02 budle folder. You ca also lik to a existig AS-02 budle. The budle folder structure is show below. This is for referece oly. These elemets will be automatically created for you whe you commit a Export Volume Bi. The Asset.mxf file is the sequece (versio). The Maifest.xml file lists the creator iformatio, creatio date, versio iformatio ad a list of all the files ad folders i the budle. The Shim.xml file is used as a template or settigs file that costrais the rules for a specific facility. 120